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Despite the fact that the Gothic is one of the best known and most studied of all the fields of medieval art history, much remains for us to learn. Stretching in time from the early thirteenth to the middle of the sixteenth century and in space from the western shores of Ireland to the eastern borders of Europe, it is a style with many subdivisions and dialects. These papers--the fruits of a two-day conference at Princeton University--bring together some of the foremost scholars in the field and celebrate Willibald Sauerlander, the doyen of Gothic studies. Covering a variety of media, from...

This volume is a rich resource for the study of time as represented by the signs of the zodiac and occupations of the months, documented in the comprehensive files of the Index of Christian Art at Princeton University.

The measurement and documentation of time has been a universal issue since the dawn of civilization--and no more so than in the medieval period, when images representing the signs of the zodiac and occupations of the months were commonly used. Nature and the occupations or labors that each month brought were reflected in earthly calendars, while the movements of the...

The Index of Christian Art, founded in 1917, is today recognized as the premier resource for Christian and medieval iconography up to 1400. To mark its eightieth anniversary, seventeen scholars contributed papers to this volume, which focuses on the Index's twin strengths: iconography and methodology. From the heterogeneous imagery of the Crusaders to the repellent iconography of social rejection, from the significance of gruesome torture scenes to the moral precepts that shaped the enigmatic Ashburnham Pentateuch, the studies in the first part of Image and Belief provide...

Although the concept of patronage has long been central to medieval studies, it is still not well understood. In order to identify the person or institution responsible for the work, scholars have attempted to impose principles across a broad range of works to which they may or may not apply. In many cases this has prevented a full understanding of the work. As the essays in this volume demonstrate, the key to understanding patronage is to realize that a variety of contexts and situations may exist that prevent one definition from being imposed. The concept of patronage relates to issues...

Pontius Pilate is one of the Bible's best-known villains--but up until the tenth century, artistic imagery appears to have consistently portrayed him as a benevolent Christian and holy symbol of baptism. For the first time, Pontius Pilate, Anti-Semitism, and the Passion in Medieval Art provides a complete look at the shifting visual and textual representations of Pilate throughout early Christian and medieval art. Colum Hourihane examines neglected and sometimes sympathetic portrayals, and shows how negative characterizations of Pilate, which were developed for political and...

David--the greatest king of Israel, the founder of Jerusalem, and one of the pivotal figures of the Old Testament--was a rich source of inspiration for artists and their patrons throughout the medieval world. Regarded as a direct ancestor of Jesus, the "sweet psalmist of Israel" appears in countless works of art, from the Dura Europus paintings to the many illuminated psalters of the later medieval period. These depictions of David are as varied as they are numerous. He appears, among other roles, as musician, author, warrior, lover, shepherd, politician, worshipper, father, king, refugee,...

Abraham, son of Terah or Azar and husband of Sarah, is one of the pivotal figures of the Old Testament and is generally seen as the founder of the Christian, Jewish, and Muslim faiths. He was a rich source of inspiration in all three faiths for artists of the medieval period. His life narrative from birth to death is richly recorded in a variety of media dating from the early Christian period to the end of the sixteenth century. As varied as they are numerous, the images in all three faiths show Abraham as father, husband, lover, warrior, politician, refugee, and traveler but most...

Iconography, the descriptive and classificatory investigation of subject matter in the arts (and often associated with Erwin Panofsky), has been central to art history since the early twentieth century. In this volume from the Index of Christian Art, a group of distinguished scholars makes skilled use of the methodology to examine a number of significant medieval manuscripts, including the Morgan Picture Bible.

Although iconography is often regarded as a means of analyzing the content of a work of art, the essays in Between the Picture and the Word draw upon the methodology...

Covering the arts of Ireland and England with some incursions onto mainland Europe, where the same stylistic influences are found, the terms "Insular" and "Anglo-Saxon" are two of the most problematic in medieval art history. Originally used to define the manuscripts of ninth- and tenth-century Ireland and the north of England, "Insular" is now more widely applied to include all of the media of these and earlier periods. It is a style that is closely related to the more narrowly defined Anglo-Saxon. Stretching from the sixth or seventh centuries possibly to the late eleventh century, these...

The medieval world does not end in Western Europe, and within the last twenty or so years some of the most stimulating art-historical discoveries have been made in the Near East. Moving beyond the confines of Jerusalem and Carthage, this volume considers the art of Armenia, Ethiopia, Coptic Egypt, Georgia, Jordan, Lebanon, Syria, and the Mongol East in relation to Byzantium, Cyprus, Italy, and the West. The Christian arts of the Near East, long considered naive and provincial, are now being reconsidered for their complex liturgical and theological significance.

The essays in this...

The concept of opposing forces of good and evil expressed in a broad range of moral qualities--virtues and vices--is one of the most dominant themes in the history of Christian art. The complex interrelationship of these moral traits received considerable study in the medieval period, resulting in a vast and elaborate system of imagery that has been largely neglected by modern scholarship. Rich resources for the study of this important subject are made available by this volume, which publishes the complete holdings of the more than 230 personifications of Virtues and Vices in the Index of...

Sometimes enjoying considerable favor, sometimes less, iconography has been an essential element in medieval art historical studies since the beginning of the discipline. Some of the greatest art historians including Male, Warburg, Panofsky, Morey, and Schapiro have devoted their lives to understanding and structuring what exactly the subject matter of a work of medieval art can tell. Over the last thirty or so years, scholarship has seen the meaning and methodologies of the term considerably broadened.
This companion provides a state-of-the-art assessment of the influence of the...

Whether we care to admit it or not, we have always distinguished between those arts that we consider superior and the lesser or minor forms. Giorgio Vasari is usually credited with formally structuring the primary nature of architecture, painting, and sculpture in his Lives of the Most Eminent Painters, Sculptors, and Architects, which was first published in 1568. Even though this division was initially applied to Italian art, it was not long before it gained more widespread currency. All of the other arts--such as ivory carving, glass, enamels, and goldsmiths' work--were lumped...