{"title":"Natural Light in Medieval Churches","authors":"Giosuè Fabiano","doi":"10.1080/00681288.2023.2234762","DOIUrl":null,"url":null,"abstract":"sites like Thorney Abbey and Bromholm Priory, which housed relics brought ‘home’ from the Holy Land (p. 162). Some of the range of ‘Objects in Focus’ made more sense in the exhibition than in the book—little, for example, can be gleaned from an architectural fragment with a griffin, perhaps originating from V ezelay. Chosen because of its resemblance to textiles, the fragment provided welcome visual context among the other objects in the exhibition space, while the connection seems somewhat tenuous in the text. Perhaps one of the best and most illustrative ‘Objects in Focus’ essays is that on the Morgan Picture Bible, collaboratively written by eight students from Boston College. Here, the authors choose to highlight the long life of this familiar object, focusing on diplomacy between Safavid Iran and Europe through the book’s role as a diplomatic gift. The Persian glosses that surround the original text and illuminations are explained, and the visual appeal of the manuscript to the Safavids is discussed in relation to their own image traditions. This volume is lavishly illustrated, with plentiful full-page colour images. The text and images are very carefully laid out, and it is seldom necessary to turn more than one page to locate the object being cited—by no means a given, especially with such numerous images. Thoughtful linking statements occur throughout to connect essays and objects with other related themes. Considering the inclusion of objects spanning at least three continents, a map, or series of maps, to orient readers would have been a welcome addition. This catalogue forms a worthy adjunct to the Bringing the Holy Land Home exhibition at Holy Cross, but holds up on its own as a useful and thought-provoking volume. Specialists will appreciate the focus on the visual impact of the Crusades on medieval England; the short, accessible essays are also excellent candidates to form the backbone of undergraduate reading lists on the topic. Finally, this is a testament to Luyster’s efforts in gathering a truly admirable group of authors from all phases in their careers and education; most impressive are the ‘Objects in Focus’ written by individual and groups of undergraduates, which are as well researched and clearly written as the specialist contributions.","PeriodicalId":42723,"journal":{"name":"Journal of the British Archaeological Association","volume":null,"pages":null},"PeriodicalIF":0.2000,"publicationDate":"2023-08-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Journal of the British Archaeological Association","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/00681288.2023.2234762","RegionNum":2,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"ARCHAEOLOGY","Score":null,"Total":0}
引用次数: 0
Abstract
sites like Thorney Abbey and Bromholm Priory, which housed relics brought ‘home’ from the Holy Land (p. 162). Some of the range of ‘Objects in Focus’ made more sense in the exhibition than in the book—little, for example, can be gleaned from an architectural fragment with a griffin, perhaps originating from V ezelay. Chosen because of its resemblance to textiles, the fragment provided welcome visual context among the other objects in the exhibition space, while the connection seems somewhat tenuous in the text. Perhaps one of the best and most illustrative ‘Objects in Focus’ essays is that on the Morgan Picture Bible, collaboratively written by eight students from Boston College. Here, the authors choose to highlight the long life of this familiar object, focusing on diplomacy between Safavid Iran and Europe through the book’s role as a diplomatic gift. The Persian glosses that surround the original text and illuminations are explained, and the visual appeal of the manuscript to the Safavids is discussed in relation to their own image traditions. This volume is lavishly illustrated, with plentiful full-page colour images. The text and images are very carefully laid out, and it is seldom necessary to turn more than one page to locate the object being cited—by no means a given, especially with such numerous images. Thoughtful linking statements occur throughout to connect essays and objects with other related themes. Considering the inclusion of objects spanning at least three continents, a map, or series of maps, to orient readers would have been a welcome addition. This catalogue forms a worthy adjunct to the Bringing the Holy Land Home exhibition at Holy Cross, but holds up on its own as a useful and thought-provoking volume. Specialists will appreciate the focus on the visual impact of the Crusades on medieval England; the short, accessible essays are also excellent candidates to form the backbone of undergraduate reading lists on the topic. Finally, this is a testament to Luyster’s efforts in gathering a truly admirable group of authors from all phases in their careers and education; most impressive are the ‘Objects in Focus’ written by individual and groups of undergraduates, which are as well researched and clearly written as the specialist contributions.