Pub Date : 2022-09-29DOI: 10.1080/00681288.2022.2118409
M. Carter
ces can be conceived of as ‘tools of urban planning’ (p. 130). In her deft consideration of the Riemenschneider altarpieces in context — of their churches and of the city — Boivin demonstrates that the retables together formulated a means of navigating and understanding devotion in the city. United by style, iconography and composition, the altarpieces offered a cohesive programme specific to Rothenburg, altering the urban landscape and presenting its civic identity. To conclude her study, Boivin’s epilogue looks at present-day Rothenburg, today one of the largest tourist destinations in Germany. While the cityscape has experienced some alteration over the centuries, especially in the 19th century, it remains largely medieval. For visitors today, the city presents layered temporalities of medieval and modern. This volume represents an important contribution to the study of urban planning and medieval devotional sites. Boivin revises longstanding scholarship on Riemenschneider by situating his altarpieces in their settings and demonstrating how architectural and urban context is essential to their analysis. More broadly, the book presents how patronage is an accretive process, drawing attention to the way new commissions inherently engaged with pre-existing environments. While this book offers much to learn about Rothenburg and about Riemenschneider, it also significantly offers a framework for analysing urban artistic programming. Boivin contributes to the growing body of scholarship on the refinement of ritual and urban spaces over time, as part of an ongoing process of identity formation. Beautifully illustrated, the book is eloquently and engagingly written, drawing the reader across time and through space. Riemenschneider in Rothenburg impressively brings together analysis of architecture, sculpture and cityscape, as well as other media, to demonstrate the inseparability of church, city and community. It is the kind of multimedia reading that still remains rare in the field of art history, although Boivin’s study manifests the necessity of such an approach. Overall, this book represents essential reading not only on one of the most important German carvers of the later Middle Ages, but also on the study of religious space, urban placemaking and civic development.
{"title":"The Rites of Durham by William Claxton","authors":"M. Carter","doi":"10.1080/00681288.2022.2118409","DOIUrl":"https://doi.org/10.1080/00681288.2022.2118409","url":null,"abstract":"ces can be conceived of as ‘tools of urban planning’ (p. 130). In her deft consideration of the Riemenschneider altarpieces in context — of their churches and of the city — Boivin demonstrates that the retables together formulated a means of navigating and understanding devotion in the city. United by style, iconography and composition, the altarpieces offered a cohesive programme specific to Rothenburg, altering the urban landscape and presenting its civic identity. To conclude her study, Boivin’s epilogue looks at present-day Rothenburg, today one of the largest tourist destinations in Germany. While the cityscape has experienced some alteration over the centuries, especially in the 19th century, it remains largely medieval. For visitors today, the city presents layered temporalities of medieval and modern. This volume represents an important contribution to the study of urban planning and medieval devotional sites. Boivin revises longstanding scholarship on Riemenschneider by situating his altarpieces in their settings and demonstrating how architectural and urban context is essential to their analysis. More broadly, the book presents how patronage is an accretive process, drawing attention to the way new commissions inherently engaged with pre-existing environments. While this book offers much to learn about Rothenburg and about Riemenschneider, it also significantly offers a framework for analysing urban artistic programming. Boivin contributes to the growing body of scholarship on the refinement of ritual and urban spaces over time, as part of an ongoing process of identity formation. Beautifully illustrated, the book is eloquently and engagingly written, drawing the reader across time and through space. Riemenschneider in Rothenburg impressively brings together analysis of architecture, sculpture and cityscape, as well as other media, to demonstrate the inseparability of church, city and community. It is the kind of multimedia reading that still remains rare in the field of art history, although Boivin’s study manifests the necessity of such an approach. Overall, this book represents essential reading not only on one of the most important German carvers of the later Middle Ages, but also on the study of religious space, urban placemaking and civic development.","PeriodicalId":42723,"journal":{"name":"Journal of the British Archaeological Association","volume":"175 1","pages":"326 - 328"},"PeriodicalIF":0.5,"publicationDate":"2022-09-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45389118","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-27DOI: 10.1080/00681288.2022.2082732
Matthew Reeve
Although the west façade of Wells Cathedral has been carefully studied, a series of problems concerning its date, original form and meaning remain. This paper focuses on the archaeology of its central portal, featuring the Coronation of the Virgin. Working from the archaeological evidence, it offers a reconstruction of the portal which leads to a broader consideration of the place of the imagery in British and European medieval art. This informs an exploration of the meanings of the façade as a whole within the context of then current commentaries on the Song of Songs in France and England.
{"title":"An Epithalamium in Stone: The West Façade of Wells Cathedral","authors":"Matthew Reeve","doi":"10.1080/00681288.2022.2082732","DOIUrl":"https://doi.org/10.1080/00681288.2022.2082732","url":null,"abstract":"Although the west façade of Wells Cathedral has been carefully studied, a series of problems concerning its date, original form and meaning remain. This paper focuses on the archaeology of its central portal, featuring the Coronation of the Virgin. Working from the archaeological evidence, it offers a reconstruction of the portal which leads to a broader consideration of the place of the imagery in British and European medieval art. This informs an exploration of the meanings of the façade as a whole within the context of then current commentaries on the Song of Songs in France and England.","PeriodicalId":42723,"journal":{"name":"Journal of the British Archaeological Association","volume":"175 1","pages":"149 - 182"},"PeriodicalIF":0.5,"publicationDate":"2022-09-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49613101","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-14DOI: 10.1080/00681288.2022.2118410
J. McNeill
easily struggles to convince against the more compelling conclusions of Manuela Beer’s masterclass in visual analysis. A second submission by Klaus Endemann (previously published in German) constitutes the book’s most substantial single contribution to the general history of the ‘rise of monumental wood sculpture’. Section 3 contains seven individual case studies of medieval crucifixion sculptures. The first four of these relate more or less closely to the Boston Crucifix and include the most celebrated member of the family, the Gero Cross in Cologne. The last three case studies take us beyond the German lands and into the later decades of the 12th century. They are perfectly good essays, but they sit slightly uncomfortably in a collection primarily focused elsewhere. The essays of Section 4 further extend the study’s intellectual horizons to consider issues of audience, theory and theology. They also bring the chronological focus back to the centuries before 1100. All are excellent. The contribution by Kahsnitz (also previously published in German) offers an elegant account of the Ottonian crucifixes’ theological and art-historical backstory. Beatrice Kitzinger’s erudite meditation on the complexities of the cross-crucifix relationship — in both the Middle Ages and modern scholarship — is especially impressive. It leads neatly to an enjoyable epilogue by Jacqueline Jung, in which she reminds us of the inherent and abiding ‘strangeness’ of the crucifixion image and brings the medieval image into a more direct cultural conversation with the present day. In their Introduction, the volume’s editors explain that in bringing these essays together they hope ‘to introduce the Boston Crucifix to new audiences and raise its profile among specialists, and also to provide a forum for fresh research on the emergence of large-scale images of Christ on the cross’ (p. 15). This fine and thoughtful collection — perhaps more properly described as bilateral than truly international — undoubtedly succeeds in these central aims, and it does so with some style. To the extent that this is a study of developments in large-scale Ottonian and Salian wooden crucifixion sculpture, it is a very good one. As a collection, the coverage of material from after 1100 or much beyond the German lands is less coherent. The Crucifixion image’s intellectual, devotional, architectural and art-historical contexts change significantly through the 12th century and the number and variety of surviving examples increase considerably. The collection’s lacunae here — both in terms of object domain and engagement with relevant scholarship — are the weak point of an otherwise admirable volume.
{"title":"Designing Norman Sicily: Material Culture and Society","authors":"J. McNeill","doi":"10.1080/00681288.2022.2118410","DOIUrl":"https://doi.org/10.1080/00681288.2022.2118410","url":null,"abstract":"easily struggles to convince against the more compelling conclusions of Manuela Beer’s masterclass in visual analysis. A second submission by Klaus Endemann (previously published in German) constitutes the book’s most substantial single contribution to the general history of the ‘rise of monumental wood sculpture’. Section 3 contains seven individual case studies of medieval crucifixion sculptures. The first four of these relate more or less closely to the Boston Crucifix and include the most celebrated member of the family, the Gero Cross in Cologne. The last three case studies take us beyond the German lands and into the later decades of the 12th century. They are perfectly good essays, but they sit slightly uncomfortably in a collection primarily focused elsewhere. The essays of Section 4 further extend the study’s intellectual horizons to consider issues of audience, theory and theology. They also bring the chronological focus back to the centuries before 1100. All are excellent. The contribution by Kahsnitz (also previously published in German) offers an elegant account of the Ottonian crucifixes’ theological and art-historical backstory. Beatrice Kitzinger’s erudite meditation on the complexities of the cross-crucifix relationship — in both the Middle Ages and modern scholarship — is especially impressive. It leads neatly to an enjoyable epilogue by Jacqueline Jung, in which she reminds us of the inherent and abiding ‘strangeness’ of the crucifixion image and brings the medieval image into a more direct cultural conversation with the present day. In their Introduction, the volume’s editors explain that in bringing these essays together they hope ‘to introduce the Boston Crucifix to new audiences and raise its profile among specialists, and also to provide a forum for fresh research on the emergence of large-scale images of Christ on the cross’ (p. 15). This fine and thoughtful collection — perhaps more properly described as bilateral than truly international — undoubtedly succeeds in these central aims, and it does so with some style. To the extent that this is a study of developments in large-scale Ottonian and Salian wooden crucifixion sculpture, it is a very good one. As a collection, the coverage of material from after 1100 or much beyond the German lands is less coherent. The Crucifixion image’s intellectual, devotional, architectural and art-historical contexts change significantly through the 12th century and the number and variety of surviving examples increase considerably. The collection’s lacunae here — both in terms of object domain and engagement with relevant scholarship — are the weak point of an otherwise admirable volume.","PeriodicalId":42723,"journal":{"name":"Journal of the British Archaeological Association","volume":"175 1","pages":"312 - 314"},"PeriodicalIF":0.5,"publicationDate":"2022-09-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42749459","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-05DOI: 10.1080/00681288.2022.2104485
C. Bruzelius
{"title":"Manfredi committente. Fonti e opere","authors":"C. Bruzelius","doi":"10.1080/00681288.2022.2104485","DOIUrl":"https://doi.org/10.1080/00681288.2022.2104485","url":null,"abstract":"","PeriodicalId":42723,"journal":{"name":"Journal of the British Archaeological Association","volume":"175 1","pages":"318 - 320"},"PeriodicalIF":0.5,"publicationDate":"2022-09-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43484648","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-31DOI: 10.1080/00681288.2022.2088844
J. Stewart
The great chantry chapels of Cardinal Beaufort (d. 1447) and Bishop Waynflete (d. 1486) dominate the 13th-century retrochoir of Winchester Cathedral, and once flanked the shrine of St Swithun. This paper considers the chapels’ patrons, formal vocabulary and relationship to other major tomb projects in 15th-century England. In particular, it focuses on the formal and conceptual relationships between the two chantries and their roles in liturgical and devotional practice and commemoration in Winchester Cathedral in the 15th century.
{"title":"The Chantry Chapels of Cardinal Beaufort and Bishop Waynflete in Winchester Cathedral","authors":"J. Stewart","doi":"10.1080/00681288.2022.2088844","DOIUrl":"https://doi.org/10.1080/00681288.2022.2088844","url":null,"abstract":"The great chantry chapels of Cardinal Beaufort (d. 1447) and Bishop Waynflete (d. 1486) dominate the 13th-century retrochoir of Winchester Cathedral, and once flanked the shrine of St Swithun. This paper considers the chapels’ patrons, formal vocabulary and relationship to other major tomb projects in 15th-century England. In particular, it focuses on the formal and conceptual relationships between the two chantries and their roles in liturgical and devotional practice and commemoration in Winchester Cathedral in the 15th century.","PeriodicalId":42723,"journal":{"name":"Journal of the British Archaeological Association","volume":"175 1","pages":"203 - 234"},"PeriodicalIF":0.5,"publicationDate":"2022-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47153382","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-31DOI: 10.1080/00681288.2022.2104484
Alexandra Gajewski
in Denmark to explore the object’s agency between form and substance. Two chapters by archaeologists bridge the Viking and early Christian periods. Mette Højmark Søvsø and Maria Knudsen offer an archaeological overview of small, wearable objects excavated in Ribe based on the recent, exciting discoveries from metal detecting. The final chapter on the medieval burials in Odense by Jakob Tue Christensen and Mikael Manøe Bjerregaard turns to the grave to consider the visible and invisible materials of death. Both chapters use empirical evidence from specific geographic places in Denmark to show the changing nature of Christian ritual practice across centuries. Denmark, once on the frontiers of Christendom, was certainly not a peripheral participator of Christian religious practice. Although ‘materiality’ is the core concept of the book, most chapters stay close to Caroline Walker Bynum’s Christian Materiality (2011). Materiality as employed throughout the anthology — connecting the material presence of the object to theological and ideological practices — has mostly remained synonymous with conceptions of Christian matter as espoused in Christian Materiality. Bynum’s object agency and materia also receives the bulk of references in line and in citations on ‘materiality’ in general, leaving absent the post-Bynum discourse on materiality which has proven both robust and ‘vexed’. The volume’s geographic emphasis on Denmark is contradictory at times. Some chapters use the large number of objects preserved in rural parish churches as testimony to Denmark’s continental orientation. J€ urgensen in particular substantiates this position with the well-preserved polychromy sculpture, such as the Entombed Christ from the Danish National Museum (fig. 5.3). At the same time, such richly preserved material in Denmark left the reader wanting more materia that makes Denmark distinct. Simply put, what is universalizing about the material turn that encourages the study of physical objects in Christian practice, no matter their geographic origins? Nonetheless, this anthology from Brepol’s accessible Acta Scandinavica series makes the holy stuff of Denmark present, visible and tangible.
{"title":"Le pont d’Avignon: une société de bâtisseurs (XIIe–XVe siècle)","authors":"Alexandra Gajewski","doi":"10.1080/00681288.2022.2104484","DOIUrl":"https://doi.org/10.1080/00681288.2022.2104484","url":null,"abstract":"in Denmark to explore the object’s agency between form and substance. Two chapters by archaeologists bridge the Viking and early Christian periods. Mette Højmark Søvsø and Maria Knudsen offer an archaeological overview of small, wearable objects excavated in Ribe based on the recent, exciting discoveries from metal detecting. The final chapter on the medieval burials in Odense by Jakob Tue Christensen and Mikael Manøe Bjerregaard turns to the grave to consider the visible and invisible materials of death. Both chapters use empirical evidence from specific geographic places in Denmark to show the changing nature of Christian ritual practice across centuries. Denmark, once on the frontiers of Christendom, was certainly not a peripheral participator of Christian religious practice. Although ‘materiality’ is the core concept of the book, most chapters stay close to Caroline Walker Bynum’s Christian Materiality (2011). Materiality as employed throughout the anthology — connecting the material presence of the object to theological and ideological practices — has mostly remained synonymous with conceptions of Christian matter as espoused in Christian Materiality. Bynum’s object agency and materia also receives the bulk of references in line and in citations on ‘materiality’ in general, leaving absent the post-Bynum discourse on materiality which has proven both robust and ‘vexed’. The volume’s geographic emphasis on Denmark is contradictory at times. Some chapters use the large number of objects preserved in rural parish churches as testimony to Denmark’s continental orientation. J€ urgensen in particular substantiates this position with the well-preserved polychromy sculpture, such as the Entombed Christ from the Danish National Museum (fig. 5.3). At the same time, such richly preserved material in Denmark left the reader wanting more materia that makes Denmark distinct. Simply put, what is universalizing about the material turn that encourages the study of physical objects in Christian practice, no matter their geographic origins? Nonetheless, this anthology from Brepol’s accessible Acta Scandinavica series makes the holy stuff of Denmark present, visible and tangible.","PeriodicalId":42723,"journal":{"name":"Journal of the British Archaeological Association","volume":"175 1","pages":"316 - 318"},"PeriodicalIF":0.5,"publicationDate":"2022-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47355566","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-22DOI: 10.1080/00681288.2022.2104483
Laura Tillery
{"title":"Materiality and Religious Practice in Medieval Denmark","authors":"Laura Tillery","doi":"10.1080/00681288.2022.2104483","DOIUrl":"https://doi.org/10.1080/00681288.2022.2104483","url":null,"abstract":"","PeriodicalId":42723,"journal":{"name":"Journal of the British Archaeological Association","volume":"175 1","pages":"315 - 316"},"PeriodicalIF":0.5,"publicationDate":"2022-08-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43988198","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-22DOI: 10.1080/00681288.2022.2104486
Pablo Ordás Díaz
{"title":"At the Edge of Reformation. Iberia before the Black Death","authors":"Pablo Ordás Díaz","doi":"10.1080/00681288.2022.2104486","DOIUrl":"https://doi.org/10.1080/00681288.2022.2104486","url":null,"abstract":"","PeriodicalId":42723,"journal":{"name":"Journal of the British Archaeological Association","volume":"175 1","pages":"320 - 323"},"PeriodicalIF":0.5,"publicationDate":"2022-08-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41546451","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-18DOI: 10.1080/00681288.2022.2099658
David M. Robinson
{"title":"Professor Peter J. Fergusson (14 July 1934–24 January 2022)","authors":"David M. Robinson","doi":"10.1080/00681288.2022.2099658","DOIUrl":"https://doi.org/10.1080/00681288.2022.2099658","url":null,"abstract":"","PeriodicalId":42723,"journal":{"name":"Journal of the British Archaeological Association","volume":"175 1","pages":"296 - 301"},"PeriodicalIF":0.5,"publicationDate":"2022-08-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41632248","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-17DOI: 10.1080/00681288.2022.2104480
Saida Bondini
{"title":"Romanesque Renaissance: Carolingian, Byzantine and Romanesque Buildings (800–1200) as a Source for New All’Antica Architecture in Early Modern Europe (1400–1700)","authors":"Saida Bondini","doi":"10.1080/00681288.2022.2104480","DOIUrl":"https://doi.org/10.1080/00681288.2022.2104480","url":null,"abstract":"","PeriodicalId":42723,"journal":{"name":"Journal of the British Archaeological Association","volume":"175 1","pages":"305 - 307"},"PeriodicalIF":0.5,"publicationDate":"2022-08-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44305172","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：