1270 AD Antioch has fallen, Tripoli is under siege and Sultan Baibaars targets his Mamluk hoards against Krak des Chevalier, the Crusaders' greatest stronghold in Syria. The Holy Land is in turmoil and desperately awaits the arrival of Edward Longshanks and his relieving army of French and English Crusaders. This is a time of brutality, an age of chivalry. A time of strong men with stronger hearts, an era with no place for the weak. Yet a thousand miles away, a fourteen year old boy learns a disturbing secret that drives him on a Crusade of his own, a quest to avenge his family, save his bother and in the process, recover the holiest relic in the history of Christendom.
Bynum argues that Christ's blood as both object and symbol was central to late medieval art, literature, and religious life. As cult object, blood provided a focus of theological debate about the nature of matter, body, and God and an occasion for Jewish persecution; as motif, blood became a central symbol in popular devotion.
In this book, Beatrice E. Kitzinger explores the power of representation in the Carolingian period, demonstrating how images were used to assert the value and efficacy of art works. She focuses on the cross, Christianity's central sign, which simultaneously commemorates sacred history, functions in the present, and prepares for the end of time. It is well recognized that the visual attributes of the cross were designed to communicate its theology relative to history and eschatology; Kitzinger argues that early medieval artists also developed a formal language to articulate its efficacious powers in the present day. Defined through form and text as the sign of the present, the image of the cross articulated the instrumentality of religious objects and built spaces. Whereas medieval and modern scholars have pondered the theological problems posed by representation, Kitzinger here proposes a visual argument that affirms the self-reflexive value of art works in the early medieval West. Introducing little-known sources, she re-evaluates both the image of the cross and the project of book-making in an expanded field of Carolingian painting.
Blue Ocean Faith pastors Ken Wilson and Emily Swan issue an open invitation to renew Christianity 500 years after the Reformation. The authors argue that the church's future depends on focusing more closely the inclusive message of Christianity's founder. Their new cry: "Solus Jesus!" Only Jesus!
Women through history have always bled and this was always viewed as dirty, contaminated and something that should be kept in private. This ideology is still prevalent today, with social media banning images of female bleeding as not ‘part of the social community’ and the capitalisation upon women’s bodies with the #tampontax meaning it financially costs to be a woman. Christ’s bleeding body was the blue print for medieval society, however, female blood and female bleeding is rarely explored. In the later Middle Ages, we witness a rise in medieval female mystics who drew upon parallels with Christ’s bleeding body and concluding that to purge blood means simply to love. This is evidenced in Julian of Norwich’s Revelations of Divine Love and Margery Kempe’s The Book of Margery Kempe. Psychedelic Medieval Blood provides an introduction of how blood representations in the later Middle Ages in England was considered and understood by using medieval medical texts, theology and the devotional literature of Julian of Norwich and Margery Kempe. We need to expose and normalise this hidden history so that we can learn to respect and support the long suffering female body. This book seeks to introduce and challenge how we consider female blood and asks the question, can we learn from the medieval mystical approaches towards female blood and implement this positivity into our modern attitudes? Cover artist Gareth John Day Editor Jon Lee Author Rachael Lee
In this rich and exciting alternate history, a Science Fiction Hall of Famer “evokes the spirit and atmosphere of the so-called Dark Ages” (Publishers Weekly). 865 A.D. Warring kings rule over the British Isles, but the Church rules over the kings, threatening all who oppose them with damnation. Only the dreaded Vikings of Scandinavia do not fear the priests. Shef, the bastard son of a Norse raider and a captive English lady, is torn by divided loyalties and driven by strange visions that seem to come from Odin himself. A blacksmith and warrior, he alone dares to imagine new weapons and tactics with which to carve out a kingdom—and launch an all-out war between. . . . The Hammer and the Cross. “Savage, inventive, compelling.” —Piers Anthony, New York Times–bestselling author of the Xanth series “Few historicals are as powerfully evocative of time and place as Harrison’s tremendous saga.” —Kirkus Reviews
The Stammheim Missal is one of the most visually dazzling and theologically ambitious works of German Romanesque art. Containing the text recited by the priest and the chants sung by the choir at mass, the manuscript was produced in Lower Saxony around 1160 at Saint Michael's Abbey at Hildesheim, a celebrated abbey in medieval Germany. This informative volume features color illustrations of all the manuscript's major decorations. The author surveys the manuscript, its illuminations, and the circumstances surrounding its creation, then explores the tradition of the illumination of mass books and the representation of Jewish scriptures in Christian art. Teviotdale then considers the iconography of the manuscript's illuminations, identifies and translates many of its numerous Latin inscriptions, and finally considers the missal and its visually sophisticated and religiously complex miniatures as a whole.
The Arma Christi, the cluster of objects associated with Christ’s Passion, was one of the most familiar iconographic devices of European medieval and early modern culture. From the weapons used to torment and sacrifice the body of Christ sprang a reliquary tradition that produced active and contemplative devotional practices, complex literary narratives, intense lyric poems, striking visual images, and innovative architectural ornament. This collection displays the fascinating range of intellectual possibilities generated by representations of these medieval ’objects,’ and through the interdisciplinary collaboration of its contributors produces a fresh view of the multiple intersections of the spiritual and the material in the Middle Ages and Renaissance. It also includes a new and authoritative critical edition of the Middle English Arma Christi poem known as ’O Vernicle’ that takes account of all twenty surviving manuscripts. The book opens with a substantial introduction that surveys previous scholarship and situates the Arma in their historical and aesthetic contexts. The ten essays that follow explore representative examples of the instruments of the Passion across a broad swath of history, from some of their earliest formulations in late antiquity to their reformulations in early modern Europe. Together, they offer the first large-scale attempt to understand the arma Christi as a unique cultural phenomenon of its own, one that resonated across centuries in multiple languages, genres, and media. The collection directs particular attention to this array of implements as an example of the potency afforded material objects in medieval and early modern culture, from the glittering nails of the Old English poem Elene to the coins of the Middle English poem ’Sir Penny,’ from garments and dice on Irish tomb sculptures to lanterns and ladders in Hieronymus Bosch’s panel painting of St. Christopher, and from the altar of the Sistine Chapel to the printed prayer books of the Reformation.
Asta's son has no name. And, after the death of his mother, no family to protect him when he is accused of a crime he didn't commit. Declared a 'wolf's head' - meaning that anyone who catches him can kill him - he has no choice but to leave his village. All he can take with him on the journey is his newly revealed name - Crispin - and his mother's cross of lead. Travelling without purpose, through a countryside still ravaged by the effects of the plague, Crispin stumbles upon a juggler, giant of a man known as Bear. Crispin becomes Bear's servant but the juggler is a stange master offering both protection and encouraging Crispin to think for himself. But Crispin is not safe and it becomes clear he is being relentlessly pursued. Why are his enemies so determined to kill him? Will the lessons Bear has taught him be enough to safeguard all that he now holds so dear... Avi brings the full force of his storytelling powers to the world of medieval England.
A history of the 1119 Battle of the Field of Blood, which decisively halted the momentum gained during the First Crusade and decided the fate of the Crusader states During the First Crusade, Frankish armies swept across the Middle East, capturing major cities and setting up the Crusader States in the Levant. A sustained Western conquest of the region appeared utterly inevitable. Why, then, did the crusades ultimately fail? To answer this question, historian Nicholas Morton focuses on a period of bitter conflict between the Franks and their Turkish enemies, when both factions were locked in a struggle for supremacy over the city of Aleppo. For the Franks, Aleppo was key to securing dominance over the entire region. For the Turks, this was nothing less than a battle for survival -- without Aleppo they would have little hope of ever repelling the European invaders. This conflict came to a head at the Battle of the Field of Blood in 1199, and the face of the Middle East was forever changed.
