"This scholarly publication 'The Felton illuminated manuscripts in the National Gallery of Victoria' celebrates the Gallery's small but distinguished collection of illuminated manuscripts and eloquently comments on the development of the handwritten and ornamented book from the twelfth century to the advent of printing in the late fifteenth century."--Page 5.
"Byzantine Narrative: Papers in Honour of Roger Scott"--"Copyright"--"Dedication" -- "Contents" -- "Introduction" -- "Roger Scott" -- "List of Illustrations" -- "KEYNOTE PAPERS" -- "Novelisation in Byzantium: Narrative after the Revival of Fiction" -- "Narrating Justinian: From Malalas to Manasses" -- "NARRATIVE IN HISTORIANS, CHRONICLES & FICTION" -- "To Narrate the Events of the Past: On Byzantine Historians, and Historians on Byzantium" -- "Tradition and Originality in Photius' Historical Reading" -- "Narrating the Trials and Death in Exile of Pope Martin I and Maximus the Confessor" -- "The Use of Metaphor in Michael Psellos' Chronographia" -- "War and Peace in the Alexiad" -- "Moralising History: the Synopsis Historiarum of John Skylitzes" -- "The Representation of Augustae in John Skylitzes' Synopsis Historiarum" -- "The Madrid Skylitzes as an Audio-Visual Experiment" -- "The Goths and the Bees in Jordanes: A Narrative of No Return" -- "From 'Fallen Woman' to Theotokos: Music, Women's Voices and Byzantine Narratives of Gender Identity" -- "How the Entertaining Tale of Quadrupeds became a Tale: Grafting Narrative" -- "Lamenting the Fall or Disguising a Manifesto? The Poem Conquest of Constantinople" -- "A Probable Solution to the Problem of the Chronicle of the Turkish Sultans" -- "NARRATIVE IN BYZANTINE ART" -- "The Narration of Christ' s Passion in Early Christian Art" -- "Observations on the Paintings of the Exodus Chapel, Bagawat Necropolis, Kharga Oasis, Egypt" -- "The Column of Arcadius: Retlections of a Roman Narrative Tradition" -- "Biblical Narrative in the Mosaics of Bishop Theodore's Cathedral, Aquileia" -- "Plato, Plutarch and the Sibyl in the Fresco Decoration of the Episcopal Church of the Virgin Ljeviška in Prizren" -- "Narrativity in Armenian Manuscript Illustration
This volume celebrates the storied career of Stephen N. Fliegel, the former Robert Bergman Curator of Medieval Art at the Cleveland Museum of Art (CMA). Authors of these essays, all leading curators in their fields, offer insights into curatorial practices by highlighting key objects in some of the most important medieval collections in North America and Europe: Metropolitan Museum of Art, The Louvre, the British Museum, Victoria & Albert Museum, the Getty, the Groeningemuseum, The Morgan Library, Vienna’s Kunsthistorisches Museum, and, of course, the CMA, offering perspectives on the histories of collecting and display, artistic identity, and patronage, with special foci on Burgundian art, acquisition histories, and objects in the CMA.
Over two hundred items are catalogued in Medieval and Renaissance Manuscripts in New Zealand Collections (1989). Most are in institutional collections and were donated by late nineteenth- and early twentieth-century book collectors, notably Sir George Grey (1812–98), Governor and later Premier of New Zealand. Having been transported across the globe, the manuscripts have remained, for the most part, beyond the purview of northern hemisphere scholars. The contributors to this interdisciplinary collection of essays include international experts such as Christopher de Hamel, Richard Gameson, Margaret Manion and Michael Orr, curators of New Zealand manuscript collections, New Zealand academics, and a PhD student. Migrations has two main aims: to lodge the Early European manuscripts in New Zealand within the international discourse of postcolonial heritage; and to place them within the mainstream of manuscript studies by drawing attention to their intrinsic significance and their relationship with manuscripts held in overseas collections. Part One focuses on the motives and historical circumstances underlying the formation of the principal collections and the subsequent changes in the ways that this heritage has been regarded. Three of the essays centre upon the bibliophiles who donated their manuscripts to public libraries. Others consider specific manuscripts as indices of changing attitudes to European, particulary British, cultural heritage. National identity, pedagogy, and curatorial practices are among the issues canvassed. Part Two consists of new scholarly studies of particular manuscripts, which examine them in relation to the cultural and documentary context in which they were produced or transmitted. Manuscripts studied include: a twelfth-century copy of music treatises by Boethius and Guido of Arezzo, probably from Christ Church, Canterbury; a Perugian breviary owned by an Augustinian friar, Antonio da Macerata; a book of hours adapted for Scottish use (the Rossdhu Hours); and a fragment of an early fifteenth-century book of hours produced by a London workshop and added to the Hours of Margery Fitzherbert. “Migrations is an imaginative and ambitious contribution to twenty-first-century manuscript studies. Most notably, the editors have invited manuscript scholars to address the issues raised by the manuscripts' location: New Zealand itself and its colonial history become tools for thinking with - about dispersal, about cultural memory, about access, about the meanings ascribed to artefacts. The editors have assembled a distinguished group of scholars in order to produce a collection of essays that is a coherent whole and at the same time individually driven by the intellectual curiosity that is the true sign of distinction. The book is a triumph.” Professor Felicity Riddy, Deputy Vice-Chancellor and Professor of English, University of York “This excellent book makes a major contribution to the study of medieval manuscript collections in New Zealand, and will open up a little known area of extremely important material to an international audience. The quality of the scholarship throughout the book is very high, and the essays on the individual manuscripts present the material in the context of recent new approaches in the study of medieval and Early Modern manuscripts.” Nigel Morgan, Hon. Professor of Art History, University of Cambridge, Head of Research, Parker Library MSS Project, Corpus Christi College
The Getty Research Journal features the work of art historians, museum curators, and conservators around the world as part of Getty’s mission to promote the presentation, conservation, and interpretation of the world’s artistic legacy. Articles present original scholarship related to Getty collections, initiatives, and broad research interests. This issue features essays on a Parthian stag rhyton and new epigraphic and technical discoveries; gendered devotion and owner portraits in illuminated manuscripts from northern France around 1300; a technical analysis of heraldic devices in a missal from Renaissance Bologna; a new social and collective practice of drawing among French architect pensionnaires of the 1820s and 1830s at Pompeii; artist Malvina Hoffman’s representations of race during her travels to Southeastern Europe as part of her work with the American Yugo-Slav Relief; Raimundo de Madrazo y Garreta’s painting Reverie—The Letter and the small-world sensation as a methodology for global art history; arguments that disprove the attribution of the J. Paul Getty Museum’s sculpture Head with Horns to artist Paul Gauguin; Head with Horns and Gauguin’s creative appropriation of objects; and the unpublished first draft of critic Clement Greenberg’s essay "Towards a Newer Laocoon."
The acclaimed author of Meetings with Remarkable Manuscripts introduces us to the extraordinary keepers and companions of medieval manuscripts over a thousand years of history The illuminated manuscripts of the Middle Ages are among the greatest works of European art and literature. We are dazzled by them and recognize their crucial role in the transmission of knowledge. However, we generally think much less about the countless men and women who made, collected and preserved them through the centuries, and to whom they owe their existence. This entrancing book describes some of the extraordinary people who have spent their lives among illuminated manuscripts over the last thousand years: a monk in Normandy, a prince of France, a Florentine bookseller, an English antiquary, a rabbi from central Europe, a French priest, a Keeper at the British Museum, a Greek forger, a German polymath, a British connoisseur and the woman who created the most spectacular library in America—all of them members of what Christopher de Hamel calls the Manuscripts Club. This exhilarating fraternity, and the fellow enthusiasts who come with it, throw new light on how manuscripts have survived and been used by very different kinds of people in many different circumstances. Christopher de Hamel’s unexpected connections and discoveries reveal a passion that crosses the boundaries of time. We understand the manuscripts themselves better by knowing who their keepers and companions have been. In 1850 (or thereabouts) John Ruskin bought his first manuscript “at a bookseller’s in a back alley.” This was his reaction: “The new worlds which every leaf of this book opened to me, and the joy I had in counting their letters and unravelling their arabesques as if they had all been of beaten gold—as many of them were—cannot be told.” The members of de Hamel’s club share many such wonders, which he brings to us with scholarship, style and a lifetime’s experience.
