Book Review| August 01 2021 Fires of Heaven: Poems of Faith and Sense Fires of Heaven: Poems of Faith and Sense by James B. Nicola. Brunswick. Maine: Shanti Arts Publishing, 2020. 148 pp. Michael Mirolla Michael Mirolla Search for other works by this author on: This Site Google Italian Americana (2021) XXXIX (2): 212–214. https://doi.org/10.5406/2327753X.39.2.31 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Michael Mirolla; Fires of Heaven: Poems of Faith and Sense. Italian Americana 1 August 2021; XXXIX (2): 212–214. doi: https://doi.org/10.5406/2327753X.39.2.31 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All Scholarly Publishing CollectiveUniversity of Illinois PressItalian Americana Search Advanced Search The text of this article is only available as a PDF. Copyright 2016 Carla Anne Simonini & Carol Bonomo Albright2016 Article PDF first page preview Close Modal You do not currently have access to this content.

Open AccessThe Emotional Charge and Humanistic Effect of the Crucifixion in some Thirteenth-century English Illuminated ManuscriptsMichael A. MichaelMichael A. Michaelhttps://doi.org/10.7767/9783205211938.51SectionsPDF/EPUB ToolsAdd to favoritesDownload CitationsTrack Citations ShareShare onFacebookTwitterLinkedInRedditEmail About Previous chapter Next chapter FiguresReferencesRelatedDetails Download book cover 1. AuflageISBN: 978-3-205-21192-1 eISBN: 978-3-205-21193-8HistoryPublished online:December 2020 Information© 2020 by Böhlau VerlagOpen Access : Wo nicht anders festgehalten, ist diese Publikation lizenziert unter der Creative-Commons- Lizenz Namensnennung 4.0 ; siehe http://creativecommons.org/licenses/by/4.0/PDF download

The fragment of embroidery from a cope displaying the name John of Thanet, depicting the Annunciation and Christ in Majesty blessing and holding a globus cruciger, now in the Victoria and Albert Museum, is here associated with the epony- mous treasurer of Canterbury cathedral who died in 1319. His biography published in Dart's History and Antiquities of the Cathedral Church of Canterbury in 1726, and his association in the later literature with the abbot of Battle of the same name, is rejected as spurious. The panel is placed in the context of the work of Westminster court artists and architects who were also called upon to work for and at Canterbury in the early 14th century. The iconography is associated with the theme of Advent and the early development of the iconography of the Salvator Mundi. Comparisons are made with the Hereford World Map and with early Romanesque images of God sending out Gabriel to the Virgin. The Madonna Master of the De Lisle Psalter is associated with the design of the embroidery, but the embroiderer(s) are identified as being those who executed the Melk Chasuble (Vienna, Museum für angewandte Kunst).

The term opus anglicanum, as a designator of English national identity associated with embroidery and textiles, is unknown in any document written in England during the Middle Ages, but is used in papal and other European archives. The term has been questioned by a number of scholars who have suggested it may be a generic name used to describe a particular technique of attaching gold thread to an embroidered textile (underside couching). It is suggested in this article that the phenomenon of opus anglicanum during its golden age c. 1200–1400 was part of a wider European cultural development at a time when an appreciation of cultural identity as a transnational phenomenon emerged. The article goes on to examine the relationship between English pictorial artists and the craftswomen and men who made these textiles. It concludes with a case study of the orphrey associated with the Daroca Cope in Madrid — now associated with a designer in the artistic circle of the artist of the Wilton Diptych. The respect for, and reuse of, these works of art (many of which have survived through the care taken to preserve them in cathedral treasuries and private collections up to the present day) is an element in their continued importance as a part of our shared European heritage.

John Lowden, Medieval and Later Ivories in the Courtauld Gallery: Complete Catalogue, with an essay by Alexandra Gerstein London, Cour tauld Institute Gallery in association with Paul Holber ton Publishing, 2013 , 144 pp., 90 colour illustrations, £40.00. ISBN 978-1-907372-60-5This catalogue epitomizes the role that the Courtauld Institute of Art and its gallery has played in the creation of art history as a discipline in the UK. It focuses on a small group of ivories, but expands our understanding through a wide-ranging contextualization of the objects themselves, combined with identification of key issues unique to the study of the visual arts. The ivories range in date from the early twelfth to the nineteenth century and formed part of a collection, put together by Thomas (Gambier) Parry (1816-88) a beneficiary, through his family, of the expansion of the East India Company. The collection was bequeathed to the Courtauld Institute Gallery in 1966 by Mark Gambier-Parry, the hyphenated grandson of Thomas, in an attempt to avoid incurring death duties. Originally displayed with his collection of paintings and furniture at Highnam Court in Gloucestershire, the ivories, although shown in part over the years, were not fully integrated into successful displays until the gallery moved from its old site in Woburn Square to Somerset House in 1989.In his introduction John Lowden brings a teacher's insight into the nature of ivory as a vehicle for decorative and figurative carving by giving a brief overview of its importance in history and how the use of modern techniques of investigation can help us to understand it as a medium. A notable argument in his essay is the observation that in the Middle Ages 'there was little need to hunt these creatures [elephants], for their large numbers, especially in Africa, meant that many ... died of natural causes every year. Their carcasses would have quickly decayed, leaving the bones and especially the tusks' (p. 11). This is an important antidote to Prince William's recent statement that he would 'like to see all the ivory owned by Buckingham Palace destroyed'.1 Such a wanton act of vandalism would deprive the world of one of the great vehicles for artistic expression in the pre-modern era.Lowden goes on to raise another important issue concerning the movement of ideas from one medium to another. We have come to accept the idea of the groom(s) tending the horses of the Magi as part of a narrative of the Journey of the Magi made famous in the long processions of courtly figures in such works as Gentile da Fabriano's Adoration of the Magi of 1423 (Florence, Uffizi), but the beginnings of this iconography appear to be in the courtly culture of France in the second quarter of the thirteenth century. It is found in sculpture and ivory carving (Cat. 14), but is not found in the biblical text of St Matthew (2:11). Lowden rightly cites the lost choir screen of Chartres Cathedral of the 1240s as a probable source for this iconography through the conflation of the Flight of the Magi (Matthew 2:12) and the Adoration. Such conflations occur as early as the 1140s in the opposite sequence (i.e. the Journey to Bethlehem is depicted) and can be found in such works as the frieze (originally on the south facade) of the church of St Maria at Carrion de los Condes (Palencia). This is important because the natural comparisons that art historians tend to make for ivories are with illuminated manuscripts, but in terms of transmission and re-mediation, the sequence that should be looked for is the one that is often hard to prove: that from monumental sculpture and painting to the so-called minor (smaller) arts, rather than the other way around.Alexandra Gerstein contributes an excellent essay on Gambier Parry and 'Collecting in the Gothic Revival', adding context to the way the ivories formed part of a wider interest in paintings, metalwork and furniture which contributed to what we now often understand as Victorian taste. …

The iconography of the Westminster Retable is compared primarily with sources in the Bible moralisée tradition created in France in the thirteenth century. Through analysing the iconography of the miracle scenes displayed on the Retable and relating them to specific copies of the Bible moralisée it is suggested that the artist of the Retable had close personal knowledge of French models. Analysis of the iconography of the central section of the Retable suggests that the text of the Golden Legend may also have been used by the artist and/or the iconographer as a source. It is also suggested that there is an underlying theme in the Retable that relates closely to the creation of the Westminster pavement. Finally, it is suggested that the artist of the Westminster Retable should be integrated into the history of French painting as much as of English painting in order to explore more fully the possibility that he was trained in France.

Previous articleNext article No AccessReviewsJeffrey Weaver and Madeline H. Caviness, The Ancestors of Christ Windows at Canterbury Cathedral. Los Angeles: J. Paul Getty Museum, 2013. Paper. Pp. 104; 63 color and 5 black-and-white figures. $25. ISBN: 978-1-60606-146-6.M. A. MichaelM. A. Michael Christie's Education, London Search for more articles by this author Christie's Education, London PDFPDF PLUSFull Text Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmailPrint SectionsMoreDetailsFiguresReferencesCited by Speculum Volume 89, Number 4October 2014 The journal of the Medieval Academy of America Article DOIhttps://doi.org/10.1017/S0038713414002218 Views: 40Total views on this site Copyright © The Medieval Academy of America 2014 PDF download Crossref reports no articles citing this article.

Previous articleNext article No AccessReviewsNarrative and Experience: Innovations in Thirteenth-Century Picture Books. Kumiko Maekawa M. A. MichaelM. A. Michael Search for more articles by this author PDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmailPrint SectionsMoreDetailsFiguresReferencesCited by Speculum Volume 78, Number 4Oct., 2003 The journal of the Medieval Academy of America Article DOIhttps://doi.org/10.1017/S0038713400101058 Views: 1Total views on this site Copyright 2003 The Medieval Academy of AmericaPDF download Crossref reports no articles citing this article.