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Journal articles on the topic 'Illuminated manuscripts of the Middle Ages'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 July 2025

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1

Černý, Jiří, and Soňa Černá. "Die Organisation des Losbuchs mit 32 Fragen in den Handschriften aus Olmütz, Heidelberg und Edinburgh." Studie o rukopisech 54, no. 1-2 (2024): 7–35. https://doi.org/10.54681/str.2024.1_2.01.

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The collections of the Regional Museum in Olomouc include under the title Olmützer Losbuch a German-language illuminated manuscript. It is an example of a type of lot or oracle book widespread in the Middle Ages, namely the text Losbuch mit 32 Fragen. The study examines the organisation of the Olomouc copy as well as the interconnection of its textual and pictorial elements, and it compares the manuscript with related codices from Heidelberg and Edinburgh. In particular, it analyses and compares the individual patterns, i.e. the elements that help the reader understand the structure and conten

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Farmer, Thomas. "Richard K. Emmerson, Apocalypse Illuminated: The Visual Exegesis of Revelation in Medieval Illustrated Manuscripts. University Park, PA: Pennsylvania State University Press, 2018, 269 pp., 100 illus." Mediaevistik 31, no. 1 (2018): 311. http://dx.doi.org/10.3726/med012018_311.

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The Book of Revelation continues to fascinate and frighten Christians in equal measure. In 2017, a self-proclaimed “Christian numerologist” using the pen name “David Meade” claimed that a rogue planet would collide with Earth on September 23, 2017, thereby inaugurating the End Times; he based his claims, in part, on his reading of Revelation 12 (when the cataclysm failed to occur, he revised his prediction to October 15 and then October 21). The Middle Ages also saw a sustained interest in Revelation, one measure of this being the large number (over 130) of surviving illuminated manuscripts of

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Lenković, Mirela. "The Danse Macabre of the Beram Frescoes in the Chapel of sv. Marija na Škrilinah." Obnovljeni život 73., no. 3 (2018): 409–10. http://dx.doi.org/10.31337/oz.73.3.7.

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The Danse Macabre as an iconographic theme appears in the Middle Ages across all of Europe carrying within it a message of the equality among people regardless of their station in life. Medieval artists used the various templates available to them: Biblia pauperum, Meditationes Vitae Christi, Legenda aurea, artistic templates, woodcuts, illuminated manuscripts, and the like. Scenes of the dying and death of ordinary people were not a theme of iconographic content prior to the Late Middle Ages, but rather begin to appear in the 14th century. There emerge at that time several categories of icono

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Wettlaufer, Jörg. "Visual Representations of Weddings in the Middle Ages: Reflections of Legal, Religious, and Cultural Aspects." Religions 15, no. 8 (2024): 1011. http://dx.doi.org/10.3390/rel15081011.

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Wedding rituals and ceremonies have been depicted in various forms of literature, art, and illuminated manuscripts in medieval times. These representations offer valuable insights into the cultural, religious, and social aspects of weddings during that period. This article considers the state of research on visual representations of the wedding ceremony in the Middle Ages and how these pictures reflect legal, religious, and cultural/social aspects of medieval life in Europe. Using examples from various religious, literary, and legal texts, several questions will be addressed: In which contexts

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Karas, Hilla. "Illustrated translations longing for the Middle Ages, exemplified by modern french versions of Aucassin et Nicolette." Punctum. International Journal of Semiotics 06, no. 01 (2020): 161–83. http://dx.doi.org/10.18680/hss.2020.0008.

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The relations between the verbal component, the visual component, and the translational aspect of a given text have been discussed and described by translation scholars and semioticians in a diversity of manners. A significant graphic element may be introduced during the translation production, usually in dialogue with the verbal one, thus creating a new intersemiotic text. Medieval manuscripts are known for offering their readers illustrations, miniatures, rubrics, decorated initials, colored and gilded details, and other visual ingredients. As a result, the codex functions as an essential in

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English, Edward D. "Review: Toward a Global Middle Ages: Encountering the World Through Illuminated Manuscripts, by Bryan C. Keene." Journal of Medieval Worlds 2, no. 3-4 (2020): 134–37. http://dx.doi.org/10.1525/jmw.2020.2.3-4.134.

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Hamburger, Jeffrey F. "Toward a Global Middle Ages: Encountering the World through Illuminated Manuscripts ed. by Bryan C. Keene." Common Knowledge 27, no. 1 (2021): 114–15. http://dx.doi.org/10.1215/0961754x-8723177.

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Hansen, Valerie. "Toward a Global Middle Ages: Encountering the World Through Illuminated Manuscripts ed. by Bryan C. Keene." Manuscript Studies: A Journal of the Schoenberg Institute for Manuscript Studies 5, no. 2 (2020): 335–38. http://dx.doi.org/10.1353/mns.2020.0019.

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Melo, Maria João, Paula Nabais, Maria Guimarães, et al. "Organic dyes in illuminated manuscripts: a unique cultural and historic record." Philosophical Transactions of the Royal Society A: Mathematical, Physical and Engineering Sciences 374, no. 2082 (2016): 20160050. http://dx.doi.org/10.1098/rsta.2016.0050.

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In this study, we successfully addressed the challenges posed by the identification of dyes in medieval illuminations. Brazilwood pigment lakes and orcein purple colours were unequivocally identified in illuminated manuscripts dated by art historians to be from the thirteenth to the fifteenth centuries and in the Fernão Vaz Dourado Atlas (sixteenth century). All three works were on a parchment support. This was possible by combining Raman microscopy and surface-enhanced Raman spectroscopy with microspectrofluorimetry. To the best of our knowledge, this is the first time that brazilein, the mai

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McWebb, Christine. "Christine de Pizan's Lady Reason and the Book in Beinecke MS 427." Florilegium 18, no. 1 (2001): 83–96. http://dx.doi.org/10.3138/flor.18.007.

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Johan Huizinga describes the waning Middle Ages as an epoch saturated with symbols and images. The numerous cathedrals and monuments from this period confirm the point, with their multitude of allegorical scenes depicted in murals and on pillars inside and out. The same can be said of those illuminated manuscripts so lavishly and carefully done that they transmit the message of the text on a pictorial level. During the Middle Ages, the image seemed to occupy a central role with regard to the perception of a given manuscript. In fact, the prestige of a manuscript was often tied to the quality a

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И.И., Варьяш, та Смагар М.О. "ЧЕЛОВЕЧЕСКИЙ КАПИТАЛ СРЕДНЕВЕКОВЬЯ. ИНВЕСТИЦИИ В БЛАГОЧЕСТИЕ". Человеческий капитал 2, № 5(149) (2021): 83–90. http://dx.doi.org/10.25629/hc.2021.05.s8.

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В статье представлен опыт конкретно-исторического исследования иллюминированных рукописей XV в., являющий собой часть большого междисциплинарного проекта «Человеческий капитал Средневековья: типология, структуры, стратегии приращения (Западная Европа, Византия, Ближний Восток)», который осуществляется научной группой медиевистов кафедры истории средних веков МГУ имени М.В. Ломоносова в рамках конкурса Российского фонда фундаментальных исследований «Человеческий капитал: конкурентоспособность, интеллект, одаренность». В научной группе собрались специалисты, которые занимаются самыми разными сюж

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Ravenhall, Henry. "Veiled Reading, Reading Veils: Textile Curtains and the Experiences of Medieval French Manuscripts, 1200–1325." Digital Philology: A Journal of Medieval Cultures 12, no. 2 (2023): 155–94. http://dx.doi.org/10.1353/dph.2023.a911843.

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Abstract: Building on groundbreaking studies by Christine Sciacca and Morgan Simms Adams, this article addresses an understudied phenomenon of medieval French manuscript culture: the sewing of textile curtains—fabric pieces made of silk, linen, or cotton gauze—above or beside illuminations to protect and veil them. Presenting a corpus of forty-six manuscripts of medieval French texts that once contained curtains, I demonstrate how this practice extended beyond the realm of Latin and devotional books to some of the most popular vernacular illuminated book traditions of the thirteenth and early

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Bayo, Juan Carlos. "Anna Russakoff, Imagining the Miraculous: Miraculous Images of the Virgin Mary in French Illuminated Manuscripts, ca. 1250-ca. 1450. Studies and Texts, 215; Text Image Context: Studies in Medieval Manuscript Illumination, 7. Toronto: Pontifical Institute of Mediaeval Studies, 2019, xviii, 194 pp., ill." Mediaevistik 32, no. 1 (2020): 541–44. http://dx.doi.org/10.3726/med.2019.01.162.

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This monograph deals with illuminated manuscripts created in French-speaking regions from the mid-thirteenth to the mid-fifteenth century, i.e., from the earliest narratives of Marian miracles written in <?page nr="542"?>Old French to the codices produced at the Burgundian court at the waning of the Middle Ages. Its focus, however, is very specific: it is a systematic analysis of the miniatures depicting both material representations of the Virgin (mainly sculptures, but also icons, panel paintings, altarpieces or reliquaries) and the miracles performed by them, usually as Mary’s reactio

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Brozovska Onderkova, Jana. "Dragoun, Michal et al. Knižní kultura českého středověku [Czech Book Culture in the Middle Ages]. Vydání první. Dolní Břežany: Scriptorium, 2020. 399 pp. ISBN 978-80-7649-012-3." Folia Toruniensia 24 (November 19, 2024): 175–82. http://dx.doi.org/10.12775/ft.2024.008.

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The monograph Knižní kultura českého středověku [Czech Book Culture in the Middle Ages] presents in four chapters the history of the manuscript and partially printed books and book culture, especially the area of book painting and book binding in the Czech lands in the Middle Ages until about the end of the 15th century. There is also an additional topic connected with book history, the period of incunabula. The authors of the individual chapters are Michal Dragoun, Jindřich Marek (Institute of Information Studies and Librarianship, Faculty of Arts, Charles University), Kamil Boldan (National

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Kazbekova, Elena. "Paleography of Marginal Notes in a Bible from the Collection of N.P. Rumyantsev (Russian State Library. F. 256. № 816)." Средние века 86, no. 1 (2025): 125. https://doi.org/10.7868/s0131878025010076.

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The illuminated parchment Biblia latina from the collection of N.P. Rumyantsev (Russian State Library. F. 256. N 816, olim F. 183.I N 245), dated in catalogs to the 14th century, was previously considered to be of Italian origin. The paleographic and codicological study of the codex showed that the place of its creation was Southern France. Our discovery of notes in Latin and Old Occitan in the manuscript (the study of L.I. Shchegoleva is devoted to them) required a more detailed analysis of the marginalia contained in the manuscript, which are important for clarifying the dating and origin of

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Classen, Albrecht. "Renana Bartal, Gender, Piety, and Production in Fourteenth-Century English Apocalypse Manuscripts. London and New York: Routledge, 2016, xv, 181 pp., 4 color plates, 79 b/w ill." Mediaevistik 32, no. 1 (2020): 539–40. http://dx.doi.org/10.3726/med.2019.01.160.

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The late Middle Ages witnessed a tremendous growth in interest concerning the end of all life, the apocalypse. This found most vivid expression in relevant illuminated manuscripts, three of which Renana Bartal discusses in her study here: Cambridge, Magdalene College, MS Pepys 1803; Oxford, Bodleian Library, MS Selden Supra 38; and Brussels, Bibliothèque royale, MS II 282, all of them produced in England at the end of the fourteenth century. All of them have already received extensive coverage by previous scholarship, and Bartal simply continues with that tradition, trying hard to offer new pe

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Caloian, Cezarina Florina. "The Hybrid Character - between the Representations of the Middle Ages and Today’s Art." Anastasis. Research in Medieval Culture and Art 7, no. 1 (2020): 125–36. http://dx.doi.org/10.35218/armca.2020.1.07.

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This paper is a study of the fantastic character throughout the history of human civilization. This type of character has evolved from the hybrid creatures playing a divine role in the art of Assyro-Babylonian civilizations and of Ancient Egypt, to the monstrous characters of the Middle Ages which served as substitutes for sin and the force of evil, visible in the entrelacs of illuminated manuscripts or the gargoyles guarding the walls of Gothic cathedrals, to the characters of non-human origin in children’s book illustrations, and up to the characters found in fantasy films or today’s hybrids

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Classen, Albrecht. "Madeline H. Caviness and Charles G. Nelson†, Women and Jews in the Sachsenspiegel Picture-Books. Turnhout: Brepols/Harvey Miller Publishers, 2018, 472 pp., a vast number of colored and b/w ill." Mediaevistik 32, no. 1 (2020): 462–64. http://dx.doi.org/10.3726/med.2019.01.118.

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One of the most important medieval law books, the Sachsenspiegel (The Saxon Mirror), composed by Eike von Repgow around 1220/1230, represents a stunning bibliophile masterpiece in its various <?page nr="463"?>manuscript versions. Much discussed already by German, but also American and other scholars, it has now received once again extensive attention and careful analysis by the art historian Madeline H. Caveness and her Germanist colleague, Charles G. Nelson, who passed away in 2008. This was certainly a great team, though it might have been very useful if also a legal historian had join

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Rocha, Jorge Silva. "Stemmatics and Image. Remarks on the Twelfth-Century Beatus Commentary on the Apocalypse of Lorvão." Variants 17-18 (2024): 63–85. https://doi.org/10.4000/130sb.

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Most images produced in the Middle Ages are closely linked to written texts, as is quite evident in the field of illustrated manuscripts. In the same way that texts were copied and circulated in space and time, images also tended to accompany them with relative formal stability constituting, like the texts, cycles of works. For this reason and in some cases, textual criticism (and more specifically, stemmatics) has extended its domain to pictorial production, comparing images for a phylogenetic relationship and elements for the reconstruction of hypothetical originals. This has been the case f

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Zhabreva, A. E. "MINIATURES OF ILLUMINATED MANUSCRIPTS OF THE 9th - 15th CENTURIES - AN IMPORTANT PICTORIAL SOURCE ON THE EUROPEAN MIDDLE AGES COSTUME HISTORY." Вестник Санкт-Петербургского государственного университета технологии и дизайна. Серия 2: Искусствоведение. Филологические науки, no. 3 (2020): 32–42. http://dx.doi.org/10.46418/2079-8202_2020_3_5.

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Moučková, Miluše. "Manuscript tradition of the Galganum herbal and Melleus liquor." Graeco-Latina Brunensia, no. 1 (2025): 73–83. https://doi.org/10.5817/glb2025-1-6.

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This study focuses on the Galganum herbal, a medical handbook from the Late Middle Ages that discusses the effects of plants, with particular emphasis on the preservation of its Latin manuscripts. The primary problem addressed is the incomplete documentation and cataloging of surviving manuscripts of this herbal, which has led to gaps in understanding its textual transmission and variations. The study seeks to answer the question of how the Galganum Herbal was preserved across different regions, particularly in Central Europe, and how its Latin manuscripts are connected to later vernacular tra

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Thomson, David. "Blurred Boundaries and Contested Authorities in Two Archenfield Parishes in the Later Middle Ages." Religions 15, no. 10 (2024): 1191. http://dx.doi.org/10.3390/rel15101191.

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This article’s primary aim is to present a highly localised body of evidence from two neighbouring small communities, Garway and Pencoyd, in the Archenfield area of the Welsh March. In Garway’s case, two documents from either end of the long fifteenth century show the local community condemning its parish priest, siding first with one authority and then another, and stressing its Welsh lineage. In Pencoyd, the remarkable survival of the local priest’s manuscripts shows him to have been a diligent pastor and teacher, in tune with diocesan expectations and connected to networks of learning on bo

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Togoeva, Olga. "«Everyone Tries to Offend...» Insults to the French Monarch and his Family in the 14th – 15th Centuries." Средние века 86, no. 1 (2025): 74. https://doi.org/10.7868/s0131878025010040.

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Based on the material of royal legislation, judicial documents (primarily the sentences of the Paris Parliament and pardon letters), chronicles and their illuminated manuscripts, the article analyzes verbal and non-verbal invectives used against the French rulers of the 14th-15th centuries. The author draws attention to the content of such reproaches and insults and notes, first of all, their inextricable connection with the political processes that took place in the French kingdom and society during this period: with the events of the Hundred Years’ War, the growth of taxation, and the ruin o

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Bankov, Mikhail S. "TO THE QUESTION OF SPACE ORGANIZATION OF BOOK ILLUMINATION OF LATE ANTIQUITY AND EARLY MIDDLE AGES (IV – VII CENTURY)." Scientific and analytical journal Burganov House. The space of culture 17, no. 4 (2021): 29–48. http://dx.doi.org/10.36340/2071-6818-2021-17-4-29-48.

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The article focuses on peculiarities of spatial organization of book miniature paintings of late antique and early medieval manuscripts (IV – VII centuries). The author analyses the problem of conveying illusion of depth in illustration in context of gradual transmission from roll to codex, which took place in antique book culture between the II and the V centuries. By analyzing survived fragments of illuminated rolls author displays characteristic features of their spatial organization and observes influence which had tradition of roll illustration on the development of codex. Nevertheless, p

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Radini, A., M. Tromp, A. Beach, et al. "Medieval women’s early involvement in manuscript production suggested by lapis lazuli identification in dental calculus." Science Advances 5, no. 1 (2019): eaau7126. http://dx.doi.org/10.1126/sciadv.aau7126.

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During the European Middle Ages, the opening of long-distance Asian trade routes introduced exotic goods, including ultramarine, a brilliant blue pigment produced from lapis lazuli stone mined only in Afghanistan. Rare and as expensive as gold, this pigment transformed the European color palette, but little is known about its early trade or use. Here, we report the discovery of lapis lazuli pigment preserved in the dental calculus of a religious woman in Germany radiocarbon-dated to the 11th or early 12th century. The early use of this pigment by a religious woman challenges widespread assumpt

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Guérin, Sarah M. "Bryan C. Keene, ed., Toward a Global Middle Ages: Encountering the World through Illuminated Manuscripts. Los Angeles: J. Paul Getty Museum, 2019. Paper. Pp. ix, 285; many color figures. $60. ISBN: 978-1-6060-6598-3. Table of contents available online at https://shop.getty.edu/products/toward-a-global-middle-ages-encountering-the-world-through-illuminated-manuscripts-978-1606065983." Speculum 95, no. 4 (2020): 1188–90. http://dx.doi.org/10.1086/710982.

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Ghigo, Tea, and Christian Hirschle. "Painting the Past in the 19th Century: Materials, Methods, and Perspectives in Watercolour Replicas." Heritage 7, no. 8 (2024): 4300–4322. http://dx.doi.org/10.3390/heritage7080203.

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This study focuses on the material characterisation of a collection of 19th-century watercolour replicas that reproduce ancient Egyptian mural paintings and illuminated decorations from medieval manuscripts. Non-contact analyses, including macro-X-ray fluorescence (MA-XRF), X-ray diffraction (XRD), and fibre-optic reflectance spectroscopy (FORS), were employed to examine the composition of the painting materials, particularly the pigments. The findings are contextualised through archival research into 19th-century technical sources on historical painting and illuminating practices, as well as

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Zonno, Sabina. "Toward a Global Middle Ages: Encountering the World through Illuminated Manuscripts. Bryan C. Keene, ed. Los Angeles, CA: J. Paul Getty Museum, 2019. x + 286 pp. $60." Renaissance Quarterly 74, no. 1 (2021): 236–37. http://dx.doi.org/10.1017/rqx.2020.327.

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Classen, Albrecht. "Toward a Global Middle Ages: Encountering the World Through Illuminated Manuscripts, ed. Bryan C. Keene. Los Angeles: The J. Paul Getty Museum, 2019, x, 286 pp., colored illustrations." Mediaevistik 33, no. 1 (2020): 380–83. http://dx.doi.org/10.3726/med.2020.01.76.

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Guernelli, Daniele. "Un cadeau pour Louis XI de Valois. Benoît de Nursie, Cicco Simonetta, le Maître d’Ippolita, et Jean Boucard : la politique et l’art des Sforza entre la Lombardie et la France dans les années 1460." Revue de l'art N° 221, no. 3 (2023): 24–35. http://dx.doi.org/10.3917/rda.221.0024.

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The article is dedicated to Benedetto de’ Reguardati’s Libellus de conservatione sanitatis , now in Breslau (Uniwersytet Wrocławski, ms. III. Q. 19). The codex was originally commissioned by Ciccio Simonetta, head of the cancelleria secretaria in Milan under the Sforza, whose coat of arms is painted at f. 114r. The frontispiece at f. 1r can be attributed to the Ippolita Master, a gifted follower of the Master of the Vitae Imperatorum, who was active in Milan in the course of the third quarter of the xv century. The border of the frontispiece, that presents three coats of arms of Louis XI of Fr

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Sousa, Luís Correia e. "Música em pedra — imagens de música na escultura românica em Portugal." CEM 2, no. 18 (2024): 41–59. https://doi.org/10.21747/2182-9748/cem18a2.

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Since musical instruments from the Romanesque period are practically non-existent, iconographic sources are particularly important to get close to the musical universe of that time. Studying the images allows us to shed a little on the way they were played, the relative dimensions of the instru-ments, their relationship with other artistic expressions, such as dance, for example, or to confirm other relevant elements. It should be noted that for the sculptors of that period, the figuration of instruments was a new challenge, since in the High Middle Ages, musical images appeared almost exclusi

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Gertsman, Elina, та Reed O’Mara. "Wrathful Rites: Performing Shefokh ḥamatkha in the Hileq and Bileq Haggadah". Religions 15, № 4 (2024): 451. http://dx.doi.org/10.3390/rel15040451.

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This essay explores a remarkable manuscript, the so-called Hileq and Bileq Haggadah (Paris, BnF Ms. Hébreu 1333), illuminated in southern Germany in the fifteenth century. Our focus, in particular, is on the image that accompanies the Shefokh ḥamatkha prayer, an invocation of God’s vengeance upon nonbelievers. Here, we posit the role of the Shefokh ḥamatkha folio within the context of the Hileq and Bileq Haggadah, suggesting that its prominent position and extravagant visual program involve the reader–viewer in a performative scenario that inflects the meaning of the other images in the book a

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Staf, Irina K. "The myth of Narcissus: Metamorphoses of medieval commentary." Shagi / Steps 10, no. 2 (2024): 268–83. http://dx.doi.org/10.22394/2412-9410-2024-10-2-268-283.

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This article traces two types of commentaries on the myth of Narcissus (Ovid, The Metamorphoses, III), which existed in the Middle Ages in French literature in the vernacular — the courtly and the moral and allegorical. The first type of commentary is represented by individual works in which this myth is mentioned (“The Lay of Narcissus”, “The Romance of the Rose”, “The Book of Love Chess” by Evrart de Conty). In these, Ovid’s personage is treated as a violator of Amor’s laws; consequently, he takes on the traits of the “Belle Dame sans merci”. Commentaries of the second kind, such as the poet

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Staf, Irina K. "The Narcissus Myth in Early Renaissance French Literature: Fragment, Allegory, Emblem." Studia Litterarum 9, no. 1 (2024): 72–95. http://dx.doi.org/10.22455/2500-4247-2024-9-1-72-95.

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This article examines the evolution of medieval interpretations of the myth of Narcissus (Ovid, The Metamorphoses, Book III) in French literature of the first half of the 16th century. Jeanne Flore in the “Comptes amoureux” develops the courtesan interpretation of the myth, in which Narcissus, who rejects Cupid’s omnipotence, is combined with the figure of Belle dame sans mercy. In the tradition of moral and allegorical commentary, the young man in love with himself served as a symbol of hubris excessively immersed in worldly goods; in the mid-century, this tradition changed under the influenc

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Judic, Bruno. "Toward a Global Middle Ages. Encountering the World through Illuminated Manuscripts , éd. Bryan C. Keene , Los Angeles, The J. Paul Getty Museum, 2019 ; 1 vol., IX–285 p. ISBN : 978-1-60606-598-3. Prix : USD 60,00." Le Moyen Age Tome CXXVII, no. 1 (2021): XII. http://dx.doi.org/10.3917/rma.271.0195l.

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Chute, Hillary. "Comics as Literature? Reading Graphic Narrative." PMLA/Publications of the Modern Language Association of America 123, no. 2 (2008): 452–65. http://dx.doi.org/10.1632/pmla.2008.123.2.452.

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Comics—A form once considered pure junk—Is sparking interest in literary studies. I'm as amazed as anybody else by the comics boom—despite the fact that I wrote an English department dissertation that makes the passionate case that we should not ignore this innovative narrative form. Yet if there's promoting of comics, there's also confusion about categories and terms. Those of us in literary studies may think the moves obvious: making claims in the name of popular culture or in the rich tradition of word-and-image inquiry (bringing us back to the illuminated manuscripts of the Middle Ages). B

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Kinney, Dale. "Liturgy, Space, and Community in the Basilica Julii (Santa Maria in Trastevere)." Acta ad archaeologiam et artium historiam pertinentia 31 (December 31, 2019): 81–100. http://dx.doi.org/10.5617/acta.7801.

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The Basilica Julii (also known as titulus Callisti and later as Santa Maria in Trastevere) provides a case study of the physical and social conditions in which early Christian liturgies 'rewired' their participants. This paper demonstrates that liturgical transformation was a two-way process, in which liturgy was the object as well as the agent of change. Three essential factors - the liturgy of the Eucharist, the space of the early Christian basilica, and the local Christian community - are described as they existed in Rome from the fourth through the ninth centuries. The essay then takes up

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de Winter, Patrick M., and Robert G. Calkins. "Illuminated Books of the Middle Ages." Art Bulletin 68, no. 1 (1986): 157. http://dx.doi.org/10.2307/3050872.

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Titov, Georgii V. "The Portrayal of the Holy Convicts from the 5th Step of the Ladder of John Climacus in the Russian Art of the 16th Century." Vestnik of Saint Petersburg University. Arts 14, no. 2 (2024): 309–35. http://dx.doi.org/10.21638/spbu15.2024.205.

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In the art of Rus’ of the Late Middle Ages there is a certain number of scattered pieces of art that share an iconographic cycle of the Monastic Feats — images of different sorts of self-torture that are described in the 5th logos of the Ladder of John Climacus. This chapter of the Ladder was copied not only as a part of the whole treaty, but on its own as well and inspired a ramified iconographic tradition first in the Byzantine Empire and then, since the 16th century, in Rus’. These monks resort to the mortification of the flesh for their ultimate absolution. In the article, all the examples

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Olszowy-Schlanger, Judith. "Hebrew Manuscripts of the Middle Ages." Journal of Jewish Studies 55, no. 2 (2004): 376–77. http://dx.doi.org/10.18647/2569/jjs-2004.

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Kharshiev, A. "Denau Events in the Late Middle Ages." Bulletin of Science and Practice 7, no. 3 (2021): 333–36. http://dx.doi.org/10.33619/2414-2948/64/42.

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Yarnykh, Vera. "The knight’s fall: personification of Pride in Southern French hagiography and iconography of the 11th — early 12th centuries." St. Tikhons' University Review 115 (December 25, 2023): 11–23. http://dx.doi.org/10.15382/sturii2023115.11-23.

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The paper explores the dismounted knight as the personification of Pride in the context of Southern French art and hagiography of the 11th–12th centuries. This motif is based on the Psychomachia, the Late Antique allegorical poem by a 4th-century Christian poet Prudentius that visualizes a series of combats between Virtues and Vice. The key point in the sequence is the battle between Humility and mounted Pride culminating in the fall of the latter into the pit. The metaphor of Pride brought low literally visualized as the fall of a proud she-warrior from her steed resonates in the literature o

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Rossi, Cecilia, Alfonso Zoleo, Renzo Bertoncello, Moreno Meneghetti, and Rita Deiana. "Application of Multispectral Imaging and Portable Spectroscopic Instruments to the Analysis of an Ancient Persian Illuminated Manuscript." Sensors 21, no. 15 (2021): 4998. http://dx.doi.org/10.3390/s21154998.

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Illuminated manuscripts are, in general, the final products of a wise and complex interaction of different competencies. In particular, each manuscript reflects uses and techniques rooted in the historical and geographical traditions of the area of realization. Defining the characteristics and the materials in these valuable artefacts is an essential element to reconstruct their history and allow a more precise collocation and a possible comparison with other works in similar periods and areas. Non-invasive methods, mainly using portable instruments, offer undoubtedly good support in these stu

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Nordenfalk, Carl. "Illuminated Books of the Middle Ages. Robert G. Calkins." Speculum 60, no. 1 (1985): 135–37. http://dx.doi.org/10.2307/2852145.

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CLARK, MARK J. "Hereford and Lincoln Cathedral Libraries during the High Middle Ages." Journal of Ecclesiastical History 71, no. 3 (2020): 502–26. http://dx.doi.org/10.1017/s0022046919002380.

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In this study evidence is brought forth from large treasuries of scholastic manuscripts at Hereford and Lincoln that challenges R. M. Thomson's assessment of the importance of those collections during the High Middle Ages. As it turns out, as early as the twelfth century those libraries contained copies of the most important works in the developing Parisian theological curriculum, and the earliest copies of those works may reside in these and other English cathedral libraries. Manuscripts preserving early versions of the Sentences are especially interesting, since they make it possible to stud

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Lyons, Stuart. "SINGING HORACE IN ANTIQUITY AND THE EARLY MIDDLE AGES." Early Music History 40 (October 2021): 167–205. http://dx.doi.org/10.1017/s0261127921000085.

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Horace (65–8 BC), the great lyric poet of the Augustan Age in Rome, composed over a hundred Odes. Scholarly understanding of their early medieval reception has been hampered by the insistence of classical philologists that he was a purely literary poet. Ancient sources and Horace’s own writings demonstrate that he was a performing artist who sang to the accompaniment of his lyre. His use of Alcaic, Sapphic and Asclepiad metres has musical implications. In manuscripts from the ninth to the twelfth centuries, forty-eight passages from the Odes are accompanied by musical notation. The Montpellier

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Oppitz, Ulrich-Dieter. "Ergänzungen zu „Deutsche Rechtsbücher des Mittelalters und ihre Handschriften“." Zeitschrift der Savigny-Stiftung für Rechtsgeschichte: Germanistische Abteilung 132, no. 1 (2015): 463–78. http://dx.doi.org/10.7767/zrgga-2015-0115.

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Addendum to “German Law Books of the Middle Ages and their Manuscripts”. The article describes variations to the manuscripts and single leaves listed in U.-D. Oppitz’s “Deutsche Rechtsbücher des Mittelalters”, vol. II, Cologne 1990. It presents recently discovered manuscripts and single leaves of German-language customary law books. Special attention should be paid to No. 1214a, which contains sketches from a Zodiac manuscript on four leaves.

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Navdeep, Singh. "Development of weapons and armours in middle ages." International Journal of Advance and Applied Research 10, no. 4 (2023): 379–80. https://doi.org/10.5281/zenodo.7966074.

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The Middle Ages, also known as the medieval period, is a time in European history spanning from the 5th to the 15th century. It was a time of great technological advancement in the field of weaponry and armor. This research paper aims to explore the developments of weapons and armor during this period. The research methodologies used for this paper include a review of relevant literature and analysis of primary sources such as manuscripts, art, and archaeological findings.   

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Kuzidova-Karadžinova, Irina. "Dietary Calendars in the Slavic Middle Ages: A Case Study." Studia Ceranea 11 (December 30, 2021): 269–82. http://dx.doi.org/10.18778/2084-140x.11.13.

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Thе article attempts to delineate the boundaries of dissemination of dietary calendars in the Balkan Slavic cultural area through the evidence that can be obtained from the names, places, and very rarely patrons, found in the manuscripts that contain them. Special attention is paid to the most eminent men of letters who included dieteticons in their miscellanies – the Moldavian copyist Gavriil Urik, the Serbian monks Gavriil of Mount Athos and Gavrilo Trojičanin, and the Bulgarian priest Avram Dimitrievič. The analysis of the dissemination of dietary calendars in mediaeval South Slavic and Sla

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MINIATI, MARA. "ABOUT THE FLORENTINE STROZZI MANUSCRIPTS." Nuncius 16, no. 2 (2001): 681–86. http://dx.doi.org/10.1163/182539101x00604.

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Abstracttitle SUMMARY /title The Archivio di Stato of Florence preserves an incredible amount of manuscripts. The Strozzi series constitute a large group which includes correspondences and private and public documents from the Middle Ages to the 19th century. Trying to find additional information on the mathematical instruments from the Strozzi family collections sold in 1911 in Amsterdam, this paper introduces this enormous archive, its history and that of this very important Florentine family.

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