KADOC Artes 8The art of illumination, usually associated with the Middle Ages, experienced a spectacular revival in nineteenth-century Western Europe. This completely different context gave the illuminations another import. The output of the lay and religious workshops reveals a great artistic, stylistic, technical, and thematic diversity. The works illuminated go far beyond the world of exceptional and precious manuscripts and include many occasional documents and devotional images.Richly illustrated with unpublished masterworks, The Revival of Medieval Illumination is an overview of the form by fifteen authors who do not limit their approach to the traditional questions of art history. Rather, they explore the historical, sociocultural, ideological and religious components of the revival, which changed according to time and country, in order to understand the evolution and success of the art of illumination in the long nineteenth century.

This ambitious and vivid study in six volumes explores the journey of a single, electrifying story, from its first incarnation in a medieval French poem through its prolific rebirth in the nineteenth and twentieth centuries. The Juggler of Notre Dame tells how an entertainer abandons the world to join a monastery, but is suspected of blasphemy after dancing his devotion before a statue of the Madonna in the crypt; he is saved when the statue, delighted by his skill, miraculously comes to life. Jan Ziolkowski tracks the poem from its medieval roots to its rediscovery in late nineteenth-century Paris, before its translation into English in Britain and the United States. The visual influence of the tale on Gothic revivalism and vice versa in America is carefully documented with lavish and inventive illustrations, and Ziolkowski concludes with an examination of the explosion of interest in The Juggler of Notre Dame in the twentieth century and its place in mass culture today. In this volume Jan Ziolkowski follows the juggler of Notre Dame as he cavorts through new media, including radio, television, and film, becoming closely associated with Christmas and embedded in children’s literature. Presented with great clarity and simplicity, Ziolkowski's work is accessible to the general reader, while its many new discoveries will be valuable to academics in such fields and disciplines as medieval studies, medievalism, philology, literary history, art history, folklore, performance studies, and reception studies.

The attraction and repulsion between the Roman Catholic Church and modernity in Europe between 1750 and 2000 Emiel Lamberts (1941), professor emeritus of contemporary history at KU Leuven, is an international expert in the political and religious history of Europe in the 19th and 20th centuries. His work and the central themes in his research are the starting point in World Views and Worldly Wisdom. No less than eighteen leading international researchers put different aspects of his work in the spotlight. A recurring theme, however, is the attraction and repulsion between the Roman Catholic Church and modernity in Europe between 1750 and 2000. The ambivalent relationship with modernity is therefore the leitmotiv of the first part of this volume, whereas the second part focuses on the repositioning of the Church and the tensions between religion, ideology and politics. In this way the volume reflects Lamberts’s fascination for the history of political institutions as well as his research on Christian democracy. The contributions address – in a comparative way and from a transatlantic viewpoint – this broad period of time in history, which gave rise to different social movements and different models of society in Belgium and elsewhere. Contributors Winfried Becker (Universität Passau), Bruno Béthouart (Université du Littoral Côte d’Opale), Hans Blom (Universiteit van Amsterdam), Alfredo Canavero (Università degli Studi di Milano), Philippe Chenaux (Pontificia Università Lateranense, Roma), Andrea Ciampani (LUMSA, Roma), Jo Deferme (KU Leuven), Jan De Maeyer (KADOC KU Leuven), Henk De Smaele (Universiteit Antwerpen), Carine Dujardin (KADOC KU Leuven), Jean-Dominique Durand (Université Lyon 3), Michael Gehler (Jean Monnet Chair, Universität Hildesheim - Institut für Neuzeit- und Zeitgeschichtsforschung, Wien), Susana Monreal (Universidad Católica del Uruguay), Patrick Pasture (KU Leuven), Patrick M.W. Taveirne (The Chinese University of Hong Kong), Peter Van Kemseke (Europese Commissie, KU Leuven), Vincent Viaene (Attaché bij het Huis van Koning Filip), Els Witte (Vrije Universiteit Brussel)

This richly illustrated study shows how modern systems of textual presentation grew from techniques developed in the medieval period.

The year is 1932. In Rome, the Fascist leader Benito Mussolini unveils a giant obelisk of white marble, bearing the Latin inscription MVSSOLINI DVX. Invisible to the cheering crowds, a metal box lies immured in the obelisk's base. It contains a few gold coins and, written on a piece of parchment, a Latin text: the Codex fori Mussolini. What does this text say? Why was it buried there? And why was it written in Latin? The Codex, composed by the classical scholar Aurelio Giuseppe Amatucci (1867-1960), presents a carefully constructed account of the rise of Italian Fascism and its leader, Benito Mussolini. Though written in the language of Roman antiquity, the Codex was supposed to reach audiences in the distant future. Placed under the obelisk with future excavation and rediscovery in mind, the Latin text was an attempt at directing the future reception of Italian Fascism. This book renders the Codex accessible to scholars and students of different disciplines, offering a thorough and wide-ranging introduction, a clear translation, and a commentary elucidating the text's rhetorical strategies, historical background, and specifics of phrasing and reference. As the first detailed study of a Fascist Latin text, it also throws new light on the important role of the Latin language in Italian Fascist culture.

This exquisite volume beautifully reproduces and insightfully examines the most important illuminations found in French history manuscripts.

Traditional histories of medieval art and architecture often privilege the moment of a work’s creation, yet surviving works designated as "medieval" have long and expansive lives. Many have extended prehistories emerging from their sites and contexts of creation, and most have undergone a variety of interventions, including adaptations and restorations, since coming into being. The lives of these works have been further extended through historiography, museum exhibitions, and digital media. Inspired by the literary category of biography and the methods of longue durée historians, the introduction and seventeen chapters of this volume provide an extended meditation on the longevity of medieval works of art and the aspect of time as a factor in shaping our interpretations of them. While the metaphor of "lives" invokes associations with the origin of the discipline of art history, focus is shifted away from temporal constraints of a single human lifespan or generation to consider the continued lives of medieval works even into our present moment. Chapters on works from the modern countries of Italy, France, England, Spain, and Germany are drawn together here by the thematic threads of essence and continuity, transformation, memory and oblivion, and restoration. Together, they tell an object-oriented history of art and architecture that is necessarily entangled with numerous individuals and institutions.

"Endpapers: pattern taken from pastedowns of decorated paper (Italian, 17th or 18th century) in the binding of cat. no. 110"--Title page verso.

The Middle Ages was a time of great upheaval - the period between the seventh and fourteenth centuries saw great social, political and economic change. The radically distinct cultures of the Christian West, Byzantium, Persian-influenced Islam, and al-Andalus resulted in different responses to the garden arts of antiquity and different attitudes to the natural world and its artful manipulation. Yet these cultures interacted and communicated, trading plants, myths and texts. By the fifteenth century the garden as a cultural phenomenon was immensely sophisticated and a vital element in the way society saw itself and its relation to nature. A Cultural History of Gardens in the Medieval Age presents an overview of the period with essays on issues of design, types of gardens, planting, use and reception, issues of meaning, verbal and visual representation of gardens, and the relationship of gardens to the larger landscape.

Manuscripts, Market and the Transition to Print in Late Medieval Brittany surveys the production and marketing of non-monastic manuscripts and printed books over 150 years in late medieval Brittany, from the accession of the Montfort family to the ducal crown in 1364 to the duchy's formal assimilation by France in 1532. Brittany, as elsewhere, experienced the shift of manuscript production from monasteries to lay scriptoria and from rural settings to urban centers, as the motivation for copying the word in ink on parchment evolved from divine meditation to personal profit. Through her analysis of the physical aspects of Breton manuscripts and books, parchment and paper, textual layouts, scripts and typography, illumination and illustration, Diane Booton exposes previously unexplored connections between the tangible cultural artifacts and the society that produced, acquired and valued them. Innovatively, Booton's discussion incorporates archival research into the prices, wages and commissions associated with the manufacture of the works under discussion to shed new light on their economic and personal value.