List of members in v. 1, no. 1; v. 2, no. 2.

New ser. v. 6-10 include 77th-81 Report of the trustees, 1946-50 (previously published separately)

"Teachers' bulletin", vol. 4- issued as part of v. 23, no. 9-

The first book-length study of the fifteen surviving Little Gidding bible concordances, this book examines the visual culture of print in seventeenth-century England through the lens of one extraordinary family and their hand-made biblical manuscripts. The volumes were created by the women of the Ferrar-Collet family of Little Gidding, who selected works from the family's collection of Catholic religious prints, and then cut and pasted prints and print fragments, along with verses excised from the bible, and composed them in artful arrangements on the page in the manner of collage. Gaudio shows that by cutting, recombining, and pasting multi-scaled print fragments, the Ferrar-Collet family put into practice a remarkably flexible pictorial language. The Little Gidding concordances provide an occasion to explore how the manipulation of print could be a means of thinking through some of the most pressing religious and political questions of the pre-civil war period: the coherence of printed scripture, the nature of sovereignty, the relevance of the Mosaic law, and the protestant reform of images. By foregrounding the Ferrar-Collets' engagement with the print fragment, this book extends the scope of early modern print history beyond the printmaker's studio and expands our understanding of the ways an early modern Protestant community could productively engage with the religious image. Contrary to the long-held view that the English Reformation led to a decline in the importance of the religious image, this study demonstrates the ongoing vitality of religious prints in early modern England as instruments for thinking.

WINNER OF A CHOICE OUTSTANDING ACADEMIC TITLE AWARD 2018 In the early twentieth century, Marguerite Zorach and Georgiana Brown Harbeson were at the forefront of the modern embroidery movement in the United States. In the first scholarly examination of their work and influence, Cynthia Fowler explores the arguments presented by these pioneering women and their collaborators for embroidery to be considered as art. Using key exhibitions and contemporary criticism, The Modern Embroidery Movement focuses extensively on the individual work of Zorach and Brown Harbeson, casting a new light on their careers. Documenting a previously marginalised movement, Fowler brings together the history of craft, art and women's rights and firmly establishes embroidery as a significant aspect of modern art.

The best new research on medieval clothing and textiles, drawing from a range of disciplines. The usual wide range of approaches to garments and fabrics appears in this tenth volume. Three chapters focus on practical matters: a description of the medieval vestments surviving at Castel Sant'Elia in Italy; a survey of the spread of silk cultivation to Europe before 1300; and a documentation of medieval colour terminology for desirable cloth. Two address social significance: the practice of seizing clothing from debtors in fourteenth-century Lucca, and the transformation of the wardrobe of Margaret Tudor, daughter of King Henry VII, upon her marriage to the king of Scotland. Two delve into artistic symbolism: a consideration of female headdresses carved at St Frideswide's Priory in Oxford, and a discussion of how Anglo-Saxon artists used soft furnishings to echo emotional aspects of narratives. Meanwhile, in an exercise in historiography, there is an examination of the life of Mrs. A.G.I. Christie, author of the landmark Medieval English Embroidery. ROBIN NETHERTON is a professional editor and a researcher/lecturer on the interpretation of medieval European dress; GALE R. OWEN-CROCKER is Professor of Anglo-Saxon Culture at the University of Manchester. Contributors: Michelle L. Beer, Elizabeth Coatsworth, Valija Evalds, Christine Meek, Maureen C. Miller, Christopher J. Monk, Lisa Monnas, Rebecca Woodward Wendelken