Although the rich facades of San Marco are an unmistakable tribute to the glory of Venice, their captivating splendor almost conceals the rigor of their complex ideological statement. Here Michael Jacoff offers a new approach to understanding San Marco's exterior decoration by concentrating on the facades' most celebrated feature: the four life-size ancient bronze horses on the west front. Trophies commemorating Venice's conquest of Constantinople in 1204, these horses, Jacoff argues, also evoked for medieval believers the metaphor of Christ's quadriga, in which the four Evangelists are likened to four spirited steeds drawing Christ's chariot, representing His Word, through the world. The horses have, then, both a political and religious meaning, and in both respects they make a fundamental contribution to the facades' overall message. Jacoff compares the horses to other examples of ancient sculpture put on display during the Middle Ages and explores their Roman references. He concludes that the horses would have been installed very differently were it not for their additional Christian meaning at San Marco. Seeing the horses as the Quadriga of the Lord significantly advances our understanding of San Marco's facades and of the medieval reuse of classical antiquities.

The noted historian explores the mysterious origins and surprising adventures of four iconic bronze statues as they appear and reappear through the ages. In July 1798, a triumphant procession made its way through the streets of Paris. Echoing the parades of Roman emperors many years before, Napoleon Bonaparte was proudly displaying the spoils of his recent military adventures. There were animals—caged lions and dromedaries—as well as tropical plants. Among the works of art on show, one stood out: four horses of gilded metal, taken by Napoleon from their home in Venice. The Horses of St Mark's have found themselves at the heart of European history time and time again: in Constantinople, at both its founding and sacking in the Fourth Crusade; in Venice, at both the height of its greatness and fall in 1797; in the Paris of Napoleon, and the revolutions of 1848; and back in Venice, the most romantic city in the world. Charles Freeman offers a fascinating account of both the statues themselves and the societies through which they have travelled and been displayed. As European society has developed from antiquity to the present day, these four horses have stood and watched impassively. This is the story of their—and our—times.

Henry Maguire, emeritus professor of art history at Johns Hopkins University, works on Byzantine and related cultures. He has written extensively on Venetian art and the church of San Marco.

Biography of the medieval Mediterranean's most cross-culturally significant sculptural monument, the tallest in the pre-modern world.

This study reveals the broad material, devotional, and cultural implications of sculpture in Renaissance Venice. Examining a wide range of sources—the era’s art-theoretical and devotional literature, guidebooks and travel diaries, and artworks in various media—Lorenzo Buonanno recovers the sculptural values permeating a city most famous for its painting. The book traces the interconnected phenomena of audience response, display and thematization of sculptural bravura, and artistic self-fashioning. It will be of interest to scholars working in art history, Renaissance history, early modern art and architecture, material culture, and Italian studies.

These studies explore aspects of Julian Gardner’s wide range of interests and approaches, ranging from Parisian metalwork to the Wilton diptych, Franciscan iconography, the tomb of a leading theologian and several studies of the art of Rome and Northern Italy.

Milton's Paradise Lost is one of the great works of literature, of any time and in any language. Marked by Milton's characteristic erudition it is a work epic both in scale and, notoriously, in ambition. For nearly 350 years it has held generation upon generation of scholars, students and readers in rapt attention and its profound influence can be seen in almost every corner of Western culture. First published in 1968, with John Carey's Complete Shorter Poems, Alastair Fowler's Paradise Lost is widely acknowledged to be the most authoritative edition of this compelling work. An unprecedented amount of detailed annotation accompanies the full text of the first (1667) edition, providing a wealth of contextual information to enrich and enhance the reader's experience. Notes on composition and context are combined with a clear explication of the multitude allusions Milton called to the poem's aid. The notes also summarise and illuminate the vast body of critical attention the poem has attracted, synthesizing the ancient and the modern to provide a comprehensive account both of the poem's development and its reception. Meanwhile, Alastair Fowler's invigorating introduction surveys the whole poem and looks in detail at such matters as Milton's theology, metrical structure and, most valuably, his complex and imaginary astronomy. The result is an enduring landmark in the field of Milton scholarship and an invaluable guide for readers of all levels.

In this groundbreaking, interdisciplinary study, Andrew Walker White explores the origins of Byzantine ritual - the rites of the early Greek Orthodox Church - and its unique relationship with traditional theatre. Tracing the secularization of pagan theatre, the rise of rhetoric as an alternative to acting, as well as the transmission of ancient methods of musical composition into the Byzantine era, White demonstrates how Christian ritual was in effect a post-theatrical performing art, created by intellectuals who were fully aware of traditional theatre but who endeavoured to avoid it. The book explores how Orthodox rites avoid the aesthetic appreciation associated with secular art, and conducts an in-depth study (and reconstruction) of the late Byzantine Service of the Furnace. Often treated as a liturgical drama, White translates and delineates the features of five extant versions, to show how and why it generated widely diverse audience reactions in both medieval times and our own.

In the first century of the Common Era, two new belief systems entered long-established cultures with radically different outlooks and values: missionaries started to spread the teachings of Jesus of Nazareth in Rome and the Buddha in China. Rome and China were not only ancient cultures, but also cultures whose elites felt no need to receive the new beliefs. Yet a few centuries later the two new faiths had become so well-established that their names were virtually synonymous with the polities they had entered as strangers. Although there have been numerous studies addressing this phenomenon in each field, the difficulty of mastering the languages and literature of these two great cultures has prevented any sustained effort to compare the two influential religious traditions at their initial period of development. This book brings together specialists in the history and religion of Rome and China with a twofold aim. First, it aims to show in some detail the similarities and differences each religion encountered in the process of merging into a new cultural environment. Second, by juxtaposing the familiar with the foreign, it also aims to capture aspects of this process that could otherwise be overlooked. This approach is based on the general proposition that, when a new religious belief begins to make contact with a society that has already had long honored beliefs, certain areas of contention will inevitably ensue and changes on both sides have to take place. There will be a dynamic interchange between the old and the new, not only on the narrowly defined level of "belief," but also on the entire cultural body that nurtures these beliefs. Thus, this book aims to reassess the nature of each of these religions, not as unique cultural phenomena but as part of the whole cultural dynamics of human societies.

James Crawford uncovers the biographies of 20 of the world’s most fascinating lost and ruined buildings, from the dawn of civilization to the cyber era. The lives of these iconic structures are packed with drama and intrigue, featuring war and religion, politics and art, love and betrayal, catastrophe and hope.