In this study of the rare twelfth-century treatise On Diverse Arts, Heidi C. Gearhart explores the unique system of values that guided artists of the High Middle Ages as they created their works. Written in northern Germany by a monk known only by the pseudonym Theophilus, On Diverse Arts is the only known complete tract on art to survive from the period. It contains three books, each with a richly religious prologue, describing the arts of painting, glass, and metalwork. Gearhart places this one-of-a-kind treatise in context alongside works by other monastic and literary thinkers of the time and presents a new reading of the text itself. Examining the earliest manuscripts, she reveals a carefully ordered, sophisticated work that aligns the making of art with the virtues of a spiritual life. On Diverse Arts, Gearhart shows, articulated a distinctly medieval theory of art that accounted for the entire process of production—from thought and preparation to the acquisition of material, the execution of work, the creation of form, and the practice of seeing. An important new perspective on one of the most significant texts in art history and the first study of its kind available in English, Theophilus and the Theory and Practice of Medieval Art provides fresh insight into the principles and values of medieval art making. Scholars of art history, medieval studies, and Christianity will find Gearhart’s book especially edifying and valuable.

In this study of the rare twelfth-century treatise On Diverse Arts, Heidi C. Gearhart explores the unique system of values that guided artists of the High Middle Ages as they created their works. Written in northern Germany by a monk known only by the pseudonym Theophilus, On Diverse Arts is the only known complete tract on art to survive from the period. It contains three books, each with a richly religious prologue, describing the arts of painting, glass, and metalwork. Gearhart places this one-of-a-kind treatise in context alongside works by other monastic and literary thinkers of the time and presents a new reading of the text itself. Examining the earliest manuscripts, she reveals a carefully ordered, sophisticated work that aligns the making of art with the virtues of a spiritual life. On Diverse Arts, Gearhart shows, articulated a distinctly medieval theory of art that accounted for the entire process of production—from thought and preparation to the acquisition of material, the execution of work, the creation of form, and the practice of seeing. An important new perspective on one of the most significant texts in art history and the first study of its kind available in English, Theophilus and the Theory and Practice of Medieval Art provides fresh insight into the principles and values of medieval art making. Scholars of art history, medieval studies, and Christianity will find Gearhart’s book especially edifying and valuable.

The Platonic tradition affords extraordinary resources for thinking about the meaning and value of work. In this historical survey of the tradition, Jeffrey Hanson draws on the work of its major thinkers to explain why our contemporary vocabulary for appraising labor and its rewards is too narrow and cramped. By tracing out the Platonic lineage of work Hanson is able to argue why we should be explaining its value for appraising it as an element of a happy and flourishing human life, quite apart from its financial rewards. Beginning with Plato's extensive thinking about work's relationship to wisdom, Hanson covers the singularly powerful arguments of Augustine, who wrote the ancient world's only treatise dedicated to the topic of manual labor. He discusses Bernard of Clairvaux, introduces the priest-craftsman Theophilus Presbyter, and provides a study of work and leisure in the writings of Petrarch. Alongside Martin Luther, Hanson discusses John Ruskin and Simone Weil: two thinkers profoundly disturbed by the conditions of the working class in the rapidly industrializing economies of Europe. This original study of Plato and his inheritors' ideas provides practical suggestions for how to approach work in a socially responsible manner in the 21st century and reveals the benefits of linking work and morality.

A Benedictine Reader, 530–1530, has been more than twenty years in the making. A collaboration of a dozen scholars, this project gives as broad and deep a sense of the reality of the first one thousand years of Benedictine monasticism as can be done in one volume, using primary sources in English translation. The texts included are drawn from many different genres and from several languages and areas of Europe. The introduction to each of the thirty-two chapters aims to situate each author and text and to make connections with other texts and studies within and outside the Reader. The general introduction summarizes the main ideas and practices that are present in the Rule of Saint Benedict and in the first thousand years of Benedictine monasticism while suggesting questions that a reader might bring to the texts.

How does artistic practice lead to the production of knowledge? How does, in turn, artistic knowledge relate to its material base? How does contingent materiality guide the artist towards finding form and developing a statement? This volume is dedicated to the object as a process in order to offer new insights into the ways the object - broadly construed, comprising digital and other non-classical objects - becomes an active element in artistic practice.

Across the nine thematic chapters of Experiencing Medieval Art, renowned art historian Herbert L. Kessler considers functional objects as well as paintings and sculptures; the circumstances, processes, and materials of production; the conflictual relationship between art objects and notions of an ineffable deity; the context surrounding medieval art; and questions of apprehension, aesthetics, and modern presentation. He also introduces the exciting discoveries and revelations that have revolutionized contemporary understanding of medieval art and identifies the vexing challenges that still remain. With 16 color plates and 81 images in all—including the stained glass of Chartres Cathedral, the mosaics of San Marco, and the Utrecht Psalter, as well as newly discovered works such as the frescoes in Rome’s aula gotica and a twelfth-century aquamanile in Hildesheim—Experiencing Medieval Art makes the complex history of medieval art accessible for students of art history and scholars of medieval history, theology, and literature.

A fully updated and comprehensive companion to Romanesque and Gothic art history This definitive reference brings together cutting-edge scholarship devoted to the Romanesque and Gothic traditions in Northern Europe and provides a clear analytical survey of what is happening in this major area of Western art history. The volume comprises original theoretical, historical, and historiographic essays written by renowned and emergent scholars who discuss the vibrancy of medieval art from both thematic and sub-disciplinary perspectives. Part of the Blackwell Companions to Art History, A Companion to Medieval Art, Second Edition features an international and ambitious range of contributions covering reception, formalism, Gregory the Great, pilgrimage art, gender, patronage, marginalized images, the concept of spolia, manuscript illumination, stained glass, Cistercian architecture, art of the crusader states, and more. Newly revised edition of a highly successful companion, including 11 new articles Comprehensive coverage ranging from vision, materiality, and the artist through to architecture, sculpture, and painting Contains full-color illustrations throughout, plus notes on the book’s many distinguished contributors A Companion to Medieval Art: Romanesque and Gothic in Northern Europe, Second Edition is an exciting and varied study that provides essential reading for students and teachers of Medieval art.

This book charts the past, present, and future of studies on medieval technology, art, and craft practices. Inspired by Villard’s enigmatic portfolio of artistic and engineering drawings, this collection explores the multiple facets of medieval building represented in this manuscript (Paris, Bibliothèque nationale de France, MS Fr 19093). The book’s eighteen essays and two introductions showcase traditional and emergent methods for the study of medieval craft, demonstrating how these diverse approaches collectively amplify our understanding about how medieval people built, engineered, and represented their world. Contributions range from the analysis of words and images in Villard’s portfolio, to the close analysis of masonry, technological marvels, and gothic architecture, pointing the way toward new avenues for future scholarship to explore. Contributors are: Mickey Abel, Carl F. Barnes Jr., Robert Bork, George Brooks, Michael T. Davis, Amy Gillette, Erik Gustafson, Maile S. Hutterer, John James, William Sayers, Ellen Shortell, Alice Isabella Sullivan, Richard Alfred Sundt, Sarah Thompson, Steven A. Walton, Maggie M. Williams, Kathleen Wilson Ruffo, and Nancy Wu.

The presence of gold, silver, and other metals is a hallmark of decorated manuscripts, the very characteristic that makes them “illuminated.” Medieval artists often used metal pigment and leaf to depict metal objects both real and imagined, such as chalices, crosses, tableware, and even idols; the luminosity of these representations contrasted pointedly with the surrounding paints, enriching the page and dazzling the viewer. To elucidate this key artistic tradition, this volume represents the first in-depth scholarly assessment of the depiction of precious-metal objects in manuscripts and the media used to conjure them. From Paris to the Abbasid caliphate, and from Ethiopia to Bruges, the case studies gathered here forge novel approaches to the materiality and pictoriality of illumination. In exploring the semiotic, material, iconographic, and technical dimensions of these manuscripts, the authors reveal the canny ways in which painters generated metallic presence on the page. Illuminating Metalwork is a landmark contribution to the study of the medieval book and its visual and embodied reception, and is poised to be a staple of research in art history and manuscript studies, accessible to undergraduates and specialists alike.

With many excellent books on medieval stained glass available, the reader of this anthology may well ask: “what is the contribution of this collection?” In this book, we have chosen to step away from national, chronological, and regional models. Instead, we started with scholars doing interesting work in stained glass, and called upon colleagues to contribute studies that represent the diversity of approaches to the medium, as well as up-to-date bibliographies for work in the field. Contributors are: Wojciech Balus, Karine Boulanger, Sarah Brown, Elizabeth Carson Pastan, Madeline H. Caviness, Michael W. Cothren, Francesca Dell’Acqua, Uwe Gast, Françoise Gatouillat, Anne Granboulan, Anne F. Harris, Christine Hediger, Michel Hérold, Timothy B. Husband, Alyce A. Jordan, Herbert L. Kessler, David King, Brigitte Kurmann-Schwarz, Claudine Lautier, Ashley J. Laverock, Meredith P. Lillich, Isabelle Pallot-Frossard, Hartmut Scholz, Mary B. Shepard, Ellen M. Shortell, Nancy M. Thompson.