New Studies in Medieval and Renaissance Poland and Prussia: The Impact of Gdańsk draws together the latest reseach conducted by local historians and archaeologists on the city of Gdańsk and its impact on the surrounding region of Pomerania and Poland as a whole. Beginning with Gdańsk’s early political history and extending from the 10th to the 16th century, its twelve chapters explore a range of political, social, and socio-cultural historical questions and explain such phenomena as the establishment and development of the Gdańsk port and city. A prominent theme is a consideration of the interactions between Gdansk and Poland and Prussia, including a look into the city’s links with the State of the Teutonic Order in Prussia and the Kingdom of Poland under the rule of the Piast and Jagiellonian dynasties. The chapters are placed in the historical context of medieval Poland as well as the broader themes of religion, the matrimonial policy of noble families or their contacts with the papacy. This book is an exciting new study of medieval Poland and unparalleled in the English-speaking world, making it an ideal text for those wanting to deepen their knowledge in this subject area.

This title concerns a patronage in whose service painters, sculptors, and goldsmiths could exercise their talents to the full.

This volume is one of several that examines the National Gallery of Art's distinguished collection of decorative arts. (The second volume will be published in 1996.) The group treated here is composed primarily of works acquired from the Widener Collection, and amplified by holdings acquired from the Kress family. Included are more than eighty Medieval, Renaissance, and later historic objects in a wide variety of media, encompassing metalwork, stained glass, enamels, ceramics, and jewels. Among the highlights are a Limoges reliquary chasse, a Mosan lion aquamanile, thirty-eight pieces in a remarkable cohesive group of Italian maiolica, three of the very rare pottery objects known as 'Saint-Porchaire', and, the centerpiece of the collection, the Suger chalice, an ancient sardonyx cup to which the Abbot Suger added a bejewelled golden setting in the twelfth century. Like other volumes in the Systematic Catalogue of the National Gallery of Art Collections,Western Decorative Arts includes a thoroughly researched entry for each object, together with an artist biography, up-to-date bibliography, and a technical analysis.

This monograph book offers a new interpretation of northern European art of the fifteenth century. The author presents it as a conglomerate of objects-things which act on the recipient in a specific - material and spatial - way. He analyzes macro-scale objects that impose movement on the viewer, and micro-scale objects that encourage manipulation. Inspired by the anti-anthropocentric concept of "returning to things" (B. Latour, A. Gell and others), the author searches for the "agency of things" in late-medieval art objects, which evoke specific liturgical, devotional, propaganda-political behaviors, or establish the status of social owner of the object that once co-created the network of material and spiritual culture. This methodologically innovative approach is part of the latest research in early art in Western Europe and the United States.

Barbara H. Rosenwein's bestselling survey text continues to stand out by integrating the history of three medieval civilizations (European, Byzantine, and Islamic) in a lively narrative that is complemented beautifully by full-color plates, maps, and genealogies. The fourth edition begins with an essay entitled "Why the Middle Ages Matter Today," and the book now covers East Central Europe in some depth. New plates and maps have been added along with a new "Seeing the Middle Ages" feature. The sections for further reading have been updated, and ancillary materials, including study questions, can be found on the History Matters website (www.utphistorymatters.com).

Today we associate the Renaissance with painting, sculpture, and architecture—the “major” arts. Yet contemporaries often held the “minor” arts—gem-studded goldwork, richly embellished armor, splendid tapestries and embroideries, music, and ephemeral multi-media spectacles—in much higher esteem. Isabella d’Este, Marchesa of Mantua, was typical of the Italian nobility: she bequeathed to her children precious stone vases mounted in gold, engraved gems, ivories, and antique bronzes and marbles; her favorite ladies-in-waiting, by contrast, received mere paintings. Renaissance patrons and observers extolled finely wrought luxury artifacts for their exquisite craftsmanship and the symbolic capital of their components; paintings and sculptures in modest materials, although discussed by some literati, were of lesser consequence. This book endeavors to return to the mainstream material long marginalized as a result of historical and ideological biases of the intervening centuries. The author analyzes how luxury arts went from being lofty markers of ascendancy and discernment in the Renaissance to being dismissed as “decorative” or “minor” arts—extravagant trinkets of the rich unworthy of the status of Art. Then, by re-examining the objects themselves and their uses in their day, she shows how sumptuous creations constructed the world and taste of Renaissance women and men.