This volume is an interdisciplinary consideration of late medieval art and texts, falling into two parts: first, the iconography and context of the great Doom wall painting over the tower arch at Holy Trinity Church, Coventry, and second, Carthusian studies treating fragmentary wall paintings in the Carthusian monastery near Coventry; the devotional images in the Carthusian Miscellany; and meditation for “simple souls” in the Carthusian Nicholas Love’s Mirror of the Blessed Life of Jesus Christ. Emphasis is on such aspects as memory, participative theology, devotional images, meditative practice, and techniques of constructing patterns of sacred imagery.

The period 1300-1600 CE was one of intense and far-reaching emotional realignments in European culture. New desires and developments in politics, religion, philosophy, the arts and literature fundamentally changed emotional attitudes to history, creating the sense of a rupture from the immediate past. In this volatile context, cultural products of all kinds offered competing objects of love, hate, hope and fear. Art, music, dance and song provided new models of family affection, interpersonal intimacy, relationship with God, and gender and national identities. The public and private spaces of courts, cities and houses shaped the practices and rituals in which emotional lives were expressed and understood. Scientific and medical discoveries changed emotional relations to the cosmos, the natural world and the body. Both continuing traditions and new sources of cultural authority made emotions central to the concept of human nature, and involved them in every aspect of existence.

This book combines a scholarly edition of Lydgate’s Dance of Death and the French Danse Macabre poem, and discusses their wider context and historical circumstances of their creation, authorship and visualisation.

Robert G. Calkins is Professor of History of Art at Cornell University. He has worked for nearly forty years on medieval manuscript illumination. This volume brings together eighteen of his papers, concentrating on late medieval manuscript illumination. The first section has seven studies examining the process of compiling an illuminated manuscript, as revealed by indications in the manuscripts themselves. The following section deals with the sequence and emphasis of text and image in the manuscripts. A final group offers detailed interpretations of a number of important later manuscripts. Contents: Introduction I Workshop Practices revealed by Codicology : The Brussels Hours Reevaluated An Italian in Paris: The Master of the Brussels Initials and His Participation in the French Book Industry Stages of Execution: Procedures of Illumination as Revealed in an Unfinished Book of Hours Traditions of Dutch Illumination Distribution of Labor -The Illuminators of the Hours of Catherine of Cleves and their Workshop Additional Lacunae in the Lambeth Bible Gerard Horenbout and His Associates: Illuminating Activities in Ghent 1480-1521 II. Sequence and Emphasis : Microforms and the Medieval Illuminated Manuscript Pictorial Emphasis in Early Biblical Manuscripts Decorative Sequence and Liturgical Crescendo in the Drogo Sacramentary Narrative in Image and Text in Medieval Illuminated Manuscripts III. Interpretations : The Master of the Franciscan Breviary Parallels between Incunabula and Manuscripts from the Circle of the Master of Catherine of Cleves The Question of the Origin of the Master of Catherine of Cleves Sacred Image and Illusion in Late Flemish Manuscripts Secular Objects and Their implications in Early Netherlandish Painting Piero de' Crescenzi and the Medieval Garden The Cathedral as Text Index

God's Word creates what he commands In Justification by the Word, Jack D. Kilcrease reintroduces Martin Luther's key doctrine. Though a linchpin of the Reformation, Luther's view of justification is often misunderstood. For Luther, justification is an expression of God's creative Word. To understand Luther on justification, one must grasp his doctrine of the Word. The same God who declared "let there be light"—and it was so—also declares "your sins are forgiven." Justification is an objective reality. It is achieved in Christ's resurrection and received through an encounter with the risen Christ in Word and sacrament. Justification turns us outward, away from our own unsteady feelings and limited understanding, to look to Christ. And the church must preach justification, lest we so easily forfeit the joy of the gospel. Justification by the Word inspires readers to reencounter the radical doctrine of justification by faith alone.

This study deals with the work of the most prolific Dutch book illuminators, the so-called Masters of the Dark Eyes, named after the most conspicuous aspect of their style: the dark, heavily accentuated shadows round the eyes of the figures. With their elaborately illuminated manuscripts, these masters completely dominated book production in the County of Holland during the late fifteenth and early sixteenth centuries. Their work is characterized by an overwhelming wealth of decorative and pictorial richness, which is especially evident in the unusually ornate programmes of the Books of Hours, and a new type of border decoration derived from the Ghent-Bruges School. This style of painting was practised by many artists of differing talents, as demonstrated by the large number of surviving manuscripts. Not all of the illuminators worked in Holland. Some of them settled in the Southern Netherlands, others emigrated to England, where they illuminated manuscripts for members of the English court. This monograph seeks to order, analyze and evaluate the work of the Masters of the Dark Eyes, and to position their achievements within the context of book illumination in the Northern Netherlands during the 'Waning of the Middle Ages'. It explores a virtually uncharted territory of Dutch manuscript painting. The accompanying descriptive catalogue provides complementary information on more than 70 manuscripts, many of which have never been published at length before. The work is illustrated with a wide selection of colour and black-and-white reproductions.

The author is Helen Gould Sheppard Professor of Art History at New York University , Institute of Fine Arts, and a leading authority on English medieval manuscript illumination. This volume bring together twenty-six of Professor Sandler's studies, focusing on illustrated manuscripts produced in England in the thirteenth and fourteenth centuries, particularly on the illuminated psalters. The marginal illustrations in these psalters are a topic of particular interest, and there are a number of iconographic studies derived from this material. A separate section deals with the illustrated encyclopedias of the period, particularly the Omne bonum.

The study of early drama has undergone a quiet revolution in the last four decades, radically altering critical approaches to form, genre, and canon. Drawing on disciplines from art history to musicology and reception studies, The Routledge Research Companion to Early Drama and Performance reconsiders early "drama" as a mixed mode entertainment best studied not only alongside non-dramatic texts, but also other modes of performance. From performance before the playhouse to the afterlife of medieval drama in the contemporary avant-garde, this stunning collection of essays is divided into four sections: Northern European Playing before the Playhouse; Modes of Production and Reception; Reviewing the Anglophone Tradition; The Long Middle Ages Offering a much needed reassessment of what is generally understood as "English medieval drama", The Routledge Research Companion to Early Drama and Performance provides an invaluable resource for both students and scholars of medieval studies.

From the contents:00Part I: Allegorical Dream-Visions and Debate Poems Jonathan Morton, 'Friars in love: Manuscript illumination as literary commentary in three fourteenth-century manuscripts of the Roman de la rose' (Paris, BnF, MS .25526; Baltimore, Walters, MS W. 143;London, BL, MS Royal 19 B XIII) - Emma Cayley, ‘Entre deux sommes’: Imagining desire in the songe de la Pucelle' - HelenJ. Swi , 'Limits of representation in late fifteenth-century Burgundy: What the eye doesn’t hear and the ear doesn’t see'. 00Part II: 'Burgundian prose narratives' Dominique Lagorgette, 'Staging transgression rough text and image: Violence and nudity in the cent nouvelles nouvelles'(Glasgow, University Library, MS Hunter252, and Vérard 1486 and 1498) – Rebecca Dixon, 'The Roman de Buscalus; or, the artof not being French' – Rosalind Brown-Grant, 'Personal drama or chivalric spectacle? The reception of the Roman d’Olivier de Castille in the illuminations of the Wavrin aster and Loyset Liédet'00Part III: Reworkings of classical and Medieval auctores' J. Chimène Bateman, 'The hybrid art of the compiler: Text/Image relations in the Ovidemoralisé of Colard Mansion' – KathleenWilson-Chevalier, 'Proliferating narratives: Texts, images, and (Mostly Female) dedicatees in a few héroïdes productions' – Elizabeth L’Estrange, 'Re-Presenting Emilia in the context of the Querelle des femmes: Text and image in Anne de Graville’s Beau Roman list of manuscripts and early printed editions'

This collection of essays focuses on the way blurred boundaries are represented in pre-modern texts and visual art and how they were received and perceived by their audiences: readers, listeners, and viewers. According to the current understanding that opposing cognitive categories that are so common in modern thinking do not apply to pre-modern mentalities, we argue that individuals in medieval and pre-modern societies did not necessarily consider sacred and secular, male and female, real and fictional, and opposing emotions as absolute dichotomies. The contributors to the present collection examine a wide range of cultural artifacts – literary texts, wall paintings, sculptures, jewelry, manuscript illustrations, and various objects as to what they reflect regarding the dominant perceptual system – the network of beliefs, worldviews, presumptions, values, and norms of viewing/reading/hearing different from modern epistemology strongly predicated on the binary nature of things and people. The essays suggest that analyzing pre-modern cultural works of art or literature in light of reception theory can lead to a better understanding of how those cultural products influenced individuals and impacted their thoughts and actions.