Meredith Lillich | Syracuse University (original) (raw)
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Papers by Meredith Lillich
Codex aquilarensis: Cuadernos de investigación del Monasterio de Santa María la Real, 2019
The Medieval Review, Feb 1, 2014
BRILL eBooks, Jun 3, 2019
The Medieval Review, 2016
Art Bulletin, Mar 1, 1978
An academic directory and search engine.
French History, Nov 15, 2016
Both 'identity' and the Saxons have long held special places in the study of the early Middle Age... more Both 'identity' and the Saxons have long held special places in the study of the early Middle Ages, not least because they intersect in discussions of the origins of modern Germany, although more recent studies have tended to problematize this intersection. That the title of this monograph, Flierman's first, contains Identities in the plural is the first clue that it is part of this problematization. Although Flierman does not explicitly connect his study to the origins of modern Germany, it is his aim to break down previously held assumptions about the continuity of Saxon identity in the period from the earliest references to Saxons in Roman sources to the consolidation of Saxon self-identification in the ninth century. Indeed, Flierman's central thesis is that there was no such continuity beyond the imaginations of those who wrote about Saxons-whether they themselves were Saxons or not. In this sense, Flierman is part of an emergent historiographical movement of scholars who seek to write about early medieval identities not by viewing them as historical facts, nor even by seeking Traditionskerne that survived down the years, but rather by taking each reference to an ethnic group as part of an ongoing discourse about that identity. Chapter 1 acts as an introduction which lays out the current 'state of play' for studies of the Saxons and early medieval identities, while a conclusion serves to summarize Flierman's findings. Between these the book is divided into two parts, each consisting of two chapters. The first part addresses descriptions of Saxons as outsiders in texts by Roman and Merovingian authors. The second takes Charlemagne's Saxon Wars as the decisive turning point in the history of Saxon identity, and addresses descriptions of Saxons first by Carolingian authors writing from a Frankish perspective during the wars and second by those who identified as Saxon writing after the conquest and Christianization of Saxony. Such a chapter division is not a slavish adherence to modern notions of periodization, but rather serves to demonstrate genuine changes in the perception of the term 'Saxon' as a marker of identity, although as with any longue durée study there are also important elements of continuity. In chapter 2, 'The Most Ferocious of Enemies', Flierman examines references to Saxons in texts by Roman authors, beginning with Ptolemy's Geographia in 150 and following through to Sidonius Apollinaris and Gildas at the end of the western Roman empire. Flierman observes a notable gap between Ptolemy's reference and an increased interest in the Saxons in the fourth century which
The Medieval Review, Jun 1, 2013
The Medieval Review, 2013
... Library of Congress Cataloging-in-Publication Data Lillich, Meredith Parsons, 1932– The Gothi... more ... Library of Congress Cataloging-in-Publication Data Lillich, Meredith Parsons, 1932– The Gothic Stained Glass of Reims Cathedral/ Meredith Parsons Lillich. p. cm. ... 119. Cain murdering Abel (north rose, G-3) (photo: Jacques Philippot; Région Champagne-Ardenne). 120. ...
Choice Reviews Online, 1995
Page 1. The Armor STAINED GLASS IN WESTERN FRANCE, 1250^-1325 Meredith Parsons Lillich |gP«i» 2MI... more Page 1. The Armor STAINED GLASS IN WESTERN FRANCE, 1250^-1325 Meredith Parsons Lillich |gP«i» 2MI ■ * » Page 2. The Armor STAINED GLASS IN WESTERN FRANCE, 1250^-1325 Meredith Parsons Lillich |gP«i» 2MI ■ * » Page 3. ...
Arte Medievale, 2003
The north transept rose window of Reims Cathedral, description, history, sources, iconography, pl... more The north transept rose window of Reims Cathedral, description, history, sources, iconography, place in the stained-glass glazing of the cathedral, dating, purposes.
Speculum, 2005
The last isomorphism holds because T is a maximal subtree of Γ with 1.1.5. And we have H 0 pπ ab ... more The last isomorphism holds because T is a maximal subtree of Γ with 1.1.5. And we have H 0 pπ ab 1 pY rs q, Aq kerpd 0 q{ impd 1 q ¡ π ab 1 pY r0s q H © { impd 1 q. Now consider the exact sequence 0 Ñ ¡ π ab 1 pY r0s q H © { impd 1 q Ñ H{ impd 1 q ω Ñ ¡ π ab 1 pY r0s q H © {π ab 1 pY r0s q Ñ 0. Because H impd 1 q, impcocq we have a surjection coc : à f Γ 2Ẑ H{ impd 1 q.
Lillch discusses all aspects of stained glass produced in France during the Gothic era. As well a... more Lillch discusses all aspects of stained glass produced in France during the Gothic era. As well as analysing the iconography, style and hagiography of these major works of art, Lillich also considers glaziers, specific glazing techniques, grisaille and displaced panels. The papers study regional traditions, such as in Normandy, Aquitaine, Lorraine and Champagne, and the significant developments in stained glass during the late Capetian period.
Gesta, 2007
Among the transept clerestories of Reims Cathedral, glazed in grisaille, is one containing four s... more Among the transept clerestories of Reims Cathedral, glazed in grisaille, is one containing four spolia: the Virgin and Child, an enthroned archbishop-saint, John the Baptist, and a facade-image designated as Reims Cathedral. The location of these spolia is somewhat obscure: the west wal! of the south transept. Scholars have held that these windows originally glazed the Gothic cathedral's axial bay and were replaced bv Archbishop Henri de Braine (d. 1240), whose image now appears there. This study proposes that the spolia were part of the embellishment of the facade abut 1220 in anticipation of Louis VIII's coronation. The Gothic cathedral had by then been under construction for a decade, but the earlier facade built by Archbishop Samson still stood; the original plan was to join it to a new Gothic nave. When later it was decided to replace the facade, the baptismal font--at Reims always at the west--had to be moved. It was relocated to the west aisle of the south transept, directly beneath the present location of the four spolia. Samson's facade, which was copied at Sainit-Remi, probably had five lights, but only four spolia could be accommodated in the new location. The fifth, lost, probably represented Clovis in his baptismal tub--an unusual detail that was included with the enthroned archbishop-saint Remi on the abbey's new seal of 1219. Proposed as models for the remaining spolia are seals of other Reims authorities: the chapter, the archdeacon who assumed an absent archbishop's duties, and the chapter sede vacante. In 1219-20 the cathedral was again sede vacante, and it is proposed that the chapter's goal in embellishing Samson's facade with these icons of power was to reinforce Reims' privilege as coronation site--with or without an archbishop in residence.
Codex aquilarensis: Cuadernos de investigación del Monasterio de Santa María la Real, 2019
The Medieval Review, Feb 1, 2014
BRILL eBooks, Jun 3, 2019
The Medieval Review, 2016
Art Bulletin, Mar 1, 1978
An academic directory and search engine.
French History, Nov 15, 2016
Both 'identity' and the Saxons have long held special places in the study of the early Middle Age... more Both 'identity' and the Saxons have long held special places in the study of the early Middle Ages, not least because they intersect in discussions of the origins of modern Germany, although more recent studies have tended to problematize this intersection. That the title of this monograph, Flierman's first, contains Identities in the plural is the first clue that it is part of this problematization. Although Flierman does not explicitly connect his study to the origins of modern Germany, it is his aim to break down previously held assumptions about the continuity of Saxon identity in the period from the earliest references to Saxons in Roman sources to the consolidation of Saxon self-identification in the ninth century. Indeed, Flierman's central thesis is that there was no such continuity beyond the imaginations of those who wrote about Saxons-whether they themselves were Saxons or not. In this sense, Flierman is part of an emergent historiographical movement of scholars who seek to write about early medieval identities not by viewing them as historical facts, nor even by seeking Traditionskerne that survived down the years, but rather by taking each reference to an ethnic group as part of an ongoing discourse about that identity. Chapter 1 acts as an introduction which lays out the current 'state of play' for studies of the Saxons and early medieval identities, while a conclusion serves to summarize Flierman's findings. Between these the book is divided into two parts, each consisting of two chapters. The first part addresses descriptions of Saxons as outsiders in texts by Roman and Merovingian authors. The second takes Charlemagne's Saxon Wars as the decisive turning point in the history of Saxon identity, and addresses descriptions of Saxons first by Carolingian authors writing from a Frankish perspective during the wars and second by those who identified as Saxon writing after the conquest and Christianization of Saxony. Such a chapter division is not a slavish adherence to modern notions of periodization, but rather serves to demonstrate genuine changes in the perception of the term 'Saxon' as a marker of identity, although as with any longue durée study there are also important elements of continuity. In chapter 2, 'The Most Ferocious of Enemies', Flierman examines references to Saxons in texts by Roman authors, beginning with Ptolemy's Geographia in 150 and following through to Sidonius Apollinaris and Gildas at the end of the western Roman empire. Flierman observes a notable gap between Ptolemy's reference and an increased interest in the Saxons in the fourth century which
The Medieval Review, Jun 1, 2013
The Medieval Review, 2013
... Library of Congress Cataloging-in-Publication Data Lillich, Meredith Parsons, 1932– The Gothi... more ... Library of Congress Cataloging-in-Publication Data Lillich, Meredith Parsons, 1932– The Gothic Stained Glass of Reims Cathedral/ Meredith Parsons Lillich. p. cm. ... 119. Cain murdering Abel (north rose, G-3) (photo: Jacques Philippot; Région Champagne-Ardenne). 120. ...
Choice Reviews Online, 1995
Page 1. The Armor STAINED GLASS IN WESTERN FRANCE, 1250^-1325 Meredith Parsons Lillich |gP«i» 2MI... more Page 1. The Armor STAINED GLASS IN WESTERN FRANCE, 1250^-1325 Meredith Parsons Lillich |gP«i» 2MI ■ * » Page 2. The Armor STAINED GLASS IN WESTERN FRANCE, 1250^-1325 Meredith Parsons Lillich |gP«i» 2MI ■ * » Page 3. ...
Arte Medievale, 2003
The north transept rose window of Reims Cathedral, description, history, sources, iconography, pl... more The north transept rose window of Reims Cathedral, description, history, sources, iconography, place in the stained-glass glazing of the cathedral, dating, purposes.
Speculum, 2005
The last isomorphism holds because T is a maximal subtree of Γ with 1.1.5. And we have H 0 pπ ab ... more The last isomorphism holds because T is a maximal subtree of Γ with 1.1.5. And we have H 0 pπ ab 1 pY rs q, Aq kerpd 0 q{ impd 1 q ¡ π ab 1 pY r0s q H © { impd 1 q. Now consider the exact sequence 0 Ñ ¡ π ab 1 pY r0s q H © { impd 1 q Ñ H{ impd 1 q ω Ñ ¡ π ab 1 pY r0s q H © {π ab 1 pY r0s q Ñ 0. Because H impd 1 q, impcocq we have a surjection coc : à f Γ 2Ẑ H{ impd 1 q.
Lillch discusses all aspects of stained glass produced in France during the Gothic era. As well a... more Lillch discusses all aspects of stained glass produced in France during the Gothic era. As well as analysing the iconography, style and hagiography of these major works of art, Lillich also considers glaziers, specific glazing techniques, grisaille and displaced panels. The papers study regional traditions, such as in Normandy, Aquitaine, Lorraine and Champagne, and the significant developments in stained glass during the late Capetian period.
Gesta, 2007
Among the transept clerestories of Reims Cathedral, glazed in grisaille, is one containing four s... more Among the transept clerestories of Reims Cathedral, glazed in grisaille, is one containing four spolia: the Virgin and Child, an enthroned archbishop-saint, John the Baptist, and a facade-image designated as Reims Cathedral. The location of these spolia is somewhat obscure: the west wal! of the south transept. Scholars have held that these windows originally glazed the Gothic cathedral's axial bay and were replaced bv Archbishop Henri de Braine (d. 1240), whose image now appears there. This study proposes that the spolia were part of the embellishment of the facade abut 1220 in anticipation of Louis VIII's coronation. The Gothic cathedral had by then been under construction for a decade, but the earlier facade built by Archbishop Samson still stood; the original plan was to join it to a new Gothic nave. When later it was decided to replace the facade, the baptismal font--at Reims always at the west--had to be moved. It was relocated to the west aisle of the south transept, directly beneath the present location of the four spolia. Samson's facade, which was copied at Sainit-Remi, probably had five lights, but only four spolia could be accommodated in the new location. The fifth, lost, probably represented Clovis in his baptismal tub--an unusual detail that was included with the enthroned archbishop-saint Remi on the abbey's new seal of 1219. Proposed as models for the remaining spolia are seals of other Reims authorities: the chapter, the archdeacon who assumed an absent archbishop's duties, and the chapter sede vacante. In 1219-20 the cathedral was again sede vacante, and it is proposed that the chapter's goal in embellishing Samson's facade with these icons of power was to reinforce Reims' privilege as coronation site--with or without an archbishop in residence.