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Common Knowledge 30:1, 2024
In her introduction to Fragmentation and Redemption (1991), Caroline Bynum laid out a methodology... more In her introduction to Fragmentation and Redemption (1991), Caroline Bynum laid out a methodology for historical writing that celebrated the fragmentary while acknowledging the challenges that an incomplete record poses to interpreters. 1 Historians who train their eyes on the written testimonies of long-dead people's lives and thoughts confront not only substantial gaps in the archive but also silences, elisions, and digressions within the sources themselves. As Professor Bynum often reminded us in the classroom, medieval writers rarely tell us the things we are most eager to know-and the points where we feel most surprised, confused, or frustrated are precisely the ones that beg further investigation, for such passages throw light on the assumptions and expectations of our own that might be obscuring what was most important to people of the past. Historians of medieval art face a different version of this challenge. With precious few exceptions, the makers of manuscript paintings, jeweled reliquaries, and Gothic cathedrals left us no writings at all to tell us what they were thinking, where and how they received their technical training, how they learned the narra-1. Bynum, "In Praise of Fragments."
Kunstgeschichte(n). Festschrift für Stephan Albrecht, ed. Katharina Christa Schüppel und Magdalena Tebel (Bamberg: University of Bamberg Press), 2023
, not long before people's movement through the world came to a halt, a session at the Forum Kuns... more , not long before people's movement through the world came to a halt, a session at the Forum Kunst des Mittelalters conference in Bern explored medieval artworks as "Bridges to Transcendence". Covering a wide range of topics-prayers inscribed on the frames of Georgian icons, spatial dynamics in a two-story German chapel, depictions of sacred mountains in Byzantine cosmological diagrams, and the rendering of divine revelation in manuscript illuminations and engravings-the speakers explored the manifold ways that medieval Christian art could be an instrument in the "process of transfer between earthly and heavenly spheres." 1 The question I posed there, and explore in the present paper, was more pedestrian. How did Europeans in the age of Gothic cathedrals, so preoccupied with preparing themselves for a happy afterlife, imagine that their newly reassembled and re-ensouled bodies would get from earth to heaven? Classic rock fans today know that you take a stairway to heaven and a highway to hell, and that is indeed what late Gothic painters such as Stefan Lochner (Figure 1), Hans Memling, and Rogier van der Weyden tended to picture-though in their images the way to hell is often less a road than just a rupture in the ground. Thirteenth-century stone sculptors had a different answer, one bound to the distinctive character of their medium, the pre-established formatting of their designs, and the site of installation for their works. How did people get to heaven? In some of the grandest portals of Gothic cathedrals, they simply walked. 1 "Brücken zum Jenseits: Mittelalterliche Kunstwerke in Transferprozessen zwischen irdischer und himmlischer Sphäre," organized by David Ganz, Sophie Schweinfurth, and Katharina Theil.
British Art Studies, Apr 3, 2017
In their later medieval heyday, choir screens were pivotal centerpieces and focalisers of their s... more In their later medieval heyday, choir screens were pivotal centerpieces and focalisers of their sacred environments. Embellished with figural imagery; outfitted with platforms, pulpits, and altars; and rendered visually porous by the presence of large doors and windows, screens at once defined liturgical zones and provided a unifying bridge between them. This presentation offers an analysis of two extant screens: the early thirteenth-century structure in the abbey church of St Maria in Vezzolano, and the late fifteenth-century example in the church of St Stephen in Breisach. Though very different in format and decoration, both screens act as mediators-physical, visual, and conceptual-between the functional spaces and pictorial programmes in the apses (eastern ends) and exterior thresholds (western ends) of their respective churches. This presentation seeks to reveal the dynamic, mutually reinforcing relations among choir screens, the spaces they inhabited, and the liturgical objects that animated those zones.
How Do Images Work? Strategies of Visual Communication in Medieval Art, ed. Christine Beier, Tim Juckes, and Assaf Pinkus (Turnhout: Brepols), 2021
First presented at a colloquium in Vienna in honor of Prof. Michael Viktor Schwarz, this essay sy... more First presented at a colloquium in Vienna in honor of Prof. Michael Viktor Schwarz, this essay synthesizes the much longer analyses of the Naumburg donor figures that appear as Chapters 5 and 6 of my book Eloquent Bodies, and adds a discussion of medieval pigeon-lore and imagery.
Vorträge aus dem Warburg-Haus 14, 2020
Willibald Sauerländer und die Kunstgeschichte, ed. Franz Hefele and Ulrich Pfisterer (Passau: Klinger) , 2022
Material Religion, 2017
engagement with recent evidence from arguably the most famous Roman sacred grove, that of Diana a... more engagement with recent evidence from arguably the most famous Roman sacred grove, that of Diana at Nemi where pilgrims hung offerings from branches and from where the now infamous myth of the rex Nemorensis and the so-called “golden bough” originates. This is perhaps a consequence of Hunt’s emphasis on the power of trees in the imagination, rather than in lived experience. There is also a tendency at times to over-emphasize the significance of observations derived from one tree or one case study, and to extend these uncritically to “the Roman imagination,” “Roman thinking,” “Roman thinkers,” and “the Roman world” when it is not always clear that this wider application is sustainable. Despite this, however, the book demands to be read by anyone serious about “reviving Roman religion.”
The Medieval Review, 2015
Journal of Religion, 2004
Eloquent Bodies: Movement, Expression, and the Human Figure in Gothic Sculpture, 2020
A Companion to Medieval Art: Romanesque and Gothic in Northern Europe, 2nd edition, ed. Conrad Rudolph, 2019
The Agency of Things in Medieval and Early Modern Art: Materials, Power and Manipulation, ed. Grażyna Jurkowlaniec, Ika Matyjaszkiewicz, and Zuzanna Sarnecka (New York: Routledge), 173-96. , 2018
The Art and Science of Medieval Church Screens: Making, Meaning, Preserving, ed. Spike Bucklow, Richard Marks, and Lucy Wrapson , 2017
From: Theologisches Wissen und die Kunst: Festschrift für Martin Büchsel, ed. Rebecca Müller, Ans... more From: Theologisches Wissen und die Kunst: Festschrift für Martin Büchsel, ed. Rebecca Müller, Anselm Rau, and Johanna Scheel (Berlin: Mann, 2015), 369-82.
Beyond the Yellow Badge, 2007
Common Knowledge 30:1, 2024
In her introduction to Fragmentation and Redemption (1991), Caroline Bynum laid out a methodology... more In her introduction to Fragmentation and Redemption (1991), Caroline Bynum laid out a methodology for historical writing that celebrated the fragmentary while acknowledging the challenges that an incomplete record poses to interpreters. 1 Historians who train their eyes on the written testimonies of long-dead people's lives and thoughts confront not only substantial gaps in the archive but also silences, elisions, and digressions within the sources themselves. As Professor Bynum often reminded us in the classroom, medieval writers rarely tell us the things we are most eager to know-and the points where we feel most surprised, confused, or frustrated are precisely the ones that beg further investigation, for such passages throw light on the assumptions and expectations of our own that might be obscuring what was most important to people of the past. Historians of medieval art face a different version of this challenge. With precious few exceptions, the makers of manuscript paintings, jeweled reliquaries, and Gothic cathedrals left us no writings at all to tell us what they were thinking, where and how they received their technical training, how they learned the narra-1. Bynum, "In Praise of Fragments."
Kunstgeschichte(n). Festschrift für Stephan Albrecht, ed. Katharina Christa Schüppel und Magdalena Tebel (Bamberg: University of Bamberg Press), 2023
, not long before people's movement through the world came to a halt, a session at the Forum Kuns... more , not long before people's movement through the world came to a halt, a session at the Forum Kunst des Mittelalters conference in Bern explored medieval artworks as "Bridges to Transcendence". Covering a wide range of topics-prayers inscribed on the frames of Georgian icons, spatial dynamics in a two-story German chapel, depictions of sacred mountains in Byzantine cosmological diagrams, and the rendering of divine revelation in manuscript illuminations and engravings-the speakers explored the manifold ways that medieval Christian art could be an instrument in the "process of transfer between earthly and heavenly spheres." 1 The question I posed there, and explore in the present paper, was more pedestrian. How did Europeans in the age of Gothic cathedrals, so preoccupied with preparing themselves for a happy afterlife, imagine that their newly reassembled and re-ensouled bodies would get from earth to heaven? Classic rock fans today know that you take a stairway to heaven and a highway to hell, and that is indeed what late Gothic painters such as Stefan Lochner (Figure 1), Hans Memling, and Rogier van der Weyden tended to picture-though in their images the way to hell is often less a road than just a rupture in the ground. Thirteenth-century stone sculptors had a different answer, one bound to the distinctive character of their medium, the pre-established formatting of their designs, and the site of installation for their works. How did people get to heaven? In some of the grandest portals of Gothic cathedrals, they simply walked. 1 "Brücken zum Jenseits: Mittelalterliche Kunstwerke in Transferprozessen zwischen irdischer und himmlischer Sphäre," organized by David Ganz, Sophie Schweinfurth, and Katharina Theil.
British Art Studies, Apr 3, 2017
In their later medieval heyday, choir screens were pivotal centerpieces and focalisers of their s... more In their later medieval heyday, choir screens were pivotal centerpieces and focalisers of their sacred environments. Embellished with figural imagery; outfitted with platforms, pulpits, and altars; and rendered visually porous by the presence of large doors and windows, screens at once defined liturgical zones and provided a unifying bridge between them. This presentation offers an analysis of two extant screens: the early thirteenth-century structure in the abbey church of St Maria in Vezzolano, and the late fifteenth-century example in the church of St Stephen in Breisach. Though very different in format and decoration, both screens act as mediators-physical, visual, and conceptual-between the functional spaces and pictorial programmes in the apses (eastern ends) and exterior thresholds (western ends) of their respective churches. This presentation seeks to reveal the dynamic, mutually reinforcing relations among choir screens, the spaces they inhabited, and the liturgical objects that animated those zones.
How Do Images Work? Strategies of Visual Communication in Medieval Art, ed. Christine Beier, Tim Juckes, and Assaf Pinkus (Turnhout: Brepols), 2021
First presented at a colloquium in Vienna in honor of Prof. Michael Viktor Schwarz, this essay sy... more First presented at a colloquium in Vienna in honor of Prof. Michael Viktor Schwarz, this essay synthesizes the much longer analyses of the Naumburg donor figures that appear as Chapters 5 and 6 of my book Eloquent Bodies, and adds a discussion of medieval pigeon-lore and imagery.
Vorträge aus dem Warburg-Haus 14, 2020
Willibald Sauerländer und die Kunstgeschichte, ed. Franz Hefele and Ulrich Pfisterer (Passau: Klinger) , 2022
Material Religion, 2017
engagement with recent evidence from arguably the most famous Roman sacred grove, that of Diana a... more engagement with recent evidence from arguably the most famous Roman sacred grove, that of Diana at Nemi where pilgrims hung offerings from branches and from where the now infamous myth of the rex Nemorensis and the so-called “golden bough” originates. This is perhaps a consequence of Hunt’s emphasis on the power of trees in the imagination, rather than in lived experience. There is also a tendency at times to over-emphasize the significance of observations derived from one tree or one case study, and to extend these uncritically to “the Roman imagination,” “Roman thinking,” “Roman thinkers,” and “the Roman world” when it is not always clear that this wider application is sustainable. Despite this, however, the book demands to be read by anyone serious about “reviving Roman religion.”
The Medieval Review, 2015
Journal of Religion, 2004
Eloquent Bodies: Movement, Expression, and the Human Figure in Gothic Sculpture, 2020
A Companion to Medieval Art: Romanesque and Gothic in Northern Europe, 2nd edition, ed. Conrad Rudolph, 2019
The Agency of Things in Medieval and Early Modern Art: Materials, Power and Manipulation, ed. Grażyna Jurkowlaniec, Ika Matyjaszkiewicz, and Zuzanna Sarnecka (New York: Routledge), 173-96. , 2018
The Art and Science of Medieval Church Screens: Making, Meaning, Preserving, ed. Spike Bucklow, Richard Marks, and Lucy Wrapson , 2017
From: Theologisches Wissen und die Kunst: Festschrift für Martin Büchsel, ed. Rebecca Müller, Ans... more From: Theologisches Wissen und die Kunst: Festschrift für Martin Büchsel, ed. Rebecca Müller, Anselm Rau, and Johanna Scheel (Berlin: Mann, 2015), 369-82.
Beyond the Yellow Badge, 2007
Speculum 98, no. 4, 2023
size of the volume is manageable, especially when it is (eventually) grouped together with the ot... more size of the volume is manageable, especially when it is (eventually) grouped together with the other nine of the series. The authors were generally cognizant of tired tropes and, where necessary and possible, steered away from the usual methodologies and metaphors to create their own re-readings of the novelle. While on the subject of methodology, the collection employs the following (to name a few): historiography, feminism, politics, geopolitics, translation criticism, genealogy, etymology, biology (ornithology), religion, epistemology, economics, law, and ethics. The volume's strengths lie in its ease of reading, pacing, humor, personal viewpoints, conversational tones, organization, ample comparison to Boccaccio's other works as well as to other writers (Dante in particular), and an excellent, exhaustive apparatus ranging from ancient to modern sources. Errata are very few: "geneaology" (21 n. 7), "narrate" (instead of "narrative," 26); Marilyn Migiel has noted others in her review in Forum Italicum 56/3 (2022). Finally, while the Lectura Boccaccii project is steadfastly (and reasonably) dedicated to the preservation of some of the most revered, veteran voices in the field, future volumes could greatly benefit from increased collaboration with, and inclusion of, newcomers to Boccaccio studies. As it stands, this collection of studies is an excellent contribution to the continued project and to Boccaccio studies as a whole.
Published in The Medieval Review, 17.07.06
The Journal of Religion, Jan 1, 2007
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, a... more JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.
The Journal of British Studies, Jan 1, 2008
The Journal of Religion, Jan 1, 2004
In: sehepunkte 13 (2013), Nr. 6 [15.06.2013].
ELOQUENT BODIES: MOVEMENT, EXPRESSION, AND THE HUMAN FIGURE IN GOTHIC SCULPTURE, 2020
ELOQUENT BODIES: MOVEMENT, EXPRESSION, AND THE HUMAN FIGURE IN GOTHIC SCULPTURE, 2020
ELOQUENT BODIES: MOVEMENT, EXPRESSION, AND THE HUMAN FIGURE IN GOTHIC SCULPTURE, 2020