Julian Luxford – författare

This book is an outcome of the summer conference on the theme Newcastle and Northumberland. It examines the heritage of north-eastern England ranging from the sculpture of the Roman occupation through the monuments and architecture of the Anglo-Saxon and Norman periods.

This book is an outcome of the summer conference on the theme Newcastle and Northumberland. It examines the heritage of north-eastern England ranging from the sculpture of the Roman occupation through the monuments and architecture of the Anglo-Saxon and Norman periods.

The first broad and long study of a major aspect of British medieval art, examining the historical relationships between medieval drawings and books.The art of drawing and its products had a determining relationship to the visual arts of the Middle Ages. They also had other purposes, which if understood, help one to grasp the broader availability and usefulness of the medium. This groundbreaking study deals particularly with the historical relationships between medieval drawings and books. Using a wide range of material and documentary evidence, it explains how book-bound drawings may be defined, classified, and understood in relation to their physical settings and the ends they were made to serve. In orientation, the study is primarily art historical: most of its arguments emerge from curiosity about the psychology and experience of making drawn images. As such, it tackles a surprisingly neglected field. Because it deals with a pervasive aspect of book-design, it also makes a basic contribution to medieval codicology. There are six substantial chapters, the first two dealing with the definition of drawings, existing scholarly approaches to them, and issues of artistic status and agency. These lay the groundwork for the rest of the study, which analyses the placement of drawings at the fronts and backs of books (chapters 3, 4), and drawings embedded in the bodies of manuscripts that were mainly devoted to text (chapters 5, 6). Drawing emerges as an accessible, flexible medium of expression to rank with writing.

Analysis of the patronage of Benedictine monasteries has much to reveal about both monastic life and material culture of the time.The patronage of Benedictine art and architecture, and the circumstances that made it possible and desirable, reveal much about the ambitions, beliefs and allegiances of both the order and those who interacted with it; moreover, analysis of such patronage also improves our understanding of some of the most important and beautiful buildings, sculpture, illuminated manuscripts, stained glass and other artefacts surviving from the middle ages.In this survey,focussing on the Benedictine monasteries and nunneries in south-west England (including Glastonbury) during the 240 years leading up to the dissolution of the religious orders under Henry VIII, the author discusses the question interms of "internal" practice, initiated by Benedictine monks and nuns, and "external" practice, for which non-monastic agents were responsible; and analyses the historical circumstances affecting the commission and the purchase of art and architecture. Throughout, he takes care to situate the study of buildings and their embellishment within the broader context of Benedictine culture. The text is lavishly illustrated with forty-five black and white platesof art, architecture and documents, many of which have not previously been reproduced.Dr JULIAN M. LUXFORD is Senior Lecturer at the School of Art History, St Andrews University.

This book is an outcome of the summer conference on the theme Newcastle and Northumberland. It examines the heritage of north-eastern England ranging from the sculpture of the Roman occupation through the monuments and architecture of the Anglo-Saxon and Norman periods.