Richard Plant – författare

The 23 chapters in this volume explore the material culture of sanctity in Latin Europe and the Mediterranean between c. 1000 and c. 1220, with a focus on the ways in which saints and relics were enshrined, celebrated, and displayed.Reliquary cults were particularly important during the Romanesque period, both as a means of affirming or promoting identity and as a conduit for the divine. This book covers the geography of sainthood, the development of spaces for reliquary display, the distribution of saints across cities, the use of reliquaries to draw attention to the attributes, and the virtues or miracle-working character of particular saints. Individual essays range from case studies on Verona, Hildesheim, Trondheim and Limoges, the mausoleum of Lazarus at Autun, and the patronage of Mathilda of Canossa, to reflections on local pilgrimage, the deployment of saints as physical protectors, the use of imagery where possession of a saint was disputed, island sanctuaries, and the role of Templars and Hospitallers in the promotion of relics from the Holy Land. This book will serve historians and archaeologists studying the Romanesque period, and those interested in material culture and religious practice in Latin Europe and the Mediterranean c.1000–c.1220.

The 23 chapters in this volume explore the material culture of sanctity in Latin Europe and the Mediterranean between c. 1000 and c. 1220, with a focus on the ways in which saints and relics were enshrined, celebrated, and displayed.Reliquary cults were particularly important during the Romanesque period, both as a means of affirming or promoting identity and as a conduit for the divine. This book covers the geography of sainthood, the development of spaces for reliquary display, the distribution of saints across cities, the use of reliquaries to draw attention to the attributes, and the virtues or miracle-working character of particular saints. Individual essays range from case studies on Verona, Hildesheim, Trondheim and Limoges, the mausoleum of Lazarus at Autun, and the patronage of Mathilda of Canossa, to reflections on local pilgrimage, the deployment of saints as physical protectors, the use of imagery where possession of a saint was disputed, island sanctuaries, and the role of Templars and Hospitallers in the promotion of relics from the Holy Land. This book will serve historians and archaeologists studying the Romanesque period, and those interested in material culture and religious practice in Latin Europe and the Mediterranean c.1000–c.1220.

The Regional and Transregional in Romanesque Europe considers the historiography and usefulness of regional categories and in so doing explores the strength, durability, mutability, and geographical scope of regional and transregional phenomena in the Romanesque period.This book addresses the complex question of the significance of regions in the creation of Romanesque, particularly in relation to transregional and pan-European artistic styles and approaches. The categorization of Romanesque by region was a cornerstone of 19th- and 20th-century scholarship, albeit one vulnerable to the application of anachronistic concepts of regional identity. Individual chapters explore the generation and reception of forms, the conditions that give rise to the development of transregional styles and the agencies that cut across territorial boundaries. There are studies of regional styles in Aquitaine, Castile, Sicily, Hungary, and Scandinavia; workshops in Worms and the Welsh Marches; the transregional nature of liturgical furnishings; the cultural geography of the new monastic orders; metalworking in Hildesheim and the valley of the Meuse; and the links which connect Piemonte with Conques.The Regional and Transregional in Romanesque Europe offers a new vision of regions in the creation of Romanesque relevant to archaeologists, art historians, and historians alike.

The Regional and Transregional in Romanesque Europe considers the historiography and usefulness of regional categories and in so doing explores the strength, durability, mutability, and geographical scope of regional and transregional phenomena in the Romanesque period.This book addresses the complex question of the significance of regions in the creation of Romanesque, particularly in relation to transregional and pan-European artistic styles and approaches. The categorization of Romanesque by region was a cornerstone of 19th- and 20th-century scholarship, albeit one vulnerable to the application of anachronistic concepts of regional identity. Individual chapters explore the generation and reception of forms, the conditions that give rise to the development of transregional styles and the agencies that cut across territorial boundaries. There are studies of regional styles in Aquitaine, Castile, Sicily, Hungary, and Scandinavia; workshops in Worms and the Welsh Marches; the transregional nature of liturgical furnishings; the cultural geography of the new monastic orders; metalworking in Hildesheim and the valley of the Meuse; and the links which connect Piemonte with Conques.The Regional and Transregional in Romanesque Europe offers a new vision of regions in the creation of Romanesque relevant to archaeologists, art historians, and historians alike.

Roman Silver Coins - A Price guide is an aid to identifying and valuing Roman silver coins struck from before 211BC to about 500AD.

Romanesque and the Year 1000 examines the art and architecture of the Latin West between c. 970 and c. 1030, a period which witnessed crucial developments in iconography and stylistic expression across a wide range of media.Despite the complex political situation in late 10th-century Europe – a period marked by chaos in some areas and the effective exercise of authority in others – the last quarter of the century saw an apparent upsurge in artistic production in the Empire, southern Britain, Lombardy, the Alps, and the Mediterranean, albeit one whose survival rate is low. The decades after the millennium have left a larger residue of work, notably in France, Catalonia and northern Italy, but were the 1020s artistically more dynamic than the 980s? How might we describe the cultural climate of the Latin West between c. 970 and c. 1030? Individual chapters examine the influence of Carolingian art on artistic production around 1000; the emergence of new approaches to architecture in France, Germany, England and northern Italy; and the response of artists to perceived order and disorder at the turn of the millennium. There are studies of architectural sculpture in Catalonia and Castile, new town foundation in Saxony, and monastic architecture in southern Britain, together with examinations of Ottonian sarcophagi, book covers in gold and ivory, the wall-paintings at Reichenau, the patronage of Willigis at Mainz and Robert the Pious in northern France, the early Romanesque of Poland and Hungary, and the reflection of a new type of affective piety in the manuscript illumination of late Anglo-Saxon England.Romanesque and the Year 1000 presents a wealth of new research in artistic production at a critical period and is of interest to art historians, archaeologists, and historians alike.

Romanesque and the Year 1000 examines the art and architecture of the Latin West between c. 970 and c. 1030, a period which witnessed crucial developments in iconography and stylistic expression across a wide range of media.Despite the complex political situation in late 10th-century Europe – a period marked by chaos in some areas and the effective exercise of authority in others – the last quarter of the century saw an apparent upsurge in artistic production in the Empire, southern Britain, Lombardy, the Alps, and the Mediterranean, albeit one whose survival rate is low. The decades after the millennium have left a larger residue of work, notably in France, Catalonia and northern Italy, but were the 1020s artistically more dynamic than the 980s? How might we describe the cultural climate of the Latin West between c. 970 and c. 1030? Individual chapters examine the influence of Carolingian art on artistic production around 1000; the emergence of new approaches to architecture in France, Germany, England and northern Italy; and the response of artists to perceived order and disorder at the turn of the millennium. There are studies of architectural sculpture in Catalonia and Castile, new town foundation in Saxony, and monastic architecture in southern Britain, together with examinations of Ottonian sarcophagi, book covers in gold and ivory, the wall-paintings at Reichenau, the patronage of Willigis at Mainz and Robert the Pious in northern France, the early Romanesque of Poland and Hungary, and the reflection of a new type of affective piety in the manuscript illumination of late Anglo-Saxon England.Romanesque and the Year 1000 presents a wealth of new research in artistic production at a critical period and is of interest to art historians, archaeologists, and historians alike.

The twenty-five papers in this volume arise from a conference jointly organised by the British Archaeological Association and the Museu Nacional d’Art de Catalunya in Barcelona. They explore the making of art and architecture in Latin Europe and the Mediterranean between c. 1000 and c. 1250, with a particular focus on questions of patronage, design and instrumentality.No previous studies of patterns of artistic production during the Romanesque period rival the breadth of coverage encompassed by this volume – both in terms of geographical origin and media, and in terms of historical approach. Topics range from case studies on Santiago de Compostela, the Armenian Cathedral in Jerusalem and the Winchester Bible to reflections on textuality and donor literacy, the culture of abbatial patronage at Saint-Michel de Cuxa and the re-invention of slab relief sculpture around 1100. The volume also includes papers that attempt to recover the procedures that coloured interaction between artists and patrons – a serious theme in a collection that opens with ‘Function, condition and process in eleventh-century Anglo-Norman church architecture’ and ends with a consideration of ‘The death of the patron’.

The twenty-five papers in this volume arise from a conference jointly organised by the British Archaeological Association and the Museu Nacional d’Art de Catalunya in Barcelona. They explore the making of art and architecture in Latin Europe and the Mediterranean between c. 1000 and c. 1250, with a particular focus on questions of patronage, design and instrumentality.No previous studies of patterns of artistic production during the Romanesque period rival the breadth of coverage encompassed by this volume – both in terms of geographical origin and media, and in terms of historical approach. Topics range from case studies on Santiago de Compostela, the Armenian Cathedral in Jerusalem and the Winchester Bible to reflections on textuality and donor literacy, the culture of abbatial patronage at Saint-Michel de Cuxa and the re-invention of slab relief sculpture around 1100. The volume also includes papers that attempt to recover the procedures that coloured interaction between artists and patrons – a serious theme in a collection that opens with ‘Function, condition and process in eleventh-century Anglo-Norman church architecture’ and ends with a consideration of ‘The death of the patron’.

The nineteen papers collected in this volume explore a notable phenomenon, that of retrospection in the art and architecture of Romanesque Europe. They arise from a conference organized by the British Archaeological Association in 2010, and reflect its interest in how and why the past manifested itself in the visual culture of the 11th and 12th centuries. This took many forms, from the casual re-use of ancient material to a specific desire to re-present or emulate earlier objects and buildings. Central to it is a concern for the revival of Roman and early medieval forms, spolia, selective quotation, archaism and the construction of histories. The individual essays presented here cover a wide range of topics and media: the significance of consecration ceremonies in the creation of architectural memory, the rise of pictorial concepts in 12th-century chronicles, the creation of history in the Paris of Hugh of St-Victor, and the appeal of the works of Bernward of Hildesheim and of Hrabanus Maurus in the centuries after their deaths. There are studies of buildings and the ideological purpose behind them at Tarragona, Ripoll, Cluny, Pannonhalma (Hungary), La Roccelletta (Calabria), and Old St Peter's, comparative studies of Trier, Villenauxe and Glastonbury, and of Bury St Edmunds, Rievaulx and Canterbury, and wide-ranging papers on the tantalizing evidence for an engagement with an overseas past in Ireland, an Anglo-Saxon past in England, and a Milanese past among the aisleless cruciform churches of Augustinian Europe. The volume concludes with an assessment of the very concept of Romanesque.