This is the first study to bring together all twenty-nine extant copies of the medieval Commentary on the Apocalypse, which was originally written by Spanish monk Beatus of Liébana. John Williams, a renowned expert on the Commentary, shares a lifetime of study and offers new insights on these strikingly illustrated manuscripts. As he shows, the Commentary responded to differing monastic needs within the shifting context of the Middle Ages. Of special interest is a discussion of the recently discovered Geneva copy: one of only three commentaries to be written outside of the Iberian Peninsula, this manuscript shows both close affinities to the Spanish model and fascinating deviations from it in terms of its script and style of illustrations.

Das Buch "Letzte Gespräche der Heiligen von Lisieux" kann als Testament der heiligen Therese von Lisieux betrachtet werden. Es ist ein sachlicher Bericht und zugleich eine Lehre über das Thema: Wie leidet, lebt und stirbt eine Heilige?Ihre Gedanken über ihren tiefen Glauben an das ewige Leben, ihr unermüdliches Ringen um das Heil der Seelen – der Grund für ihre schrecklichen Leiden, die sie auf sich nahm – und ihre ständig wachsende Gottesliebe sind in diesem Band wiedergegeben. Es ist das gewaltige Finale eines unvergleichlichen Lebens und eine geistige Hinterlassenschaft für alle, die auf der Suche sind oder ihren Glauben vertiefen wollen.

Queen as King traces the origins of San Isidoro in León as a royal monastic complex, following its progress as the site changed from a small eleventh-century palatine chapel housed in a double monastery to a great twelfth-century pilgrimage church served by Augustinian canons. Its most groundbreaking contribution to the history of art is the recovery of the lost patronage of Queen Urraca (reigned 1109-1126). Urraca maintained yet subverted her family’s tradition of patronage on the site: to understand her history is to hold the key to the art and architecture of San Isidoro. This new approach to San Isidoro and its patronage allows a major Romanesque monument to be understood more fully than before.

This volume proposes a renewed way of framing the debate around the history of medieval art and architecture to highlight the multiple roles played by women. Today’s standard division of artist from patron is not seen in medieval inscriptions—on paintings, metalwork, embroideries, or buildings—where the most common verb is 'made' (fecit). At times this denotes the individual whose hands produced the work, but it can equally refer to the person whose donation made the undertaking possible. Here twenty-four scholars examine secular and religious art from across medieval Europe to demonstrate that a range of studies is of interest not just for a particular time and place but because, from this range, overall conclusions can be drawn for the question of medieval art history as a whole.Contributors are Mickey Abel, Glaire D. Anderson, Jane L. Carroll, Nicola Coldstream, María Elena Díez Jorge, Jaroslav Folda, Alexandra Gajewski, Loveday Lewes Gee, Melissa R. Katz, Katrin Kogman-Appel, Pierre Alain Mariaux, Therese Martin, Eileen McKiernan González, Rachel Moss, Jenifer Ní Ghrádaigh, Felipe Pereda, Annie Renoux, Ana Maria S. A. Rodrigues, Jane Tibbetts Schulenburg, Stefanie Seeberg, Miriam Shadis, Ellen Shortell, Loretta Vandi, and Nancy L. Wicker.

This is the first study to bring together all twenty-nine extant copies of the medieval Commentary on the Apocalypse, which was originally written by Spanish monk Beatus of Liébana. John Williams, a renowned expert on the Commentary, shares a lifetime of study and offers new insights on these strikingly illustrated manuscripts. As he shows, the Commentary responded to differing monastic needs within the shifting context of the Middle Ages. Of special interest is a discussion of the recently discovered Geneva copy: one of only three commentaries to be written outside of the Iberian Peninsula, this manuscript shows both close affinities to the Spanish model and fascinating deviations from it in terms of its script and style of illustrations.

Das Buch "Letzte Gespräche der Heiligen von Lisieux" kann als Testament der heiligen Therese von Lisieux betrachtet werden. Es ist ein sachlicher Bericht und zugleich eine Lehre über das Thema: Wie leidet, lebt und stirbt eine Heilige?Ihre Gedanken über ihren tiefen Glauben an das ewige Leben, ihr unermüdliches Ringen um das Heil der Seelen – der Grund für ihre schrecklichen Leiden, die sie auf sich nahm – und ihre ständig wachsende Gottesliebe sind in diesem Band wiedergegeben. Es ist das gewaltige Finale eines unvergleichlichen Lebens und eine geistige Hinterlassenschaft für alle, die auf der Suche sind oder ihren Glauben vertiefen wollen.

Queen as King traces the origins of San Isidoro in León as a royal monastic complex, following its progress as the site changed from a small eleventh-century palatine chapel housed in a double monastery to a great twelfth-century pilgrimage church served by Augustinian canons. Its most groundbreaking contribution to the history of art is the recovery of the lost patronage of Queen Urraca (reigned 1109-1126). Urraca maintained yet subverted her family’s tradition of patronage on the site: to understand her history is to hold the key to the art and architecture of San Isidoro. This new approach to San Isidoro and its patronage allows a major Romanesque monument to be understood more fully than before.

This volume proposes a renewed way of framing the debate around the history of medieval art and architecture to highlight the multiple roles played by women. Today’s standard division of artist from patron is not seen in medieval inscriptions—on paintings, metalwork, embroideries, or buildings—where the most common verb is 'made' (fecit). At times this denotes the individual whose hands produced the work, but it can equally refer to the person whose donation made the undertaking possible. Here twenty-four scholars examine secular and religious art from across medieval Europe to demonstrate that a range of studies is of interest not just for a particular time and place but because, from this range, overall conclusions can be drawn for the question of medieval art history as a whole.Contributors are Mickey Abel, Glaire D. Anderson, Jane L. Carroll, Nicola Coldstream, María Elena Díez Jorge, Jaroslav Folda, Alexandra Gajewski, Loveday Lewes Gee, Melissa R. Katz, Katrin Kogman-Appel, Pierre Alain Mariaux, Therese Martin, Eileen McKiernan González, Rachel Moss, Jenifer Ní Ghrádaigh, Felipe Pereda, Annie Renoux, Ana Maria S. A. Rodrigues, Jane Tibbetts Schulenburg, Stefanie Seeberg, Miriam Shadis, Ellen Shortell, Loretta Vandi, and Nancy L. Wicker.