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Considers Nikisch as a primary link between the later nineteenth century performance practice, and the twentieth-century 'fetishisation' of the superstar conductor as a commercially driven phenomenon.The Hungarian-born conductor Arthur Nikisch (1855-1922) was among the first of the new breed of virtuoso conductors who came to prominence in the immediate aftermath of Wagner. As a youthful violinist in the Vienna Court Orchestra, he played under Wagner, Verdi and Brahms; in 1895 he reached the pinnacle of German musical life as Chief Conductor of the Leipzig Gewandhaus and Berlin Philharmonic Orchestras. His career was, however, by no means confined to Austro-German lands. He spent four seasons in the USA as Director of the Boston Symphony Orchestra and travelled regularly to conduct in Imperial Russia. His visits to Britain had a significant impact on London's concert life through his associations with the newly opened Queen's Hall, the fledgling London Symphony Orchestra, Covent Garden Opera House and even as piano accompanist at the Bechstein (later Wigmore) Hall. He was also a fervent champion of the music of non-Austro German composers such as the Russian Pyotr Ilyich Tchaikovsky and the Englishman Edward Elgar. This book considers Nikisch's role and influence as a leading musical executant within the declining Habsburg monarchy and the ascendant German Empire. It also examines how the newly established phenomenon of the virtuoso conductor reached across international boundaries at a time when hardening ideologies and shifting political allegiances were leading towards the disintegration of the old Europe in the carnage of the First World War. It considers Nikisch as a primary link between the later nineteenth century performance practice and aesthetics of Wagner and the twentieth century phenomenon of the all-powerful superstar conductor who came to surpass even the composer in importance.

A gazetteer of the many fine Shropshire country houses, which covers the architecture, the owners' family history, and the social and economic circumstances that affected them.Shropshire is the largest English inland county, and has a wide variety of important landed country houses, with owners from diverse social groups, with links to trade in Liverpool, Manchester and London as well as the local gentry. This book is not simply about the houses they built, but also about the people who lived in them and the context in which the houses are set. The architecture is of course fully covered. What is distinctive about the author's approach is that he treats the histories of the families, their artistic tastes and their estates, as an integral part of the character of each house. Country houses can serve as a barometer of national tastes and of the social and economic times in which they were built. The work includes reference to the important sporting associations, fine and decorative art collections, and to important guests and social networks. Unlike most architectural guides, this aims at a wider readership, and will be an important resource for social historians, genealogists and local historians. The Country Houses of Shropshire considers the history of 347 identified houses of varying importance; those with a significant or influential history are given a main entry of up to 6000 words whilst lesser houses are treated with an entry of less than 1000 words. All houses have footnoted entries, enabling the reader to refer directly to source and to undertake further research themselves.

First translation into English of a wide-ranging military treatise from the late middle ages.Pietro Monte's Collectanea is a wide-ranging treatise on the arts of knighthood, focusing on martial arts, athletics, arms and armour, and military practice, but touching on subjects as diverse as diet, zoology and the design of life preservers. Monte, a courtier, soldier and scholar who won the respect of men like Leonardo da Vinci and Baldesar Castiglione, wrote the work in Spanish in the late 1400s, and later produced an expanded Latin translation. The Latin version, published in Milan in 1509, forms the basis of this translation.Monte describes the techniques of personal combat with various weapons, including the two-handed and one-handed sword, pollaxe, and dagger, as well as wrestling, armored and mounted combat. He also documents the athletic activities used by knights to hone their physical abilities: running, jumping, throwing, and vaulting. Finally, the Collectanea is the solemedieval text to provide extensive discussion of the design of arms and armour.This translation includes an illustrated introduction to Monte and his technical subject-matter, as well as a translation of Book 5 of Monte's De Dignoscendis Hominibus (1492), which overlaps much of the technical content of the Collectanea.JEFFREY L. FORGENG is curator of Arms and Armour and Medieval Art at the Worcester Art Museum, and teaches as Adjunct Professor of History at Worcester Polytechnic Institute.

An examination of the uses, meanings, and social impact of Viking Age textiles. This volume offers the first full study of archaeological fabrics and their decoration found in the North Atlantic region and dating broadly from the Viking or Norse period. With contributions from both academic scholars and practitioners, it shows how approaching early medieval textiles from archaeological, historical and literary contexts, and through the processes of learning and employing the traditional skills of making them, brings about a more nuanced understanding of early medieval cloths: their creation, use and meanings within their respective societies. The book is divided into two parts. The first, "Textiles and their Interpretation", takes the reader on a journey from how wool was processed in the Viking Age, and the conservator's role in preserving and interpreting archaeological textiles, to different types of analyses that researchers use to understand and explain textiles from across the wide area of the Viking-influenced North Atlantic region. The second, "Understanding through Replicating", investigates the results of practical experiments in the reconstruction of surviving medieval fabrics and the resulting empirical conclusions that can be made about their manufacture and wider cultural implications.

A truly definitive work, this magisterial study draws on the latest evidence from across Europe to show in exhaustive detail the nature of the disease, its origin, spread, mortality, and its profound impact on history.The Black Death was a disaster of huge magnitude, shaking medieval Europe and beyond to its economic and social core.Building upon his acclaimed study of 2004, Ole Benedictow here draws upon new scholarship and research to present a comprehensive, definitive account of the Black Death and its impact on European history. The medical and epidemiological characteristics of the disease, its geographical origin, its spread across Asia Minor, the Middle East, North Africa, Europe and Russia, and the mortality in the countries and regions for which there are satisfactory studies, are clearly presented and thoroughly discussed. The pattern, pace and seasonality of the spread of the disease reflect current medical work and standard studies on the epidemiology of bubonic plague.Benedictow's findings make it clear that the true mortality rate was far higher than had been previously thought: some 60% of Europe's population. In the light of those findings, the discussion of the Black Death as a turning point in history takes on a new significance.

Through runic inscriptions and behind the veil of myth, Jesch discovers the true story of viking women.Well-illustrated, closely argued and fascinating. GUARDIANThis is the first book-length study in English to investigate what women did in the Viking age, both at home in Scandinavia and in the Viking colonies from Greenland to Russia. Evidence for their lives is fragmentary, but Judith Jesch assembles the clues provided by archaeology, runic inscriptions, place names and personal names, foreign historical records and Old Norse literature and mythology. These sources illuminate different aspects of women's lives in the Viking age, on the farms and in the trading centres of Scandinavia, abroad on Viking expeditions, and as settlers in places such as Iceland and the British Isles. Women in the Viking Age explores an unfamiliar aspect of medieval history and offers a new perspective on Viking society, very different from the traditional picture of a violent and male-dominated world.JUDITH JESCH is Reader in Viking Studies at the University of Nottingham.

Over 1700 entries cover mythology and religion of heathen Germanic tribes: Scandinavians, Goths, Angles and Saxons, 1500 BC-1000 AD.For two and a half thousand years, from 1500 BC to AD 1000, a culture as significant as the classical civilisation of the Mediterranean world settled an immense area in northern Europe that stretched from Iceland to the Black Sea.But the sources of our knowledge about these societies are relatively few, leaving the gods of the North shrouded in mystery.In compiling this dictionary Rudolf Simek has made the fullest possible use of the information available -Christian accounts, Eddic lays, the Elder Edda, runic inscriptions, Roman authors (especially Tacitus), votive stones, place names and archaeological discoveries. He has adhered throughout to a broad definition of mythology which presents the beliefs of the heathen Germanic tribes in their entirety: not only tales of the gods, but beings from lower levels of belief: elves, dwarfs and giants; the beginning and end of the world; the creation of man,death and the afterlife; cult, burial customs and magic - an entire history of Germanic religion.RUDOLF SIMEK is Professor of Medieval German and Scandinavian literature at the University of Bonn in Germany.

Interweaves Eastern European postwar history, dissidence, and literature to expand our understanding of the significance of this important Lithuanian writer.Magnetic North: Conversations with Tomas Venclova is a book in the European tradition of works such as Conversations with Czeslaw Milosz and Aleksander Wat's classic My Century. Taking the form of an extendedinterview with Lithuanian poet Tomas Venclova, the book interweaves Eastern European postwar history, dissidence, and literature. Venclova, who personally knew Akhmatova, Pasternak, Milosz, Brodsky, and many others, was also one of the five founding members of the Lithuanian Helsinki Group, one of the first human rights organizations in Eastern Europe. Magnetic North provides an in-depth account of ethical choices and artistic resistance to totalitarianism over a half century. It also details Venclova's artistic work, expanding our understanding of the significance of this writer, whose books are central to contemporary European culture.The publication of this book was supported by the Lithuanian Culture Institute.Tomas Venclova is a Lithuanian poet, writer, scholar, and translator. He is Professor Emeritus of Slavic Languages and Literatures at Yale University. Ellen Hinsey is the author of numerous works of poetry, essay, and literary translation. Her most recent book is Mastering the Past: Contemporary Central and Eastern Europe and the Rise of Illiberalism.

A leading authority on the Bayeux Tapestry examines the work "frame by frame" in this profusely illustrated and annotated volume.The Bayeux Tapestry is one of the most extraordinary artefacts to survive from the eleventh century: a fragile web of woollen thread on linen, its brilliant colours undimmed after nearly a thousand years. The events of the years 1064 to 1066 surrounding the contested accession to the English throne of William, Duke of Normandy are so vividly portrayed that you can almost watch the artists' minds at work as they created it.This beautiful full-colour reproduction of the entire Tapestry includes a detailed commentary alongside each episode, so you can follow the story blow by blow.

A fresh appraisal of the art of Anglo-Saxon England, focusing on art as an aesthetic vehicle and art as an active political force.Two particular perspectives inform this wide-ranging and richly illustrated survey of the art produced in England, or by English artists, between c. 600 and c.1100, in a variety of media, manuscripts, stone and wooden sculpture, ivory carving, textiles, and architecture. Firstly, from a post-colonial angle, it examines the way art can both create and narrate national and cultural identity over the centuries during which England was coming into being, moving from Romano-Britain to Anglo-Saxon England to Anglo-Scandinavian England to Anglo-Norman England. Secondly, it treats Anglo-Saxon art as works of art, works that have both an aesthetic and an emotional value, rather than as simply passive historical or archaeological objects. This double focus on art as an aesthetic vehicle and art as an active political force allows us to ask questions not only about what makes something a work of art, but what makes itendure as such, as well as questions about the work that art does in the creation of peoples, cultures, nations and histories.Professor Catherine Karkov teaches in the School of Fine Art, University of Leeds.

Representative examples of swords from 8th-11th century, fully described and illustrated, with general overview.This beautifully illustrated work fills a gap in the literature in English on the swords made and used in northern Europe during the Viking age, between the mid eighth and the mid eleventh centuries. Ewart Oakeshott outlines the significance and diversity of these ancient heirlooms; co-author Ian Peirce, who handled hundreds of swords in his research for this book in museums across northern Europe, selects and describes sixty of the finest representative weapons. Where possible, full-length photographs are included, in addition to illustrations of detail; an illustrated overview of blade types and construction, pattern-welding, inscription and handle forms and their classificationprefaces the catalogue of examples which is the principal part of this work.IAN PEIRCE was a lecturer and museum consultant specialising in early swords; EWART OAKESHOTT was renowned for his pioneer studies on a wide range of medieval swords.

First full English edition of classic work on medieval warfare, updated to take recent scholarship into account.Warfare is a major feature of the history of the middle ages, but its study has often been the province of amateurs; only recently have the technical details of warfare and its organisation been subject to proper scholarly investigation. Professor Verbruggen's major work, outstanding in its field, applies rigorous standards in analysing often very obscure surviving evidence, and reaches conclusions very different from earlier generations of military historians.He begins by analysing the sources for our knowledge of the military history of the period, assessing their reliability: some chroniclers exaggerate, others are careful observers or have access to official records. There follows an examination of the constituent parts of the medieval army, knights and footsoldiers, equipment and terms of service, behaviour on the field, and psychology, before the problematic question of medieval tactics is addressed through analysis of accounts of a series of major battles. Strategy is discussed in the context of these battles: whether to seek battle, fight a defensive war, or attempt a war of conquest. Originally published in Dutchin 1954, now translated and updated.J.F. VERBRUGGEN is a distinguished Belgian military historian of wide experience. Prisoner of war, student, and a member of the resistance movement during the second world war, he subsequently obtained his Ph.D., with greatest distinction, for research into warfare in the middle ages, and remained in the army as a lecturer at the Royal Military School in Brussels until in 1956 he went to the Belgian Congo. He spent twenty years teaching in Africa, retiring as Professor of History, University of Congo, and University of Bujumbura (Burundi) in 1976.

Based on a lifetime's work in the field, Sir Roy Strong offers an expert and engaging new look at portrait painting in Stuart England, studying the sitters as much as the artists.Sir Roy Strong has been writing for over half a century on the painters of the courts of James I and Charles I. While taking account of the mass of scholarly work that has appeared during that time, this book offers a very different approach to the subject. Until now, the universal method has been to look at the artists, in particular van Dyck, and to see half a century of painting through the six years when the latter was in England. Instead, we are offered a view based on portraits and their sitters, and particularly on the dramatic change in their attitudes, from the still medieval (if Protestant) aesthetic of the Elizabethan age to the ambiguity of one which replaced that aesthetic by one based on the Catholic baroque of European art.Portraits after all are permanent records of how a sitter wished to be seen by posterity as well as in his or her own period. The obsession with the painter and with attribution has tended to obscure that very basic fact. They are inevitably self-fashioning images that chart the new mythology not only of a new dynasty, the Stuarts, but also of a burgeoning and assertive aristocracy. Unlike their spectacular court masques, however, which were gone in an evening of glory, the portraits are still with us - or, rather, those that have survived. Through them we are able to trace a new iconography for a new dynasty and also an aesthetic revolution which moved away from the Elizabethan world of ambiguity and hieroglyphs to one set in space defined by the new optics of the Renaissance. But the title, The Stuart Image, is designed to emphasise that above all what we see is the image and not the reality.

A superb new (and complete) translation of Rilke's luminously lyrical early book of poems, with scholarly introduction and commentary.Rainer Maria Rilke is arguably the most important modern German-language poet. His New Poems, Duino Elegies, and Sonnets to Orpheus are pillars of 20th-century poetry. Yet his earlier verse is less known. The Bookof Hours, written in three bursts between 1899 and 1903, is Rilke's most formative work, covering a crucial period in his rapid ascent from fin-de-siècle epigone to distinctive modern voice. The poems document Rilke'stour of Russia with Lou Andreas-Salomé, his hasty marriage and fathering of a child in Worpswede, and his turn toward the urban modernity of Paris. He assumes the persona of an artist-monk undertaking the Romantics' journey into the self, speaking to God as part transcendent deity, part needy neighbor. The poems can be read simply for their luminous lyricism, captured in Susan Ranson's superb new translation, which reproduces the music of the original German with impressive fluidity. An in-depth introduction explains the context of the work and elucidates its major themes, while the poem-by-poem commentary is helpful to the student and the general reader. A translator's note treating the technical problems of rhythm, meter, and rhyme that the translator of Rilke faces completes the volume. Susan Ranson is the co-translator, with Marielle Sutherland, of Rainer Maria Rilke, Selected Poems (Oxford World's Classics, 2011). Ben Hutchinson is Reader in Modern German at the University of Kent, UK.

Catalogue of knives and scabbards found in London excavations, with discussion of date, technology, decoration and function.Knives were vital to medieval man for a whole range of uses, from the domestic to the wider social context: Anglo-Saxon pre-Christian burials bear silent witness to this dependence in the many cases where knives are found among the grave-goods. Forged and hafted with great skill, sometimes with elaborately decorated scabbards, knives are of intrinsic fascination, besides being indicators of the popular artistic tastes of the time.This book catalogues, discusses and illustrates over five hundred knives, scabbards, shears and scissors dating from the mid-12th to the mid-15th centuries and found in the City of London, particularly along the waterfront sites, where recovered items can be accurately dated by dendrochronology and coin finds. It is a fundamental work of reference for medieval artefacts and material culture, an essential handbook for excavators all over Britain and much of Europe.JANE COWGILL, MARGRETHE DE NEERGAARDE and NICK GRIFFITHS are former members of the staff of the Museum of London.

The image of Vienna as a musical city is a familiar one. This book explores the history of music in Vienna, focussing on three different epochs, 1700, 1800 and 1900.Vienna has long been associated with many of the most significant composers in Western music - from Haydn, Mozart, Beethoven and Schubert, through the Strauss family, Brahms, Bruckner and Wolf, to Mahler, Lehár, Schoenberg and Webern. Today, venerable institutions like the Vienna Philharmonic Orchestra, the Staatsoper and the Vienna Boys' Choir, together with the shared pride of residents and visitors in its musical inheritance, ensure that the image of a musical city is undimmed.This book explores the history of music in Vienna, focussing on three different epochs, 1700, 1800 and 1900, an approach which allows the very different relationships between music and society that existed in each of these periods to be distinguished. Patronage, social function and audience are key considerations, set within wider political and cultural developments. The volume is populated by emperors, princes, performers, publishers and writers as well as composers, and deals with institutional and commercial characteristics alongside representative individual works. Music in Vienna focusses on the political and social role of music, broadening our understanding of the city as a musical capital. It will appeal to a wide readership, including music historians and political, cultural and social historians, as well as the interested general reader.DAVID WYN JONES is Professor of Music at Cardiff University.

DeVries has focused on an intriguing problem, and his detailed analysis of battles provides an important reassessment of the way in which infantry and dismounted cavalry achieved such striking successes. HISTORYHis detailed analysis of battles provides an important reassessment of the way in which infantry and dismounted cavalry achieved such striking successes. HISTORY This remarkable study confirms [DeVries's] emergence as one of themajor scholars of his generation. JOURNAL OF MILITARY HISTORY This study departs from the conventional view of the dominance of cavalry in medieval warfare: its objective is to establish the often decisive importance of infantry. Kelly DeVries employs evidence from first-hand accounts - a major feature of this study - to examine the role of the infantry, and the nature of infantry tactics, in nineteen battles fought in England and Europe between 1302 and 1347, in most of which it was the infantry which secured victory. The battles analysed in detail are: Courtrai Arques Mons-en-Pevele Loudon Hill Kephissos Bannockburn Boroughbridge Cassel Dupplin Moor Halidon Hill Laupen Morlaix Staveren Vottem Crecy Neville's Cross, and the infantry ambushes: Morgarten Auberoche La Roche-Derrien.

Examines literary, philosophical, and cultural influences on Mahler's thought and work from the standpoint of the composer's position in German-Jewish culture.Gustav Mahler's music is more popular than ever, yet few are aware of its roots in German literary and cultural history in general, and in fin-de-siècle Viennese culture in particular. Taking as its point of departure the many references to literature, philosophy, and the visual arts that Mahler uses to illustrate the meaning of his music, Reading Mahler helps audiences, critics, and those interested in musical and cultural history understand influences on Mahler's music and thinking that may have been self-evident to middle-class Viennese a hundred years ago but are much more obscure today. It shows that Mahler's oeuvre, despite its reliance on texts and images from the eighteenth and nineteenth centuries, is far more indebted to fin-de-siècle modernism and to an eclectic, proto-avantgardist agenda than has been previously realized. Furthermore, Reading Mahler is the first book to make Mahler's position within German-Jewish culture its analytical center. It also probes Mahler's problematic but often overlooked relationship with the musical and textual legacy of Richard Wagner. By integrating newer approaches in humanistic research - cultural studies, gender studies, and Jewish studies - Reading Mahler exposes the composer's critical view of German cultural history and offers a new understanding of his music.Carl Niekerk is Professor in the Department of German, the Program in Comparative and World Literature, and the Program in Jewish Culture and Society at the University of Illinois at Urbana-Champaign.

An investigation of the phenomenon of the framed formal center in literature of the last 180 years, illuminating both the works and correspondences among works of different genres, periods, and nations.This book concerns the framed center in selected literary works of the 19th to 21st centuries. Such a center involves a critical passage bracketed by two halves of a text that feature language and/or plot that mirror each other. Recognizing the author's formal emphasis on the critical central passage encourages a thoughtful attention to it. Like other literary techniques, including allegory and metaphor, the framed center does not provide a single meaning, but rather makes possible varied meanings depending on the work. And often it features other literary patterns, including parallelism, chiasmus, mise en abyme, and allusion. There have been book-length studies of the framed center in literary works from the Bible through Tristram Shandy, but no such studies have addressed more recent literature. This book's analysis of the framed center in literature of the last 180 years - in works by Poe, Hawthorne, Melville, Thoreau, Carroll, Joyce, Anderson, Hemingway, Hammett, Chandler, Highsmith, Oates, and Zadie Smith - advances interpretation of the design itself and of the individual works, yielding critical breakthroughs. It alsoreveals hitherto unknown correspondences among works of different genres, periods, and nations. This book is a work of practical criticism with substantial interpretive consequences, and it is accessible to a broad audience.

Nicholson, one of the UK's leading historians of the medieval military orders...has a flair for clear and uncluttered explanations enlivened with telling detail and quotation. And her account is comprehensive. An attractive volume. HISTORYThis short study of the history of the Order of St John of Jerusalem, Rhodes and Malta, also known as the Knights Hospitaller, is intended as an introduction to the Order for academics working in other fields, as well as the interested general reader. Beginning with a consideration of the origins of the Order as a hospice for pilgrims in Jerusalem in the eleventh century, it traces the Hospitaller's development into a military order during the first part of the twelfth century, and its military activities on the frontiers of Christendom in the eastern Mediterranean, Spain and eastern Europe during the middle ages and into early modern period: its role in crusades and in wars against non-Christians on land and at sea, as well as its role in building and maintaining fortresses. It also considers the Order's activities away from the frontiers of Christendom: its economic activities and its relations with patrons and rulers throughout Europe, as well as its hospitaller work and its religious life. The focus of the study is on the medieval period down to the loss of Rhodes in 1522, but the final chapters of the book consider the Order'shistory on Malta from the sixteenth to the end of the eighteenth century, and from the loss of Malta in 1798 to the present day.HELEN NICHOLSON is Senior Lecturer in History, Cardiff University.

Explores modern and contemporary American literature's contribution to and critique of the newly emerging field of transparency studiesIn the twenty-first century, transparency has become an ambiguous buzzword both in the public and the private realms (e.g., Wikileaks and the Snowden affair; social media). This volume takes its cue from the emerging field of transparency studies, recent scholarly work in sociology, political theory, and cultural studies that identifies a hegemonic rhetoric of transparency in public and political life. While scholars in this new field routinely gesture toward literature as the realm where secrecy may be productive, they rarely engage with literature directly, and literary studies itself remains notably absent from their debates. This collection of essays seeks to redress that state of affairs by focusing on literary texts written in an American cultural tradition steeped in the interplay between transparency and exposure, fear and secrecy, security and surveillance, and information and disinformation.The essays draw on authors ranging from Whitman, James, and Ellison to Pynchon, Morrison, and Eggers to argue that American literature complicates theoretical assumptions about transparency made in other disciplines. They question the field's strong theoretical emphasis on present-day technopolitical practices and discourses as the location of hegemonic discourse on transparency, and instead historicize such phenomena and extend them to discursive spheres that have so far been neglected (such as issues of sexuality and race).Edited by Paula Martín-Salván and Sascha Pöhlmann. Contributors: Tomasz Basiuk, Jesús Blanco Hidalga, Cristina Chevereșan, Michel Feith, Julián Jiménez Heffernan, Tiina Käkelä, Juan L. Pérez-de-Luque, Umberto Rossi, Jelena Šesnić, Toon Staes, Julia Straub, Alice Sundman.

Covers the major modernist literary works of Broch and constitutes the first comprehensive introduction in English to his political, cultural, aesthetic, and philosophical writings.Hermann Broch (1886-1951) is best known for his two major modernist works, The Sleepwalkers (3 vols., 1930-1932) and The Death of Virgil (1945), which frame a lifetime of ethical, cultural, political, and social thought. A textile manufacturer by trade, Broch entered the literary scene late in life with an experimental view of the novel that strove towards totality and vividly depicted Europe's cultural disintegration. As fascism took over and Broch, a Viennese Jew, was forced into exile, his view of literature as transformative was challenged, but his commitment to presenting an ethical view of the crises of his time was unwavering. An important mentor and interlocutor for contemporaries such as Arendt and Canetti as well as a continued inspiration for contemporary authors, Broch wrote to better understand and shape the political and cultural conditions for a postfascist world. This volume covers the major literary works and constitutes the first comprehensive introduction in English to Broch's political, cultural, aesthetic, and philosophical writings.Contributors: Graham Bartram, Brechtje Beuker, GiselaBrude-Firnau, Gwyneth Cliver, Jennifer Jenkins, Kathleen L. Komar, Paul Michael Lützeler, Gunther Martens, Sarah McGaughey, Judith Ryan, Judith Sidler, Galin Tihanov, Sebastian Wogenstein.Graham Bartram retired as Senior Lecturer in German Studies at the University of Lancaster, UK. Sarah McGaughey is Associate Professor of German at Dickinson College, USA. Galin Tihanov is the George Steiner Professor of Comparative Literature at Queen Mary University of London, UK.

The best new research on medieval clothing and textiles, drawing from a range of disciplines and with a special focus on reconstruction.The third volume of this pioneering series explores the manufacture and trade of textiles and their practical, fashionable, and symbolic uses. Papers include in-depth studies and cross-genre scholarship representing such fields associal history, economics, art history, archaeology and literature, as well as the reconstruction of textile-making techniques. They range over England, Flanders, France, Germany, and Spain from the seventh to the sixteenth centuries, and address such topics as soft furnishings, ecclesiastical vestments, the economics of the wool trade, the making and use of narrow wares, symbolic reference to courtly dress in a religious text, and aristocratic children'sclothing. Also included are reviews of recent books on dress and textile topics.ROBIN NETHERTON is a professional editor and a researcher/lecturer on Western European dress, specializing in the depiction and interpretation of clothing by artists and historians.GALE R. OWEN-CROCKER is Professor of Anglo-Saxon Culture at The University of Manchester and author of Dress in Anglo-Saxon England; she is the Director of an ARHC-fundedproject on cloth and clothing terminology in medieval Britain. CONTRIBUTORS: ELIZABETH COATSWORTH, SARAH LARRATT KEEFER, SUSAN LEIBACHER WARD, JOHN H. MUNRO, JOHN OLDLAN, LESLEY K. TWOMEY, ELIZABETH BENNS, LOIS SWALES, HEATHER BLATT, MELANIE SCHUESSLER

The best new research on medieval clothing and textiles, drawing from a range of disciplines.The fifth volume of this annual series features several articles examining the interaction of medieval romance with textiles and clothing. French Gothic ivory carvings illustrating courtly romances reveal details of fashionable dress; the distinct languages of narrative poetry and Parisian tax records offer contrasting views of medieval embroiderers; and scenes from the Tristan legend provide clues to the original form of the earliest surviving decorativequilt. Other papers look at ecclesiastical attempts to restrict extravagance in secular women's dress, the use of clothing references to signal impending conflict in Icelandic sagas, the development and possible construction of the Tudor-era court headdress called the French hood, and the way Cesare Vecellio drew on both existing artwork and the Venetian image to present historical dress in his sixteenth-century treatise on costume. Also included are reviews of recent books on clothing and textiles.ROBIN NETHERTON is a professional editor and a researcher/lecturer on the interpretation of medieval European dress; GALE R. OWEN-CROCKER is Professor of Anglo-Saxon Culture atthe University of Manchester.Contributors: KATE D'ETTORE, SARAH-GRACE HELLER, THOMAS M. IZBICKI, PAULA MAE CARNS, SARAH RANDLES, MELANIE SCHUESSLER, TAWNY SHERRILL

The best new research on medieval clothing and textiles, drawing from a variety of angles and approaches.The essays here take us from the eleventh century, with an exploration of the Bayeux Tapestry, into an examination and reconstruction of an extant thirteenth-century sleeve in France which provides a rare and early example of medieval quilted armour, and finally on to late medieval Sweden and the reconstruction of gilt-leather intarsia coverlets. A study of construction techniques and the evolution of form of gable and French hoods in the late medieval and the early modern periods follows; and the volume also includes a study of the Great Wardrobe under Edward I of England, and what it can tell us about textiles at the time.

The best new research on medieval clothing and textiles, drawing from a range of disciplines. The essays collected here continue the Journal's wide-ranging and eclectic tradition. Topics include literary evidence for linen armour; serial production in late medieval silks; the inventory of Isabella Bruce's bridal goods; the depiction of women textile workers in the frescoes of the Salone of the Palazzo della Ragione in Padua, Italy; ideal female beauty in the Middle Ages and the means used to attain and assess it; and social status as evidenced by clothing and textiles in the Scottish royal treasurer's accounts of the mid-sixteenth century.

The best new research on medieval clothing and textiles, drawing from a range of disciplines.The essays collected here continue to showcase the Journal's wide-ranging and eclectic tradition. The topics addressed are a technical analysis of a fragment of the Bayeux Tapestry that was cut from the hanging and later restored; the inner workings of a fifteenth-century Lucchese cloth business; the luxurious textiles used and re-used for the Field of Cloth of Gold; the wardrobe of Kateryn Parr, Henry VIII's last queen, and how she manipulated clothing and textiles for political ends; Henry Stewart, Lord Darnley's use of sartorial strategies during his short reign as king of Scotland; and a detailed investigation of the textile known as the "Bacton Altar Cloth" that reconsiders its history and uses.

First volume in new series dedicated to medieval clothing and textiles, drawing from a range of disciplines and with a special focus on reconstruction and re-enactment.The study of medieval clothing and textiles has aroused great attention in recent years, as part of the growing concern in material culture as a whole; apart from its own intrinsic interest, it has much to reveal about life at thetime. This exciting new series aims to offer all those interested in the subject the fruits of the best research in the area. Interdisciplinary in approach, it will feature work from the fields of social and economic history, history of techniques and technology, art history, archaeology, literary and non-literary texts, and language, while experimental reconstruction of medieval techniques or artifacts will also form a particular focus. The contents of each volume are selected to cover a broad geographical scope, as well as a range of periods from early medieval to the late Middle Ages. The journal also publishes short reviews of new books.Topics in this first volume include Anglo-Saxon embroidery; textiles and textile imagery in the Exeter Book; the tippet; the regulation of clerical dress; and evidence for dress and textiles in late medieval English wills.ROBIN NETHERTON is a costumehistorian. Her research focuses on Western European clothing between the twelfth and fifteenth centuries. GALE R. OWEN-CROCKER is Professor of Anglo-Saxon Culture, University of Manchester. She has a special interest in dress throughout the medieval period - she advises on dress entries to the Toronto Old English Dictionary and has consulted for many museums and television companies.

Translation of eye-witness account of Third Crusade, with emphasis on Richard the Lionheart.The Estoire de la Guerre Sainte, an early example of vernacular chronicle, by the Norman poet Ambroise, presents an eye-witness account of the Third Crusade (1188-92) in a highly-polished rhetorical style. Central is the character of Richard the Lion Heart, Ambroise's hero, but the narrative is also enlivened by short anecdotes, sometimes heroic and sometimes more down-to-earth, about other participants. It depicts clearly the privations and sufferings of the ordinary crusaders, whether at the siege of Acre or on the march, and provides both a detailed record of events and a personal perspective on the Islamic warriors and their leaders, in particular Saladin and Saphadin. Ambroise also shows remarkable knowledge of contemporary weapons of war, such as siege engines and types of ship.This volume offers a prose translation into English. Detailed notes identify most of the participants and clarify literary, biblical and historical allusions, while the introduction looks at historical, literary and philological aspects of the poem and assesses its significance as literary artefact and historical record, setting it in context and bringing forward new evidence about the identity of the poet.Dr MARIANNE AILES teaches in the Department of French, University of Bristol; MALCOLM BARBER is Professor of History at Reading University.