Examining the work of scribes, illuminators, and bookbinders, this lavishly illustrated account tells the story of manuscript production from the early Middle Ages through to the high Renaissance.
Recently conserved to its original glory, this magnificent suit of armor, made for a trusted courtier, diplomat, and commander of infantry units for the Habsburgs, deceives the eye: the steel sleeves drape in graceful folds, with cuts in the surface, suggesting the armor is made from cloth rather than metal. The author of this fascinating volume explores the question: why does the armor look this way?
Linking Michelangelo’s personal life to his work on the Sistine Chapel, Graham-Dixon describes Michelangelo’s unique depiction of the Book of Genesis, tackles ambiguities in the work, and details the painstaking work that went into Michelangelo’s magnificent creation.
In this fascinating study, Alison Cole explores the distinctive uses of art at the five great secular courts of Naples, Urbino, Ferrara, Mantua, and Milan.
This book was originally published in 1980, and contains a visual collection of the brass rubbings Carol and Susan gathered, as well as the history, description and translation of each memorial brass. It has been revised in this edition to include an index and updated information as it was made known.
Death has never looked so beautiful. An intriguing visual history of the veneration in European churches and monasteries of bejeweled and decorated skeletons.
In 2005, Museum Het Valkhof in Nijmegen presented the exhibition The Limbourg Brothers. Nijmegen Masters at the French Court (1400-1416). This was the first time that original miniatures out of four manuscripts by the Limbourg brothers were shown in the Netherlands.
This book explores the complex artistic, cultural, socioeconomic, and political relationships between Burgundian Netherlands and the Mediterranean.
Medieval Sculpture evokes the cataclysmic events of the religious Reformation of the sixteen century that transformed British culture forever. Sculptures from the twelfth to the sixteenth century are discussed in terms of their power across the ages to evoke both inspired passionate devotion and vehement, even violent, disapproval