Stained Glass in England during the Middle Ages by Richard Marks

1995 ◽  
Vol 81 (2) ◽  
pp. 259-260
Author(s):  
Madeline H. Caviness
Keyword(s):  
Middle Ages ◽  
Stained Glass ◽  
The Middle Ages

scholarly journals Remembering Thomas Becket in Saint-Lô

Arts ◽  
2021 ◽  
Vol 10 (3) ◽  
pp. 67
Author(s):  
Alyce A. Jordan
Keyword(s):  
Nineteenth Century ◽  
Middle Ages ◽  
New Wave ◽  
Stained Glass ◽  
Artistic Production ◽  
The Creation ◽  
The Town ◽  
The Middle Ages

France numbered second only to England in its veneration of the martyred archbishop of Canterbury. Nowhere in France was that veneration more widespread than Normandy, where churches and chapels devoted to Saint Thomas, many embellished with sculptures, paintings, and stained-glass windows, appeared throughout the Middle Ages. A nineteenth-century resurgence of interest in the martyred archbishop of Canterbury gave rise to a new wave of artistic production dedicated to him. A number of these modern commissions appear in the same sites and thus in direct visual dialogue with their medieval counterparts. This essay examines the long legacy of artistic dedications to Saint-Thomas in the town of Saint-Lô. It considers the medieval and modern contexts underpinning the creation of these works and what they reveal about Thomas Becket’s enduring import across nine centuries of Saint-Lô’s history.

A Memorial Stained Glass Window of the Middle Ages

1928 ◽  
Vol 23 (120) ◽  
pp. 12
Author(s):  
Francis Henry Taylor
Keyword(s):  
Middle Ages ◽  
Stained Glass ◽  
The Middle Ages

Stained Glass of the Middle Ages in England and France. Hugh Arnold

Speculum ◽  
1956 ◽  
Vol 31 (3) ◽  
pp. 491-492
Author(s):  
Orin E. Skinner
Keyword(s):  
Middle Ages ◽  
Stained Glass ◽  
The Middle Ages

Caxton and the Synfulle Wretche

Traditio ◽  
1946 ◽  
Vol 4 ◽  
pp. 423-428 ◽  
Author(s):  
Mary Jeremy
Keyword(s):  
Middle Ages ◽  
English Translation ◽  
Stained Glass ◽  
Henry Adams ◽  
Golden Legend ◽  
William Caxton ◽  
Legenda Aurea ◽  
Stone Carvings ◽  
The Middle Ages

Sometime after November 20, 1483, William Caxton published his English translation of Jacobus de Varagine's Legenda Aurea. This is the famous medieval compilation of saints' lives which Emile Mâle names among the ten books most useful to one seeking a just appreciation of the Middle Ages and which Henry Adams ranks with the Roman breviary as a guide to the stone carvings and stained glass of medieval cathedrals. Caxton's publication, augmenting by about one-third the original treatise, was his most ambitious work as translator, editor, and printer.In preparing his Golden Legend the English printer asserts that he has used the original Latin and two translations, one French and one English. This last work is extant in nine manuscripts, more or less complete, all copies, and all representing one version. Although several critics have declared that this translation surpasses Caxton's in accuracy and beauty, some of its special peculiarities have not hitherto been considered. Who was its author? Apparently he remembered the warning of the Imitation: ‘For all man's glory, all temporal honor, and all worldly highness, to thine eternal glory compared is but as foolishness and vanity.’ His version of the Legenda is declared to be the work of ‘a synfulle wretche’ by whom it was ‘drawen out of Frensshe into Englisshe, the yere of our lorde a.M.CCCC. and. XXXVIII.’ The motive for this anonymity is revealed by the words which follow his humble self-designation: ‘whos name I beseche Jhesu Criste bi his mentis of his passioune and of alle these holis seintes afore written, that hit mai be written in the boke of everlastinge life.’

scholarly journals Conectando testamentos: Números como tipo en Biblia Pauperum y Speculum Humanae Salvationis

2020 ◽  
pp. 41
Author(s):  
José Javier Azanza López
Keyword(s):  
Middle Ages ◽  
New Testament ◽  
Modern Art ◽  
Stained Glass ◽  
Speculum Humanae Salvationis ◽  
The Middle Ages

ABSTRACT: In the close typological relationship established in the Middle Ages between the Old and New Testaments, the Book of Numbers becomes an exemplary Christological and Mariological prefigurative example. The episodes of the Murmuring of Miriam and Aaron, the Spies from Canaan, the Rebellion of Korah, Dathan, and Abiram, the Brazen Serpent, the Budding of Aaron’s Rod and the Prophecy of Balaam, constitute types of New Testament passages collected in the Biblia Pauperum and the Speculum Humanae Salvationis, whose repercussion will be felt in Medieval and Modern Art as a theological visual synthesis present in stained glass windows, sculptures of portals, tapestries, goldsmith works and altarpieces. KEYWORDS Book of Numbers; Typological Method; Biblia Pauperum; Speculum Humanae Salvationis; Medieval and Modern Art. RESUMEN: En la estrecha relación tipológica establecida en la Edad Media entre Antiguo y Nuevo Testamento, el libro de los Números se convierte en exepcional ejemplo prefigurativo cristológico y mariológico. Los episodios de la murmuración de Miriam y Aarón, los exploradores de Canaán, la rebelión de Coré, Datán y Abirón, Moisés y la serpiente de bronce, la vara florida de Aarón y la profecía de Balaam, constituyen otros tantos tipos anunciadores de pasajes neotestamentarios recogidos en Biblia Pauperum y Speculum Humanae Salvationis, cuyo eco se dejará sentir en el arte medieval y moderno como síntesis visual teológica plasmada en vidrieras, portadas, tapices, piezas de plata y retablos.

scholarly journals W skali szarości – krótka historia srebrzystego ołowiu łączącego kolorowe szkła witrażowe

2021 ◽  
pp. 291-309
Author(s):  
Katarzyna Pyka
Keyword(s):  
Middle Ages ◽  
Stained Glass ◽  
The Past ◽  
History Of Art ◽  
History Of ◽  
Glass Compositions ◽  
The Middle Ages

Katarzyna Pyka discusses lead as a substance which for centuries has made possible stained glass glazing both in sacral and secular buildings. This article focuses on the uses of lead and compares the work of stained glass artists in the past and today. Contrary the associations of this craft with vivid multicolored compositions, Pyka has decided to keep her discussion in grayscale; her purpose has been to emphasize the importance of this silvery metal, which has enriched the history of art from the Middle Ages by making possible the beauty of stained glass compositions.

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