The Church in Orkney and Shetland and its relations with Norway and Scotland in the Middle Ages

1972 ◽  
Vol 1 (First Series (1) ◽  
pp. 1-18 ◽  
Author(s):  
Ronald G. Cant
Keyword(s):  
Middle Ages ◽  
The Church ◽  
The Middle Ages

Stages in Diplomatic Production

2020 ◽  
pp. 610-618
Author(s):  
Olivier Guyotjeannin
Keyword(s):  
Middle Ages ◽  
Eleventh Century ◽  
The Church ◽  
The Middle Ages

This chapter examines administrative documents of the Middle Ages and the major scholarly studies of them. It surveys the number of preserved documents and the problems surrounding the lack of documents in different periods and places. The author discusses the role and influence of the Church in the increased production and preservation of documents beginning in the eleventh century, leading to an enormous increase in the production of documents during the last three centuries of the Middle Ages.

Papal Legates against the Albigensians: The Debts of the Church of Valence (1215–1250)

Traditio ◽  
2013 ◽  
Vol 68 ◽  
pp. 259-276
Author(s):  
D. Dudley Stutz
Keyword(s):  
Middle Ages ◽  
Thirteenth Century ◽  
Detailed Treatment ◽  
Northern Portion ◽  
Rhone Valley ◽  
The Church ◽  
The Middle Ages

In 1232 Pope Gregory IX (r. 1227–41) imposed a tenth of episcopal revenues on prelates of Occitania to subsidize the church of Valence, which owed 10,000 poundstournoisto various bankers of Vienne, Rome, Lyons, and Siena. In 1865 B. Hauréau first noted the event when he edited one of the main documents in theGallia christianavolume concerning the ecclesiastical province of Vienne. With the publication of Gregory IX's register from 1890–1908 most of the facts of the tax were more widely available. In 1910 Ulysse Chevalier briefly mentioned the tax in his monograph on the long tenure of John of Bernin, archbishop of Vienne (r. 1218–66). In 1913, Heinrich Zimmermann cited Hauréau's text in a note in his detailed treatment of early thirteenth-century papal legations. Recently Alain Marchandisse reviewed eight of the eleven papal letters pertaining to the tax in his study of William of Savoy (d. 1239) as bishop-elect of Liège. These scholars provided no reason for the debt or why the papacy would take such measures to ensure payment. Perhaps they did not study this tax further because a church indebted to moneylenders is not in itself surprising. It appears that the church of Valence acquired the debt, very large compared to the church's income, when bishop-elect William of Savoy (r. 1225–39) waged war against Adhémar II of Poitiers-Valentinois, count of the Valentinois (r. 1189–1239). Struggles between bishops and the local nobility occurred on a regular basis throughout the Middle Ages, so what in this unimportant Rhone-valley diocese interested the pope enough to impose taxes on prelates of Occitania over twenty years to ensure payment of this debt? Adhémar II faithfully supported Raymond VI (r. 1194–1222) and Raymond VII (r. 1222–49) of Saint-Gilles, counts of Toulouse, throughout their struggle with the papacy during and following the Albigensian crusades. Adhémar II was also their vassal for the Diois, which borders the Valentinois on the southeast and comprised the northern portion of the marquisate of Provence. These lands had been reserved for the church in the Treaty of Meaux-Paris (1229), which ended the Albigensian crusades. Thus William of Savoy as bishop-elect of Valence defended the papacy's claims on the marquisate of Provence, which the papacy deemed part of the larger struggle between the Roman church and the counts of Toulouse. The facts on the nature of the debts and the steps the papacy took to aid the diocese show that the local struggle between the bishop of Valence and the count of the Valentinois embodied a part of the larger struggle between the papacy and the counts of Toulouse over the marquisate of Provence, which began as early as 1215.

The Maaseik embroideries

1984 ◽  
Vol 13 ◽  
pp. 65-96 ◽  
Author(s):  
Mildred Budny ◽  
Dominic Tweddle
Keyword(s):  
Middle Ages ◽  
Eighth Century ◽  
Anglo Saxon ◽  
Form Part ◽  
The Church ◽  
Made In ◽  
The Middle Ages

Among the relics in the treasury of the church of St Catherine at Maaseik in Limburg, Belgium, there are some luxurious embroideries which form part of the so-called casula (probably ‘chasuble’) of Sts Harlindis and Relindis (pls. I–VI). It was preserved throughout the Middle Ages at the abbey church of Aldeneik (which these sister-saints founded in the early eighth century) and was moved to nearby Maaseik in 1571. Although traditionally regarded as the handiwork of Harlindis and Relindis themselves, the embroideries cannot date from as early as their time, and they must have been made in Anglo-Saxon England. Indeed, they represent the earliest surviving examples of the highly prized English art of embroidery which became famous later in the Middle Ages as opus anglicanum.

The Church and Economic Activity in the Middle Ages

1973 ◽  
Vol 63 (4) ◽  
pp. 365
Author(s):  
G. ◽  
J. Gilchrist
Keyword(s):  
Middle Ages ◽  
Economic Activity ◽  
The Church ◽  
The Middle Ages

The medieval church

2004 ◽  
Author(s):  
David Luscombe
Keyword(s):  
Twentieth Century ◽  
Middle Ages ◽  
Medieval Church ◽  
History Of ◽  
The Church ◽  
The Middle Ages

This chapter discusses the contributions that were made by former Fellows of the Academy to the study of the medieval church. It states that the history of the medieval church is inseparable from the general history of the Middle Ages, since the church shaped society and society shaped the church. The chapter determines that no hard and fast distinction can always be made between the works by ecclesiastical historians during the twentieth century, and the contributions made to general history by other historians.

The Medieval Image, I

2019 ◽  
pp. 196-223
Author(s):  
Thomas Nail
Keyword(s):  
Middle Ages ◽  
Work Of Art ◽  
Works Of Art ◽  
Aesthetic Field ◽  
The Aesthetic ◽  
The Church ◽  
The Middle Ages

Chapter 10 presents a realist aesthetics (versus constructivist) and a kinetic materialism (versus formal idealism) that focuses on the material kinetic structure of the work of art itself, inclusive of milieu and viewer. What the author calls “kinesthetics” is a return to the works of art themselves as fields of images, affects, and sensations. The chapter more specifically offers a focused study of the material kinetic conditions of the dominant aesthetic field of relation during the Middle Ages. The argument here and in the next chapter is that during the Middle Ages, the aesthetic field is defined by a tensional and relational regime of motion. This idea is supported by looking closely at three major arts of the Middle Ages: glassworks, the church, and distillation. The next chapter likewise considers perspective, the keyboard, and epistolography.

7. The ‘Middle Ages’ in our daily lives

2014 ◽  
pp. 116-125
Author(s):  
Miri Rubin
Keyword(s):  
Middle Ages ◽  
Social Mobility ◽  
Young Adulthood ◽  
Civil Law ◽  
Daily Lives ◽  
12Th Century ◽  
Church Law ◽  
The Church ◽  
The Middle Ages ◽  
Poetry And Music

‘The “Middle Ages” in our daily lives’ discusses some of the legacies of this period: universities, the printed book, and song. The 12th century saw increased specialization in centres of learning under the auspices of emperors, kings, and popes. Universities were first created in Bologna and Paris, and offered the highest training in medicine, church law, and civil law. It trained those who went on to become the highest state officials and prelates of the church. The culture of young adulthood fostered in universities, and the possibilities for social mobility they afforded, is still seen today. The development of the printed book and the combination of poetry and music in song is also considered.

scholarly journals IV.—On the Series of Wall Paintings in the Church of St. Mary, Guildford

Archaeologia ◽  
1885 ◽  
Vol 49 (01) ◽  
pp. 199-212
Author(s):  
John Green Waller
Keyword(s):  
Middle Ages ◽  
Religious Art ◽  
Wall Paintings ◽  
The North ◽  
Long Time ◽  
The Church ◽  
Old Friends ◽  
New Discovery ◽  
The Middle Ages

The Series of Paintings on the vault of the apse to the north aisle of St. Mary's Church, Guildford, unlike so many which have exercised our attention for a long time past, are of no new discovery, but were disclosed as far back as 1825. In 1838, they were described, and a solution proposed by my old friends, Edward John Carlos and John Gough Nichols, in theArchaeologia, vol. XXVII. p. 413. There are no two names which recall to me more reverent associations than those of the friends I have mentioned. Mr. Carlos was my master in archaeology, and Mr. Nichols's services are well known to this Society. But at the time they wrote little or nothing was known of the popular religious art of the Middle Ages. Didron had but begun his researches, and Maury had not written at all; whilst, in this country, whitewash still covered most of the walls of our churches. Therefore it is not a matter of surprise that their attempted solution is inaccurate, nor have those who have followed them been more fortunate. Guesses have been vaguely made, always an unsure process, for there is nothing more likely to deceive than attempts to find out the meaning of a subject without any principle to go upon: it is like a voyage upon an unknown sea, without rudder or compass. In fact, the subjects I am about to explain, are exceedingly obscure until the clue is obtained; and, at one time, I feared I must have confessed my ignorance, though not admitting the accuracy of the solution given by my friends. They are unique to my experience, and especially curious in the manner in which they are associated together.

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