Jaroslav Folda traces the appropriation of the Byzantine Virgin and Child Hodegetria icon by thirteenth-century Crusader and central Italian painters and explores its transformation by the introduction of chrysography on the figure of the Virgin in the Crusader Levant and in Italy.

Written to celebrate the prestigious career of Professor Denys Pringle, this collection of articles produced by many of the leading archaeologists and historians in the field of crusades studies offers a compilation of pioneering scholarship on recent studies on the Latin East. The geographical breadth of topics discussed in each chapter reflects both Pringle’s international collaborations and research interests, and the wide development of scholarly interest in the subject. With a concentration on the areas corresponding to the crusader states during the twelfth and thirteenth centuries, the articles also offer research into the neighbouring areas of Cyprus, Anatolia, Greece and the West, and the legacy of the crusader period there, with results from recent archaeological fieldwork in the Middle East.

Byzantine Art and Renaissance Europe discusses the cultural and artistic interaction between the Byzantine east and western Europe, from the sack of Constantinople by the Fourth Crusade in 1204 to the flourishing of post-Byzantine artistic workshops on Venetian Crete during the fifteenth and sixteenth centuries and the formation of icon collections in Renaissance Italy. The contributors examine the routes by which artistic interaction may have taken place, and explore the reception of Byzantine art in western Europe, analysing why artists and patrons were interested in ideas from the other side of the cultural and religious divide. In the first chapter, Lyn Rodley outlines the development of Byzantine art in the Palaiologan era and its relations with western culture. Hans Bloemsma then re-assesses the influence of Byzantine art on early Italian painting from the point of view of changing demands regarding religious images in Italy. In the first of two chapters on Venetian Crete, Angeliki Lymberopoulou evaluates the impact of the Venetian presence on the production of fresco decorations in regional Byzantine churches on the island. The next chapter, by Diana Newall, continues the exploration of Cretan art manufactured under the Venetians, shifting the focus to the bi-cultural society of the Cretan capital Candia and the rise of the post-Byzantine icon. Kim Woods then addresses the reception of Byzantine icons in western Europe in the late Middle Ages and their role as devotional objects in the Roman Catholic Church. Finally, Rembrandt Duits examines the status of Byzantine icons as collectors’ items in early Renaissance Italy. The inventories of the Medici family and other collectors reveal an appreciation for icons among Italian patrons, which suggests that received notions of Renaissance tastes may be in need of revision. The book thus offers new perspectives and insights and re-positions late and post-Byzantine art in a broader European cultural context.

The Crusader World is a multidisciplinary survey of the current state of research in the field of crusader studies, an area of study which has become increasingly popular in recent years. In this volume Adrian Boas draws together an impressive range of academics, including work from renowned scholars as well as a number of though-provoking pieces from emerging researchers, in order to provide broad coverage of the major aspects of the period. This authoritative work will play an important role in the future direction of crusading studies. This volume enriches present knowledge of the crusades, addressing such wide-ranging subjects as: intelligence and espionage, gender issues, religious celebrations in crusader Jerusalem, political struggles in crusader Antioch, the archaeological study of battle sites and fortifications, diseases suffered by the crusaders, crusading in northern Europe and Spain and the impact of Crusader art. The relationship between Crusaders and Muslims, two distinct and in many way opposing cultures, is also examined in depth, including a discussion of how the Franks perceived their enemies. Arranged into eight thematic sections, The Crusader World considers many central issues as well as a large number of less familiar topics of the crusades, crusader society, history and culture. With over 100 photographs, line drawings and maps, this impressive collection of essays is a key resource for students and scholars alike.

"This handbook offers a wide-ranging introduction to the richness and diversity of the arts in the Byzantine world. It includes thirty-eight essays by international authors, from prominent researchers to emerging scholars, on various issues and media. Discussions consider art created for religious purposes, to enhance and beautify the Orthodox liturgy and worship space, as well as art made to serve in royal and domestic contexts. While Byzantium is defined as the years 330-1453 CE, some chapters treat the aftermath and influence of Byzantine art on later periods. Arts covered include buildings and objects from the Eastern Mediterranean region, including the Balkans, Russia, North Africa, and the Near East. The volume brings together object-based considerations of themes and monuments which form the backbone of art history, with considerations drawing on many different methodologies-sociology, semiotics, anthropology, archaeology, reception theory, deconstruction theory, among others-all in an up-to-date synthesis of scholarship on Byzantine art and architecture. The Oxford Handbook of Byzantine Art and Architecture is a comprehensive overview of a rich field of study, offering a window into the world of this distinct and fascinating period of art"--

An authoritative account of early Christian and Byzantine art.

By the late Middle Ages, manifestations of Marian devotion had become multifaceted and covered all aspects of religious, private and personal life. Mary becomes a universal presence that accompanies the faithful on pilgrimage, in dreams, as holy visions, and as pictorial representations in church space and domestic interiors. The first part of the volume traces the development of Marian iconography in sculpture, panel paintings, and objects, such as seals, with particular emphasis on Italy, Slovenia and the Hungarian Kingdom. The second section traces the use of Marian devotion in relation to space, be that a country or territory, a monastery or church or personal space, and explores the use of space in shaping new liturgical practices, new Marian feasts and performances, and the bodily performance of ritual objects.