The most important symbols of Christianity, the cross and crucifix are as diverse in material, design, and detail as they are origin. Renowned art historian Oleg Zastrow’s unprecedented volume is a richly illustrated collection of these sacred treasures, many of which have never been published before. Remarkable for their outstanding interest and extreme rarity, the works are featured here in stunning colorplates with numerous close-up details. This exceptional and varied collection spans twelve centuries, and includes reliquary, altar, wall, table, pectoral, benedictional, ornamental, and devotional crosses. Made from silver, copper, bronze, iron, ivory, bone, marble, stone and wood, these expertly crafted artifacts are decorated by gilding or silvering, polychromy, enamelling, or gems and pearls. Gathered from around the globe, this catalogue of crosses and crucifixes is the product of impassioned and knowledgeable collecting, and a new and important resource on a topic that has long been neglected in the history of art.

The Story of Attila in Prose is the first critical edition and translation of the thirteenth century Franco-Italian prose text the Estoire d’Atile en prose. Preserved in two anonymous and untitled manuscripts composed between the last quarter of the thirteenth century and the beginning of the fourteenth century, the story recounts the fictional founding of Venice after the invasion of Aquileia by Attila the Hun. The manuscripts, located in Zagreb and Venice, detail Attila’s pagan mother, her union with a dog, and his feral birth, as well as his unusual death during a chess match and the origins of the Holy Grail. This edition and translation are based on the Zagreb manuscript, which was only recently discovered. The book includes a full critical apparatus containing rejected readings and variants from the Venetian manuscript, and a thorough introduction that discusses the literary value of the text, its possible sources, and its influence on later literature. It is important reading for both historians of medieval Europe and literary critics.

Edward Garrison's work on early Italian panels resulted in the publication in 1949 of the first comprehensive index of Romanesque Italian panel painting, which remains the standard work of reference on the subject. Subsequently, his four-volume Studies in the History of Medieval Italian Painting, published in Florence between 1953 and 1962, represents the most considerable body of research yet published on Italian miniature and panel painting from the eleventh to the thirteenth centuries. These two volumes collect together all the author's articles on Italian fresco and panel painting which have been published in art-historical journals since 1945. This provides both an indispensable supplement to the author's earlier Studies in the History of Medieval Italian Painting, and in including three successive Addenda to his Index of Italian Romanesque Panel Paintings, also serves the function of updating the earlier publications. Contents: Preface The Role of Criticism in the Historiography of Painting Note on the Survival of Thirteenth-Century Panel Paintings in Italy A Berlinghieresque Fresco in S. Stefano, Bologna Ricupero di un affresco del dodicesimo secolo in Lucca Towards a New History of Early Lucchese Painting Elements of Shape as Indices of Date in Florentine Painted Panels A Ducciesque Tabernacle at Oxford The Oxford Christ Church Library Panel and the Milan Sessa Collection Shutters Simeone and Machilone Spoletenses Il Maestro di Forl Dating the Vatican Last Judgment Panel: Monument versus Document Post-War Discoveries in Early Italian Painting, I-V Addenda ad Indicem, I-III Index.

The twelve papers written for this volume reflect the wide scope of Annemarie Weyl Carr's interests and the equally wide impact of her work. The concepts linking the essays include the examination of form and meaning, the relationship between original and copy, and reception and cultural identity in medieval art and architecture. Carr’s work focuses on the object but considers the audience, looks at the copy for retention or rejection of the original form and meaning, and always seeks to understand the relationship between intent and perception. She examines the elusive nature of ’center’ and ’periphery’, expanding and enriching the discourse of manuscript production, icons and their copies, and the dissemination of style and meaning. Her body of work is impressive in its chronological scope and geographical extent, as is her ability to tie together aspects of patronage, production and influence across the medieval Mediterranean. The volume opens with an overview of Carr’s career at Southern Methodist University, by Bonnie Wheeler. Kathleen Maxwell, Justine Andrews and Pamela Patton contribute chapters in which they examine workshops, subgroups and influences in manuscript production and reception. Diliana Angelova, Lynn Jones and Ida Sinkevic offer explorations of intent and reception, focusing on imperial patronage, relics and reliquaries. Cypriot studies are represented by Michele Bacci and Maria Vassilaki, who examine aspects of form and style in architecture and icons. The final chapters, by Jaroslav Folda, Anthony Cutler, Rossitza Schroeder and Ann Driscoll, are linked by their focus on the nature of copies, and tease out the ways in which meaning is retained or altered, and the role that is played by intent and reception.