Spain, 1000–1200: Art at the Frontiers of Faith tells a nuanced story of the dynamic and interconnected medieval Iberian Peninsula while celebrating the artistic exchange among Christians, Muslims, and Jews in the region during the Middle Ages. This Bulletin emphasizes the variety and richness of the Museum’s holdings of medieval Iberian artworks which include mosaics, frescos, architectural decorations, manuscripts, textiles, ivories, and metalwork. Exploring how artists in medieval Spain drew from many sources of inspiration and navigated religious differences in their art, this text underscores the complexity of interfaith interaction during a pivotal era in Spanish history.

The Aron Collection of Islamic Metalwork has been built over many years of research. The present catalogue, which follows the first one curated by James W. Allan in 1986, illustrates a selection of objects from the collection. It studies the main regional schools that flourished in this expression of Islamic art, in particular in the areas of Iran and Central Asia, through specimens representing the breadth of their production. The items date mainly to the Medieval era, between the 9th and the 14th centuries, but include later works too. A journey to discover an extremely technical and complex art, sometimes a real exercise in virtuosity, and one that is ultimately fascinating and sophisticated. Islamic metalwork has been deeply admired for centuries also in the Western world, providing a source of inspiration. The different shapes, uses and manufactures of the pieces in the collection offer a good overview of the main artistic streams in the metalworking art and open a window on the luxuries of the princely courts as well as on the everyday life of parts of Muslim society. They offer up a largely unknown vision of Islam.

This educational resource packet covers more than 1200 years of medieval art from western Europe and Byzantium, as represented by objects in the collection of The Metropolitan Museum of Art. Among the contents of this resource are: an overview of medieval art and the period; a collection of aspects of medieval life, including knighthood, monasticism, pilgrimage, and pleasures and pastimes; information on materials and techniques medieval artists used; maps; a timeline; a bibliography; and a selection of useful resources, including a list of significant collections of medieval art in the U.S. and Canada and a guide to relevant Web sites. Tote box includes a binder book containing background information, lesson plans, timeline, glossary, bibliography, suggested additional resources, and 35 slides, as well as two posters and a 2 CD-ROMs.

E. H. Gombrich's Little History of the World, though written in 1935, has become one of the treasures of historical writing since its first publication in English in 2005. The Yale edition alone has now sold over half a million copies, and the book is available worldwide in almost thirty languages. Gombrich was of course the best-known art historian of his time, and his text suggests illustrations on every page. This illustrated edition of the Little History brings together the pellucid humanity of his narrative with the images that may well have been in his mind's eye as he wrote the book. The two hundred illustrations—most of them in full color—are not simple embellishments, though they are beautiful. They emerge from the text, enrich the author's intention, and deepen the pleasure of reading this remarkable work. For this edition the text is reset in a spacious format, flowing around illustrations that range from paintings to line drawings, emblems, motifs, and symbols. The book incorporates freshly drawn maps, a revised preface, and a new index. Blending high-grade design, fine paper, and classic binding, this is both a sumptuous gift book and an enhanced edition of a timeless account of human history.

From a prize-winning author, this book charts the course of Christianity from ancient history onwards.

Home to an extraordinary collection of treasured masterworks, including the famed Unicorn Tapestries, The Cloisters is devoted to the art and architecture of medieval Europe. This splendid new guide, published to celebrate The Cloisters' seventy-fifth anniversary, richly illustrates and describes the most important highlights of its collection, from paintings, illuminated manuscripts, and exquisitely carved ivories to its monumental architecture evocative of the grand religious spaces and domestic interiors of the Middle Ages. The Cloisters remains a testament to design innovation—a New York City landmark with sweeping views of the Hudson River—featuring original elements of Romanesque and Gothic architecture dating from the 12th through the 15th century. Three of the structures enclose beautiful gardens cultivated with species known from tapestries, medieval herbals, and other historic sources. These exotic spaces, the art masterpieces, and the fragrant plants offer visitors an oasis of serenity and inspiration. This book both encapsulates and enhances that experience.

“Here is a welcome reminder that men can be gentlemen without turning into ladies—or louts.”—Michelle Malkin "Miner writes with wit and charm."—Wall Street Journal The Gentleman: An Endangered Species? The catalog of masculine sins grows by the day—mansplaining, manspreading, toxic masculinity—reflecting our confusion over what it means to be a man. Is a man’s only choice between the brutish, rutting #MeToo lout and the gelded imitation woman, endlessly sensitive and fun to go shopping with? No. Brad Miner invites you to discover the oldest and best model of manhood— the gentleman. In this tour de force of popular history and gentlemanly persuasion, Miner lays out the thousand-year history of this forgotten ideal and makes a compelling case for its modern revival. Three masculine archetypes emerge here—the warrior, the lover, and the monk—forming the character of “the compleat gentleman.” He cultivates a martial spirit in defense of the true and the beautiful. He treats the opposite sex with passionate respect. And he values learning in pursuit of the truth. Miner’s gentleman stands out for the combination of discretion, decorum, and nonchalance that the Renaissance called sprezzatura. He belongs to an aristocracy of virtue, not of wealth or birth, following a lofty code of manly conduct, which, far from threatening democracy, is necessary for its survival.