Robert de Reims, also known as “La Chievre de Rains,” was among the earliest trouvères—poet-composers who were contemporaries of the troubadours but who wrote in the dialects of northern France. This critical edition provides new translations into English and modern French of all the songs and motets ascribed to him, along with the original texts, the extant music, and a substantive introduction. Active sometime between 1190 and 1220, Robert was an influential figure in the literary circles of Arras. Thirteen compositions set to music are here attributed to him, including nine chansons and four polyphonic motets that were broadly disseminated in the thirteenth century and beyond. Robert’s work is exceptional on a number of fronts. He lavished particular care on the phonic harmony of his words. Acoustic luxuriance and expertise in rhyming, grounded in the play of echoes and variation (often extending into the music), constitute the hallmark of his poetry. Moreover, he is the earliest trouvère known to have composed a parodic sotte chanson contre Amours (silly song against Love). Located clearly at the nexus of monophonic song and polyphony, Robert’s corpus also poses the intriguing question of trouvère participation in the development of the polyphonic repertory. The case of Robert de Reims jostles and tempers the standard history of the chanson and motet. Accessible and instructive, this trilingual critical edition of his complete works makes the oeuvre of this innovative and consequential trouvère available in one volume for the first time.

This is the first English translation of Robert the Monk's Historia Iherosolimitana, a Latin prose chronicle describing the First Crusade. In addition to providing new and unique information on the Crusade (Robert claims to have been an eyewitness of the Council of Clermont in 1095), its particular interest lies in the great popularity it enjoyed in the Middle Ages. The text has close links with the vernacular literary tradition and is written in a racy style which would not disgrace a modern tabloid journalist. Its reflection of contemporary legends and anecdotes gives us insights into perceptions of the Crusade at that time and opens up interesting perspectives onto the relationship of history and fiction in the twelfth century. The introduction discusses what we know about Robert, his importance as a historical source and his place in the literary tradition of the First Crusade.

This book charts the past, present, and future of studies on medieval technology, art, and craft practices. Inspired by Villard’s enigmatic portfolio of artistic and engineering drawings, this collection explores the multiple facets of medieval building represented in this manuscript (Paris, Bibliothèque nationale de France, MS Fr 19093). The book’s eighteen essays and two introductions showcase traditional and emergent methods for the study of medieval craft, demonstrating how these diverse approaches collectively amplify our understanding about how medieval people built, engineered, and represented their world. Contributions range from the analysis of words and images in Villard’s portfolio, to the close analysis of masonry, technological marvels, and gothic architecture, pointing the way toward new avenues for future scholarship to explore. Contributors are: Mickey Abel, Carl F. Barnes Jr., Robert Bork, George Brooks, Michael T. Davis, Amy Gillette, Erik Gustafson, Maile S. Hutterer, John James, William Sayers, Ellen Shortell, Alice Isabella Sullivan, Richard Alfred Sundt, Sarah Thompson, Steven A. Walton, Maggie M. Williams, Kathleen Wilson Ruffo, and Nancy Wu.

Offers a comparative cultural history of north-western Europe in the crucial period of the eleventh century.