In the Middle Ages, relic cults provoked rich expressions of devotion not only in hagiographic literature and visual art but also in liturgical music and ritual. Despite the long-recognized inter-play between these diverse media, historians of the period rarely integrate analysis of sacred music into their research on other modes of worship espoused by relic cults. Holy Treasure and Sacred Song situates this oft-neglected yet critical domain of religious life at the center of an examination of relic cults in medieval Tuscany. Long recognized as a center of artistic innovation during the Renaissance, this region also boasted the rich and well documented veneration of holy bishops and martyrs buried in the cathedrals and suburban shrines of its principal cities. Author Benjamin Brand reveals that the music composed to honor these local saints - no fewer than ninety chants for the Mass and Divine Office - were essential components of larger devotional campaigns that included the recording of their life stories and the building and decoration of their shrines. Furthermore, the local Tuscan clerics who assumed control of these campaigns with the intent of gaining both temporal and spiritual power drew on influential global models - literary, architectural, musical, and ritual - from preeminent European powers, Rome and the Carolingian Empire. By integrating detailed analyses of plainsong and sacred ritual into this rich panorama, Brand traces the dialectic between local, regional, and pan-European trends, revealing the centrality of the liturgy in the development of medieval relic cults and, in a broader sense, medieval European culture and politics. Offering a rich topography of music, liturgy, and devotion through an interdisciplinary approach ideal for the multifaceted nature of medieval relic cults, Holy Treasure and Sacred Song will find a broad audience amongst musicologists and medievalists alike.

St Peter Damian (1007-1072) is an exceptional example of a paradox that is found in many saints and thinkers through the ages (St Jerome, St Bernard, St Bridget of Sweden, St Teresa of Avila and Thomas Merton come to mind) – of a lifelong tension between two competing vocations: the call to solitude and holiness and the call to prophetic social and ecclesial engagement. The author has explored this tension throughout his adult life, both in his published work and in his own life as an Episcopalian/Anglican priest and later bishop. Damian’s “The Book of ‘The Lord be with you’” is a profound exploration of the spirituality of solitude, whereas his “Book of Gomorrah” is an intense attack on clerical sexual abuse which has helped to give Damian a new recent prominence in the light of the huge challenges facing the Church today. The Bonds of Love shows that the paradox at the heart of Damian's life and everything he cared about was rooted in the remarkable theology of love which finds expression across the whole of his work and gives it both coherence and dynamism. His life and spirituality are of far more than academic interest, and will make a major contribution, not only to those committed to ecclesial reform and renewal, but to all who struggle to live with the kind of competing tensions that made St. Peter Damian who he was.

Collected Studies CS1064 This collection of Giles Constable's key articles on medieval monastic and ecclesiastical history provides nothing less than a comprehensive overview of research in the field. The book provides an insight into monastic life in the Middle Ages - from Germany to Normandy and from England to Sicily.

The Carthusian monks at San Martino began a series of decorative campaigns in the 1580s that continued until 1757, transforming the church of their monastery, the Certosa di San Martino, into a jewel of marble revetment, painting, and sculpture. The aesthetics of the church generate a jarring moral conflict: few religious orders honored the ideals of poverty and simplicity so ardently yet decorated so sumptuously. In this study, Nick Napoli explores the terms of this conflict and of how it sought resolution amidst the social and economic realities and the political and religious culture of early modern Naples. Napoli mines the documentary record of the decorative campaigns at San Martino, revealing the rich testimony it provides relating to both the monks? and the artists? expectations of how practice and payment should transpire. From these documents, the author delivers insight into the ethical and economic foundations of artistic practice in early modern Naples. The first English-language study of a key monument in Naples and the first to situate the complex within the cultural history of the city, The Ethics of Ornament in Early Modern Naples sheds new light on the Neapolitan baroque, industries of art in the age before capitalism, and the relation of art, architecture, and ornament.