The diversity of sculpture preserved at the Herefordshire School has fascinated art historians for many years. Although much of the sculpture has been published and discussed in academic journals, there has been no comprehensive work on the subject - until now. Thurlby focuses attention on the sculpture form the school in its building context, whilst also seeking parallels from other buildings and in other media. This book will appeal to both the specialist and non-specialist due to its style and wide ranging discussion. Thurlby draws in comparisons from Britain and abroad, discusses the inspiration for many of the pieces, the patrons and the motives for their patronage, the training and role of craftsmen, and so on. Over 240 illustrations complement the text.

The Use of Hereford, a local variation of the Roman rite, was one of the diocesan liturgies of medieval England before their abolition and replacement by the Book of Common Prayer in 1549. Unlike the widespread Use of Sarum, the Use of Hereford was confined principally to its diocese, which helped to maintain its individuality until the Reformation. This study seeks to catalogue and evaluate all the known surviving sources of the Use of Hereford, with particular reference to the missals and gradual, which so far have received little attention. In addition to these a variety of other material has been examined, including a number of little-known or unknown important fragments of early Hereford service-books dismembered at the Reformation and now hidden away as binding or other scrap in libraries and record offices.

The Use of Hereford, a local variation of the Roman rite, was one of the diocesan liturgies of medieval England before their abolition and replacement by the Book of Common Prayer in 1549. Unlike the widespread Use of Sarum, the Use of Hereford was confined principally to its diocese, which helped to maintain its individuality until the Reformation. This study seeks to catalogue and evaluate all the known surviving sources of the Use of Hereford, with particular reference to the missals and gradual, which so far have received little attention. In addition to these a variety of other material has been examined, including a number of little-known or unknown important fragments of early Hereford service-books dismembered at the Reformation and now hidden away as binding or other scrap in libraries and record offices. This is the fullest examination of Hereford liturgical sources ever undertaken and may stimulate similar and much-needed studies of other diocesan uses, in particular Sarum and York. As well as describing in detail the various manuscript sources, the rare single edition printed Hereford texts, the missals and breviaries, are also discussed. Unlike books of the Sarum and York rites, these ’one-offs’ were never revised and reissued. In addition to the examination of these sources, William Smith discusses the possible origins of the rite and provides an analysis of the Hereford liturgical calendar, of the festa, including those of the cathedral’s patron St Ethelbert and the no less famous St Thomas Cantilupe, that helped to make Hereford use so distinctive.

A fully updated and comprehensive companion to Romanesque and Gothic art history This definitive reference brings together cutting-edge scholarship devoted to the Romanesque and Gothic traditions in Northern Europe and provides a clear analytical survey of what is happening in this major area of Western art history. The volume comprises original theoretical, historical, and historiographic essays written by renowned and emergent scholars who discuss the vibrancy of medieval art from both thematic and sub-disciplinary perspectives. Part of the Blackwell Companions to Art History, A Companion to Medieval Art, Second Edition features an international and ambitious range of contributions covering reception, formalism, Gregory the Great, pilgrimage art, gender, patronage, marginalized images, the concept of spolia, manuscript illumination, stained glass, Cistercian architecture, art of the crusader states, and more. Newly revised edition of a highly successful companion, including 11 new articles Comprehensive coverage ranging from vision, materiality, and the artist through to architecture, sculpture, and painting Contains full-color illustrations throughout, plus notes on the book’s many distinguished contributors A Companion to Medieval Art: Romanesque and Gothic in Northern Europe, Second Edition is an exciting and varied study that provides essential reading for students and teachers of Medieval art.

The Regional and Transregional in Romanesque Europe considers the historiography and usefulness of regional categories and in so doing explores the strength, durability, mutability, and geographical scope of regional and transregional phenomena in the Romanesque period. This book addresses the complex question of the significance of regions in the creation of Romanesque, particularly in relation to transregional and pan-European artistic styles and approaches. The categorization of Romanesque by region was a cornerstone of 19th- and 20th-century scholarship, albeit one vulnerable to the application of anachronistic concepts of regional identity. Individual chapters explore the generation and reception of forms, the conditions that give rise to the development of transregional styles and the agencies that cut across territorial boundaries. There are studies of regional styles in Aquitaine, Castile, Sicily, Hungary, and Scandinavia; workshops in Worms and the Welsh Marches; the transregional nature of liturgical furnishings; the cultural geography of the new monastic orders; metalworking in Hildesheim and the valley of the Meuse; and the links which connect Piemonte with Conques. The Regional and Transregional in Romanesque Europe offers a new vision of regions in the creation of Romanesque relevant to archaeologists, art historians, and historians alike.

This book presents a fresh perspective on eleventh- and twelfth-century Irish architecture, and a critical assessment of the value of describing it, and indeed contemporary European architecture in general, as “Romanesque”. Medieval Irish Architecture and the Concept of Romanesque is a new and original study of medieval architectural culture in Ireland. The book’s central premise is that the concept of a “Romanesque” style in eleventh- and twelfth-century architecture across Western Europe, including Ireland, is problematic, and that the analysis of building traditions of that period is not well served by the assumption that there was a common style. Detailed discussion of important buildings in Ireland, a place marginalised within the “Romanesque” model, reveals the Irish evidence to be intrinsically interesting to students of medieval European architecture, for it is evidence which illuminates how architectural traditions of the Middle Ages were shaped by balancing native and imported needs and aesthetics, often without reference to Romanitas. This book is for specialists and students in the fields of Romanesque, medieval archaeology, medieval architectural history, and medieval Irish studies.

Scholars have long been interested in the extent to which the Anglo-Saxon past can be understood using material written, and produced, in the twelfth century; and simultaneously in the continued importance (or otherwise) of the Anglo-Saxon past in the generations following the Norman Conquest of England. In order to better understand these issues, this volume provides a series of essays that moves scholarship forward in two significant ways. Firstly, it scrutinises how the Anglo-Saxon past continued to be reused and recycled throughout the longue durée of the twelfth century, as opposed to the early decades that are usually covered. Secondly, by bringing together scholars who are experts in various different scholarly disciplines, the volume deals with a much broader range of historical, linguistic, legal, artistic, palaeographical and cultic evidence than has hitherto been the case. Divided into four main parts: The Anglo-Saxon Saints; Anglo-Saxon England in the Narrative of Britain; Anglo-Saxon Law and Charter; and Art-history and the French Vernacular, it scrutinises the majority of different genres of source material that are vital in any study of early medieval British history. In so doing the resultant volume will become a standard reference point for students and scholars alike interested in the ways in which the Anglo-Saxon past continued to be of importance and interest throughout the twelfth century.