French Gothic Ivories

This volume is the first to consider the golden century of Gothic ivory sculpture (1230-1330) in its material, theological, and artistic contexts. Providing a range of new sources and interpretations, Sarah Guérin charts the progressive development and deepening of material resonances expressed in these small-scale carvings. Guérin traces the journey of ivory tusks, from the intercontinental trade routes that delivered ivory tusks to northern Europe, to the workbenches of specialist artisans in medieval Paris, and, ultimately, the altars and private chapels in which these objects were venerated. She also studies the rich social lives and uses of a diverse range of art works fashioned from ivory, including standalone statuettes, diptychs, tabernacles, and altarpieces. Offering new insights into the resonances that ivory sculpture held for their makers and viewers, Guérin's study contributes to our understanding of the history of materials, craft, and later medieval devotional practices.

"A snapshot of the extent of the northern European economic sphere appears in a manuscript miscellany formerly at Notre-Dame in Paris (BnF, MS fr. 25545). It contains one of the earliest copies of Marie de France's Ysopet , a copy of Richard de Fournival's Bestiaire d'amour, the popular romance of the Chatelaine de Vergi , numerous bawdy fabliaux, a political poem railing against the monetary policy of Philippe le Bel, a list of fish (!), and a unique text describing "Li roiaume et les terres desquex les marchandises viennent a Bruges" (The kingdoms and lands from which merchandise comes to Bruges). Olivier Collet and Jean Rychner suggest that this manuscript, completed before 1316, was compiled for a literate, bourgeois merchant in Tournai.4 Two folios (18v-19r) list Bruges's thirty-four trading partners, including locales nearby (England, Sweden, Germany), far away (Russia, Portugal, al-Andalus), and on the limits of the known world (China, Sijilmasa, Sudan). Similarly, goods coming from these regions range from the mundane to the exotic: cheese, leather, and coal are named alongside cloth of gold, rice, and sugar (still rare in European cuisine), brazilwood, cotton, and "all spices" (toute espicerie). This short anonymous text exalts the exceptional quality and variety of merchandise available in Flanders: "For this is why no other country can compare with the merchandise available in Flanders.""--

The first in a series of close studies of masterworks in a private collection, this is an examination of one of the most important French Gothic ivories ever made.

First published in 1995, Medieval France: An Encyclopedia is the first single-volume reference work on the history and culture of medieval France. It covers the political, intellectual, literary, and musical history of the country from the early fifth to the late fifteenth century. The shorter entries offer succinct summaries of the lives of individuals, events, works, cities, monuments, and other important subjects, followed by essential bibliographies. Longer essay-length articles provide interpretive comments about significant institutions and important periods or events. The Encyclopedia is thoroughly cross-referenced and includes a generous selection of illustrations, maps, charts, and genealogies. It is especially strong in its coverage of economic issues, women, music, religion and literature. This comprehensive work of over 2,400 entries will be of key interest to students and scholars, as well as general readers.

Arranged alphabetically, with a brief introduction that clearly defines the scope and purpose of the book. Illustrations include maps, B/W photographs, genealogical tables, and lists of architectural terms.

This volume is the first to consider the golden century of Gothic ivory sculpture (1230-1330) in its material, theological, and artistic contexts. Providing a range of new sources and interpretations, Sarah Guérin charts the progressive development and deepening of material resonances expressed in these small-scale carvings. Guérin traces the journey of ivory tusks, from the intercontinental trade routes that delivered ivory tusks to northern Europe, to the workbenches of specialist artisans in medieval Paris, and, ultimately, the altars and private chapels in which these objects were venerated. She also studies the rich social lives and uses of a diverse range of art works fashioned from ivory, including standalone statuettes, diptychs, tabernacles, and altarpieces. Offering new insights into the resonances that ivory sculpture held for their makers and viewers, Guérin's study contributes to our understanding of the history of materials, craft, and later medieval devotional practices.

"A study of Netherlandish triptychs from the early fifteenth century through the early seventeenth century, covering works by Jan van Eyck, Rogier van der Weyden, Hugo van der Goes, Hieronymus Bosch, and Peter Paul Rubens. Explores how the triptych format structures and generates meaning"--Provided by publisher.