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The twenty-four studies in this volume propose a new approach to framing the debate around the history of medieval art and architecture to highlight the multiple roles played by women, moving beyond today's standard division of artist from patron.

Crown and Veil offers a broad introduction to the history and visual culture of female monasticism in the Middle Ages, from the earliest communities of Late Antiquity to the Reformation. Scholars from numerous disciplines offer a wide range of perspectives not to be found in any other single book on the subject, placing the art, architecture, literature, liturgy, religious practices, and economic foundations of these communities within a wide historical and cultural context. Long considered marginal to mainstream history, nuns and canonesses in fact had a profound influence on medieval culture. Revered and admired as models of piety, they commanded considerable prestige and exercised a significant degree of political power. Whether acting as producers or patrons of art, nuns were widely celebrated for their imaginative accomplishments. Focusing on the visual culture of female monastic communities in the German Empire, Frankish Gaul, Langobard Italy, and Anglo-Saxon England, this volume underscores the richness of largely unfamiliar material and its role in shaping distinctive forms of religious life.

This book examines for the first time the scriptorium of the Augustinian Monastery of St. Pancras in Hamersleben. In the last quarter of the 12th century six wellknown manuscripts were produced there. Of the fourteen scribeartists involved, one in particular stands out as responsible for the correct text and illustrations. The bold innovations of this master scribeartist are expressed especially in the decoration programmes of a Psalter and two Gospel books. The manuscripts produced in the Hamersleben Scriptorium, as well as its notable library, were dispersed throughout the world or thought to be lost. In this book six known manuscripts are brought home, to Hamersleben. Each manuscript is minutely analysed for its codicology, palaeography, text and illuminations. The style of script as well as the style and iconography of the illustrations are discussed in relation to those from other monasteries in Saxony, in order to examine the evolvement of the regional style.

The collection of essays presented in “Devotional Cross-Roads: Practicing Love of God in Medieval Gaul, Jerusalem, and Saxony” investigates test case witnesses of Christian devotion and patronage from Late Antiquity to the Late Middle Ages, set in and between the Eastern and Western Mediterranean, as well as Gaul and the regions north of the Alps. Devotional practice and love of God refer to people – mostly from the lay and religious elite –, ideas, copies of texts, images, and material objects, such as relics and reliquaries. The wide geographic borders and time span are used here to illustrate a broad picture composed around questions of worship, identity, religious affiliation and gender. Among the diversity of cases, the studies presented in this volume exemplify recurring themes, which occupied the Christian believer, such as the veneration of the Cross, translation of architecture, pilgrimage and patronage, emergence of iconography and devotional patterns. These essays are representing the research results of the project “Practicing Love of God: Comparing Women’s and Men’s Practice in Medieval Saxony” guided by the art historian Galit Noga-Banai, The Hebrew University of Jerusalem, and the historian Hedwig Röckelein, Georg-August-Universität Göttingen. This project was running from 2013 to 2018 within the Niedersachsen-Israeli Program and financed by the State of Lower Saxony.

Fifty years after his death (25 March 1963) and 75 years following the publication of De Noord-Nederlandsche Schilderkunst, G.J. Hoogewerff's comprehensive five-volume study on early painting in the Northern Netherlands serves as a starting point for exciting new research by Dutch art historians. In this book, based on the Proceedings of the Congress '75 years after Hoogewerff', renowned and promising scholars comment on the value of Hoogewerff's work, his academic choices, and the role his research has played in art history from the twentieth century to the present day. New perspectives on medieval Dutch painting, sculpture, and book illumination will entice and fascinate the reader. Dutch medieval art, we now know, cannot be accurately studied without considering the functional environment, the artistic exchange among diverse media and disciplines, and the larger context of European culture as a whole.