Studies In Arthurian Illustration

This volums collects and updates Professor Stones's papers on Arthurian manuscript illustration. These essays explore aspects of the inconography of the romances of Chretien de Troyes in French verse, the lengthy Lancelot-Grail romance in French prose, and other versions of the chivalrous exploits of King Arthur's knights - the best sellers of the Middle Ages."

Alison Stones has taught History of Art and Architecture in the USA since 1969 and has enjoyed Visiting Fellowships at the Universities of Oxford, Cambridge and Paris. She is a specialist in illuminated manuscripts, co-authoring Les Manuscrits de Chretien de Troyes (1993), The Pilgrim's Guide to Santiago de Compostela, A Critical Edition (1998), and writing Le Livre d'images de Madame Marie (Paris, BNF n.a.fr. 16251) (1997), and Gautier de Coinci, Miracles, Music and Manuscripts (2006). Her four-volume study, Manuscripts Illuminated in France, Gothic Manuscripts 1260-1320 was published in 2013 and 2014. Her research has been supported by the American Council of Learned Societies, the American Philosophical Society, the Fulbright Foundation, and the National Endowment for the Humanities. She is a Fellow of the Society of Antiquaries of London, a Correspondant etranger honoraire of the Societe nationale des Antiquaires de France and a Chevalier de l'Ordre des Arts et des Lettres. These two volumes collect and update Professor Stones's papers on Arthurian manuscript illustration, one of her continuing passions. These essays explore aspects of the iconography of the romances of Chretien de Troyes in French verse, the lengthy Lancelot-Grail romance in French prose, and other versions of the chivalrous exploits of King Arthur's knights - the best-sellers of the Middle Ages. Illustrated copies of these romances survive in huge numbers from the early thirteenth century through the beginnings of print, and were read for their text and their pictures throughout the French-speaking world. Of special interest is the cultural context in which these popular works were made and disseminated, by scribes and artists whose work encompassed all kinds of books, for patrons whose collecting was wide-ranging, including secular books alongside works of liturgical and devotional interest.

Alison Stones has taught History of Art and Architecture in the USA since 1969 and has enjoyed Visiting Fellowships at the Universities of Oxford, Cambridge and Paris. She is a specialist in illuminated manuscripts, co-authoring Les Manuscrits de Chretien de Troyes (1993), The Pilgrim's Guide to Santiago de Compostela, A Critical Edition (1998), and writing Le Livre d'images de Madame Marie (Paris, BNF n.a.fr. 16251) (1997), and Gautier de Coinci, Miracles, Music and Manuscripts (2006). Her four-volume study, Manuscripts Illuminated in France, Gothic Manuscripts 1260-1320 was published in 2013 and 2014. Her research has been supported by the American Council of Learned Societies, the American Philosophical Society, the Fulbright Foundation, and the National Endowment for the Humanities. She is a Fellow of the Society of Antiquaries of London, a Correspondant etranger honoraire of the Societe nationale des Antiquaires de France and a Chevalier de l'Ordre des Arts et des Lettres. These two volumes collect and update Professor Stones's papers on Arthurian manuscript illustration, one of her continuing passions. These essays explore aspects of the iconography of the romances of Chretien de Troyes in French verse, the lengthy Lancelot-Grail romance in French prose, and other versions of the chivalrous exploits of King Arthur's knights - the best-sellers of the Middle Ages. Illustrated copies of these romances survive in huge numbers from the early thirteenth century through the beginnings of print, and were read for their text and their pictures throughout the French-speaking world. Of special interest is the cultural context in which these popular works were made and disseminated, by scribes and artists whose work encompassed all kinds of books, for patrons whose collecting was wide-ranging, including secular books alongside works of liturgical and devotional interest.

An account in words and pictures of how the world of Camelot and King Arthur's knights was reflected in, and shaped by, book illustration.

Arthurian Literature has established its position as the home for a great diversity of new research into Arthurian matters. It delivers fascinating material across genres, periods, and theoretical issues. TIMES LITERARY SUPPLEMENT This issue offers stimulating studies of a wide range of Arthurian texts and authors, from the Middle Ages to the nineteenth century, among which is the first winner of the Derek Brewer Essay Prize, awarded to a fascinating exploration of Ragnelle's strangeness in The Weddyng of Syr Gawen and Dame Ragnelle. It includes an exploration of Irish and Welsh cognates and possible sources for Merlin; Bakhtinian analysis of Geoffrey of Monmouth's playful discourse; and an account of the transmission of Geoffrey's text into Old Icelandic. In the Middle English tradition, there is an investigation of material Arthuriana in Sir Gawain and the Green Knight, followed by explorations of shame in Malory's Morte Darthur. The post-medieval articles see one paper devoted to the paratexts of sixteenth-century French Arthurian publishers; one to eighteenth-century Arthuriana; and one to a range of nineteenth-century rewritings of the virginity of Galahad and Percival's Sister. Two Notes close this volume: one on Geoffrey's Vita Merlini and a possible Irish source, and one on a likely source for Malory's linking of Trystram with the Book of Hunting and Hawking in an early form of The Book of St Albans.

Originally published in 1996, the articles in this book are revised, expanded papers from a session at the 17th International Congress of the Arthurian Society held in 1993. The chapters cover Arthurian studies’ directions at the time, showcasing analysis of varied aspects of visual representation and relation to literary themes. Close attention to the historical context is a key feature of this work, investigating the linkage between texts and images in the Middle Ages and beyond.

This collection of 148 color and black-and-white illustrations presents unique interpretations of the enduringly popular Arthurian legends by a variety of artists, including Wyeth, Beardsley, Flint, and Pyle.