The Sainte Chapelle And The Construction Of Sacral Monarchy

This book offers a novel perspective on one of the most important monuments of French Gothic architecture, the Sainte-Chapelle, constructed in Paris by King Louis IX of France between 1239 and 1248 especially to hold and to celebrate Christ's Crown of Thorns. Meredith Cohen argues that the chapel's architecture, decoration, and use conveyed the notion of sacral kingship to its audience in Paris and in greater Europe, thereby implicitly elevating the French king to the level of suzerain, and establishing an early visual precedent for the political theories of royal sovereignty and French absolutism. By setting the chapel within its broader urban and royal contexts, this book offers new insight into royal representation and the rise of Paris as a political and cultural capital in the thirteenth century.

This book offers a novel perspective on one of the most important monuments of French Gothic architecture, the Sainte-Chapelle, constructed in Paris by King Louis IX of France between 1239 and 1248 especially to hold and to celebrate Christ's Crown of Thorns. Meredith Cohen argues that the chapel's architecture, decoration, and use conveyed the notion of sacral kingship to its audience in Paris and in greater Europe, thereby implicitly elevating the French king to the level of suzerain, and establishing an early visual precedent for the political theories of royal sovereignty and French absolutism. By setting the chapel within its broader urban and royal contexts, this book offers new insight into royal representation and the rise of Paris as a political and cultural capital in the thirteenth century.

"This book offers a novel perspective on one of the most important monuments of French Gothic architecture, the Sainte-Chapelle, constructed in Paris by King Louis IX of France between 1239 and 1248 especially to hold and to celebrate Christ's Crown of Thorns. Meredith Cohen argues that the chapel's architecture, decoration, and use conveyed the notion of sacral kingship to its audience in Paris and in greater Europe, thereby implicitly elevating the French king to the level of suzerain, and establishing an early visual precedent for the political theories of royal sovereignty and French absolutism. By setting the chapel within its broader urban and royal contexts, this book offers new insight into royal representation and the rise of Paris as a political and cultural capital in the thirteenth century"--

At the beginning of the twelfth century, the region around Paris had a reputation for being the land of unruly aristocrats. Entrenched within their castles, the nobles were viewed as quarrelling among themselves, terrorizing the countryside, harassing churchmen and peasants, pillaging, and committing unspeakable atrocities. By the end of the century, during the reign of Philip Augustus, the situation was dramatically different. The king had created the principal governmental organs of the Capetian monarchy and replaced the feudal magnates at the royal court with loyal men of lesser rank. The major castles had been subdued and peace reigned throughout the countryside. The aristocratic families remain the same, but no longer brigands, they had now been recruited for royal service. In his final book, the distinguished historian John Baldwin turned to church charters, royal inventories of fiefs and vassals, aristocratic seals and documents, vernacular texts, and archaeological evidence to create a detailed picture of the transformation of aristocratic life in the areas around Paris during the four decades of Philip Augustus's reign. Working outward from the reconstructed biographies of seventy-five individuals from thirty-three noble families, Baldwin offers a rich description of their domestic lives, their horses and war gear, their tourneys and crusades, their romantic fantasies, and their penances and apprehensions about final judgment. Knights, Lords, and Ladies argues that the aristocrats who inhabited the region of Paris over the turn of the twelfth century were important not only because they contributed to Philip Augustus's increase of royal power and to the wealth of churches and monasteries, but also for their own establishment as an elite and powerful social class.

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.

Prince, Pen, and Sword offers a synoptic interpretation of rulers and elites in Eurasia from the fourteenth to the eighteenth century. Four core chapters zoom in on the tensions and connections at court, on the nexus between rulers and religious authority, on the status, function, and self-perceptions of military and administrative elites respectively. Two additional concise chapters provide a focused analysis of the construction of specific dynasties (the Golden Horde and the Habsburgs) and narratives of kingship found in fiction throughout Eurasia. The contributors and editors, authorities in their fields, systematically bring together specialised literature on numerous Eurasian kingdoms and empires. This book is a careful and thought-provoking experiment in the global, comparative and connected history of rulers and elites.

This wide-ranging book explores the architecture—principally ecclesiastical—of Normandy from 1120 to 1270, a period of profound social, cultural, and political change. In 1204, control of the duchy of Normandy passed from the hands of the Anglo-Norman/Angevin descendants of William the Conqueror to the Capetian kingdom of France. The book examines the enormous cultural impact of this political change and places the architecture of the time in the context of the Normans’ complicated sense of their own identity. It is the first book to consider the inception and development of gothic architecture in Normandy and the first to establish a reliable chronology of buildings. Lindy Grant extends her investigation beyond the buildings themselves and also offers an account of those who commissioned, built, and used them. The humanized story she tells provides sharp insights not only into Normandy’s medieval architecture, but also into the fascinating society from which it emerged.

Mindful of already existing publications, the editors determined to foreground scholarly expertise and approaches to stained glass, as well as up-to-date bibliographies.