The Visions Of Tondal From The Library Of Margaret Of York

A discussion of the popular medieval story of a wealthy knight's dreamlike journey through hell, purgatory, and heaven.

Presented at a symposium held in 1990 to celebrate the Getty Museum's acquisition of the only known illuminated copy of The Visions of Tondal, twenty essays address the celebrated bibliophilic activity of Margaret of York; the career of Simon Marmion, a favorite artist of the Burgundian court; and The Visions of Tondal in relation to illustrated visions of the Middle Ages. Contributors include Maryan Ainsworth, Wim Blockmans, Walter Cahn, Albert Derolez, Peter Dinzelbacher, Rainald Grosshans, Sandra Hindman, Martin Lowry, Nigel Morgan, and Nigel Palmer.

First Published in 1993. The present volume covers the currently identified Christian visions of heaven and hell (excluding D ante’s Divine Comedy) from western Europe during the Middle Ages from the late sixth through the fourteenth century.

Author Joni M. Hand sheds light on the reasons women of the Valois courts from the mid-fourteenth to the mid-sixteenth century commissioned devotional manuscripts. Visually interpreting the non-text elements-portraits, coats of arms, and marginalia-as well as the texts, Hand explores how the manuscripts were used to express the women?s religious, political, and/or genealogical concerns. This study is arranged thematically according to the method in which the owner is represented. Recognizing the considerable influence these women had on the appearance of their books, Hand interrogates how the manuscripts became a means of self-expression beyond the realm of devotional practice. She reveals how noblewomen used their private devotional manuscripts as vehicles for self-definition, to reflect familial, political, and social concerns, and to preserve the devotional and cultural traditions of their families. Drawing on documentation of women?s book collections that has been buried within the inventories of their fathers, husbands, or sons, Hand explores how these women contributed to the cultural and spiritual character of the courts, and played an integral role in the formation and evolution of the royal libraries in Northern Europe.

The story of Perkin Warbeck is one of the most compelling mysteries of English history. A young man suddenly emerged claiming to be Richard of York, the younger of the Princes in the Tower. As such, he tormented Henry VII for eight years. He tried three times to invade England and behaved like a prince. Officially, however, he was proclaimed to be Perkin Warbeck, the son of a Flemish boatman. A diplomatic pawn, he was used by the greatest European rulers of the age for their own purposes. All who dealt with him gave him the identity they wished him to have: either the Duke of York or a jumped-up lad from Flanders. It is possible that he was neither. It is also possible that, by the end, even he did not really know who he was. In Perkin Ann Wroe tells again a marvellous tale that is on the brink of being forgotten. She also dissects the official cover story. In doing so she delves into the secret corners of European history and produces a portrait of the late fifteenth century that is breathtaking in its detail.

New Medieval Literatures is an annual of work on medieval textual cultures. It provides a venue for innovative essays that deploy diverse methodologies-theoretical, archival, philological and historicist. The editors, active in three continents and supported by a distinguishedmultidisciplinary Advisory Board, aim to engage with intellectual and cultural pluralism in the Middle Ages and now.

This bibliography covers visions of Heaven and Hell - or, more usually, Purgatory and Earthly Paradise - in 19 medieval texts relating seven visions: the vision of St Paul, or the Eleven Pains of Hell; St Patrick's purgatory; the vision of Tundale; a revelation of purgatory; the revelation of the Monk of Eynsham; the vision of Fursey; and the vision of Edmund Leversedge.