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The Oldest Legend
This bilingual volume (Latin text with English translation) is the second in the series presenting hagiographical narratives from medieval Central Europe. It contains the most important hagiographical corpus of medieval Hungarian history: that of Saint Margaret (1242–1270), daughter of King Béla IV, who lived her life as a Dominican nun. Margaret’s cult started immediately after her death and the demand to examine her sanctity was first formulated in 1272. The canonization process recommenced in 1276, followed by further initiatives across the centuries. Margaret was eventually canonized only in 1943. Besides the full Latin text and the English translation of her oldest legend, written ...
Conservation of the Last Judgment Mosaic, St. Vitus Cathedral, Prague
Illustrated in color throughout, this handsome volume presents selected papers from an international symposium held in June 2001 marking the completion of a ten-year project to conserve the Last Judgment mosaic, at St. Vitus Cathedral in Prague. The project was a partnership between the Office of the President of the Czech Republic, the Prague Castle Administration, and the Getty Conservation Institute. The goal of the symposium was to present the methodology, research, and results of the project, which involved conserving one of the finest examples of monumental medieval mosaic art in Europe. The volume's essays are divided into three parts, which cover the historical and art-historical context, conservation planning and methodology, and project implementation and maintenance. Topics addressed include the history, iconography, and visual documentation of the mosaic; the development and application of surface cleaning and protective coating techniques for the mosaic's glass tesserae; and post-treatment monitoring and maintenance.
Chartulary Series
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Functions of Medieval English Stage Directions
When we speak of theatre, we think we know what a stage direction is: we tend to think of it as an authorial requirement, devised to be complementary to the spoken text and directed at those who put on a play as to what, when, where, how or why a moment, action or its staging should be completed. This is the general understanding to condition a theatrical convention known as the 'stage direction'. As such, we recognise that the stage direction is directed towards actors, directors, designers, and any others who have a part to play in the practical realisation of the play. And perhaps we think that this has always been the case. However, the term 'stage direction' is not a medieval one, nor d...
