Legal Manuscript Illuminations and Documents: Two Cases of Study

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Modus Vivendi

Modus Vivendi

Religious Reform and the Laity in Late Medieval Europe

edited by Miri Rubin

pp. 152, € 39,00

Viella, 2020

ISBN: 9788833137063

 

Modus Vivendi is a collection of essays by scholars who seek to discover lay men and women within the projects of reform and renewal in later medieval Europe. Religious life was never without change, yet religious orders, preachers, and institutions of learning proclaimed their desire to make religious life more sincere. In doing so, they occasionally developed a mission to lay people alongside professional religious. Such encounters with the laity – through the writing of theology in the vernacular, in the delivery of charismatic preaching, in the operation of inquisition into heresy, in the composition of new liturgies, and through networks of patronage – created modes of living religion – modus vivendi – of creativity as well as discipline. They contributed to religious life beyond the routine provisions of parish life, and often included women in novel ways. 

Modus Vivendi spans European regions across the period 1350-1500 in its studies, based on texts, objects, and images which have been little studied so far.

Miri Rubin is Professor of Medieval and Early Modern History at Queen Mary University of London. Her most recent books are Cities of Strangers: Making Lives in Medieval Europe (Cambridge University Press, 2020), and the translation/edition in Penguin Classics, Thomas of Monmouth, The Life and Passion of William of Norwich (Penguin Press, 2014).

Using the Past: The Middle Ages in the Spotlight

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Fête Médiévale Château de Vianden

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Prêcher en chapitre entre réforme de la vita religiosa et monde des écoles (XIIe-XIVe siècle)

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Digestum vetus e os fragmentos do Decretum Gratiani

Digestum vetus e os fragmentos do Decretum Gratiani

17 janeiro 2019  Coleção do Fundador Av. de Berna, 45A , Lisboa.

O Museu Calouste Gulbenkian guarda dois fragmentos iluminados e um códice medieval de Ius commune (Direito comum). O Direito comum – composto pelo Corpus Iuris Civilis (Corpo de Direito Civil), pelo Corpus Iuris Canonici (Corpo de Direito Canónico) e respetiva literatura jurídica – constitui uma das mais importantes fontes de Direito vigentes em Portugal, desde a Idade Média até à Lei da Boa Razão de 1769.

1. De acordo com a sistematização medieval o Corpus Iuris Civilis– compilação de Direito romano mandada elaborar pelo Imperador Justiniano, no século VI – estava dividido em cinco partes: o Digesto velho, o Digesto novo, o Digesto esforçado, o Código e o Volume Pequeno. O ms LA212 é um Digesto velho, que teria sido copiado e iluminado no sul da França, no curso do século XIV.

2. O Corpus Iuris Canoniciestava sistematizado em seis partes: Decreto de Graciano, Decretais de Gregório IX, Livro Sexto, Clementinas, Extravagantes de João XXII e Extravagantes Comuns. Os fragmentos M36A e M36B faziam parte de um Decreto de Graciano, a mais importante fonte de Direito canónico medieval, que foi composto por Graciano na primeira metade do século XII. As suas iluminuras são atribuídas ao ateliê do Maître du Missel de Augier de Cogeux (ou Cogenx), realizadas durante a primeira metade do século XIV, provavelmente em Toulouse.

Neste seminário pretendemos destacar o aparato decorativo e ilustrativo destes fragmentos jurídicos, relacionando-os com outros manuscritos seus contemporâneos, e explicar a importância prática que esses monumentos de Direito atingiram durante o período da Idade Média portuguesa.

Orador: Maria Alessandra Bilotta e José Domingues.

gulbenkian.pt/museu/evento/digestum-vetus-e-os-fragmentos-do-decretum-gratiani

Munkhbat. Mongolie médiévale

Munkhbat, artiste mongol contemporain se situe dans le droit fil de la tradition héritée du Moyen Age.

Il s’y rattache par les thèmes traités: l’omniprésence des chevaux dans la steppe mongole, la vie des princes et princesses, les grandes chasses à cheval, le jeu de polo, mais aussi par le procédé pictural inspiré de la Chine antique, celui du dessin à l’encre de Chine. Seule concession faite par lui à la modernité, l’adjonction, à l’intérieur des contours dessinés  à l’encre de Chine, d’aplats de couleur réalisés à la gouache, ce qui rend les tableaux plus vivants et plus lumineux sans altérer la sobriété de l’ensemble.

Authentifiant  ses toiles d’une élégante signature, en caractères "oulghours", l’artiste se revendique de la tradition et nous permet de rêver au passé mythique de la Mongolie des temps anciens.
Durant sept  siècles et jusqu’au siècle dernier, la Mongolie tantôt domina la Chine, tantôt fut dominée par elle, chacun des deux pays gardant ses différences, aussi bien ethniques que linguistiques et culturelles. Mais l’art pictural de la calligraphie et du dessin à l’encre de Chine fut l’un des traits caractéristiques de ces deux peuples.
Munkhbat est, à l’époque contemporaine, l’un des héritiers de cette tradition séculaire. Ce n’est un peintre de la nature. Seuls l’intéressent les humains et les chevaux. Il les représente presque toujours en mouvement, mais en souplesse, sans précipitation, comme s’ils participaient à une sorte de ballet. Ses tableaux évoquent la liberté sauvage des chevaux dans les steppes, les jeux musicaux des élites, la maîtrise des techniques de la chasse, la joie du jeu de polo. Les maîtres-mots qui pourraient servir à caractériser l’œuvre picturale de Munkhbat sont: harmonie, douceur, lumière, joie.
L’artiste a reçu le soutien de l’association culturelle ORIENT EXPOS qui lui a permis d’exposer et qui, par la suite, a fait don au musée des Arts asiatiques, des tableaux  présentés aujourd’hui.

Exposition jusqu'à dimanche 24 juin 2018. Musée Départemental des Arts Asiatiques.

Humanités numériques: de nouveaux outils pour le médiéviste

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Medieval Europe in Motion

Medieval Europe in Motion

The Circulation of Artists, Images, Patterns and Ideas from the Mediterranean to the Atlantic Coast (6th-15th centuries)
by Maria Alessandra Bilotta
Introduction by Gerardo Boto Varela
Conclusions by Xavier Barral i Altet

pp. 464, € 28,00

Officina di Studi Medievali, 2018

ISBN: 978-88-6485-106-8

Notions of movement and mobility are central to understanding many aspects of medieval society. Essentially, movement involves connections across time, objects, people, and space. The essays in this volume investigate how the circulation, motion, and mobility of people, patterns, and ideas influenced artistic creation between the 6th and 15th centuries – from the Mediterranean to the Atlantic coast. Scholarship in the volume manifests the international scope of current research on artistic and cultural circulation and mobility in the European Middle Ages. In it, readers are presented with a detailed image illustrating the effects of social and cultural exchange and mobility on artistic creation. As a whole, the collection aims at developing critical and constructive interdisciplinary revision of these matters. New and exciting questions are also raised for future discussion. Works from scholars specializing in history, history of art, palaeography, codicology, literature, and the history of ideas are bound in a single volume. The book brings together twenty-five contributions from: L. U. Afonso, X. Barral i Altet, C. Barreira, M. A. Bilotta, G. Boto Varela, E. Condello, L. Correia de Sousa, M. Cursi, G. Donati, J. Dubois, I. Escandell Proust, P.  Almeida Fernandes, D. Espada, M. Fiorilla, P. Flor, L. Geymonat, J.-M. Guillouët, Ch. Heck, M. V. Herráez Ortega, A. Lemos, E. Lozano, L. Marcozzi, A. A. Nascimento, C. Pulsoni, A. M. Rodrigues, J. Rodrigues, C. Ruzzier, M. Signorini, C. Varela Fernandes, G. Videira Lopes, C. Valdaliso, B. Van den Bossche.

The Waldensians in the Medieval and Early Modern Context

In recent years, the medieval and early modern Waldensians have enjoyed a renewed scholarly interest giving rise to a number of new publications. Moreover, 2017 marks the anniversary of Reformation which resulted in a number of scholarly events. There are, however, significant gaps in scholarship on the Waldensians, most notably a lack of critical editions as well as studies around topics such as intertextuality and the circulation of texts. Such research would allow scholars in the field to gain a better knowledge of Waldensian text production and the place of that movement within the medieval and early modern religious space in Europe.

The Trinity Centre for Medieval and Renaissance Studies will be hosting a conference on the Waldensians on the 9^th to 10^th February 2018 in Trinity College Dublin. The purpose of this conference will be to advance this discussion of the movement and to foster international collaboration in Waldensian studies.

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Late Medieval Papal Legation

Late Medieval Papal Legation

by Antonin Kalous

pp. 285, € 35,00 (Buy online with the 15% discount)

Viella, 2017

ISBN: 9788867289424

Late Medieval Papal Legation is a result of long term study of papal legates in the late medieval period. Even though this crucial institution of the reform papacy of the eleventh, twelfth and thirteenth centuries kept its standards as designed in the classical canon law, it was transformed according to the current needs of the papacy in later periods. A substantial change came after the conciliar crisis and before the radical transformation of the first half of the sixteenth century. In the second half of the fifteenth and early sixteenth centuries, papal legates de latere, as cardinals, travelled all around Europe in support of the recovered papal authority after the conciliar period and before the outbreak of the German Reformation.

This volume attempts to systematise the changes of this specific period in the development of the papacy. It is based on extensive research in the Vatican Archives and Library, other Italian and especially Central European archives and libraries, and published sources of the period. The volume focuses on the terminology and theory of papal legation, on the sources and expression of legatine authority and on the system in relation to practical matters (ceremonial, travelling, finance), and political, diplomatic and ecclesiastical tasks and topics. The study of the legatine office is exceptionally complex and ranges from high diplomacy and spiritual benefits brought for distinct provinces, to the personal interests and involvement of individual cardinals. This book tries to open discussion on research that has only just started and needs to be developed as an integral part of our understanding of medieval papal and European history.

Antonín Kalous is an associate professor of Medieval and Renaissance history at Palacký University, Olomouc, Czech Republic. His research focuses mostly on ecclesiastical, cultural and political history of late-medieval Central Europe and on papacy of the same period. With Viella, he published The Transformation of Confessional Cultures in a Central European City: Olomouc, 1400-1750 (ed. by, 2015).

Le Grand Armorial équestre de la Toison d’or

Le Grand Armorial équestre de la Toison d’or

Michel Pastoureau et Jean-Charles de Castelbajac 

256 pages, 180 illustrations, € 49,00

BnF, Éditions de la Bibliothèque nationale de France, 2017

ISBN: 978-2-7177-2762-3

Cet ouvrage est la réédition à l’identique d’un manuscrit médiéval représentant les membres de l’ordre de chevalerie de la Toison d’or, peint à la gouache sur papier au milieu de XV^e siècle et précieusement conservé à la Bibliothèque de l’Arsenal au titre de trésor national depuis le XVIII^e siècle.

L’expressivité des figures équestres, la fougue des cavaliers, l’audace des cimiers, la somptuosité des couleurs, la beauté flamboyante de l’ensemble… tout invitait à ouvrir la réflexion à un univers artistique. Aussi ce fac-similé est-il enrichi du double regard que portent sur cette pièce exceptionnelle Michel Pastoureau, historien de l’art, spécialiste, entre autres, des emblèmes et auteur de nombreux ouvrages sur la couleur, et Jean-Charles de Castelbajac, prestigieux créateur de mode de notre époque, passionné par l’art héraldique.

Cathédrales et mosquées constructrices de la mémoire et du paysage urbain dans l'Europe méridionale (XIIe-XIVe s.)

Imperialiter – Le roi et l’Eglise

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Mathilde de Canossa a Orval

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Landshuter Hochzeit 1475

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Journées romanes. Le grandes abbayes et l'art roman

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The Normans in the South

The Normans in the South
Mediterranean Meetings in the Central Middle Ages
Friday 30 June – Sunday 2 July 2017 St Edmund Hall, University of Oxford
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Quand l’interprétation se fait loi (IVe–VIIIe siècle)

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Os manuscritos universitários iluminados na Europa medieval (séculos XIII-XIV): produção e circulação. Uma introdução histórica e metodológica

O curso pretende traçar, através da análise de alguns exemplos específicos, as etapas mais importantes da história da produção, ilustração e decoração do manuscrito universitário na Idade Média (Direito, Teologia, Medicina). Será dada especial atenção aos problemas codicológicos (características materiais, funcionalidade estrutural no âmbito do ensino universitário), estilísticos e iconográficos (os ciclos ilustrativos), às questões relacionadas com os patrocinadores (mestres e estudantes) e à sua circulação (a peregrinatio academica) no território europeu, e ainda ao contexto histórico, económico e social da produção (controlo das universidades sobre a produção dos livros) e às técnicas de execução (funcionamento das oficinas dos stationarii; sistema da pecia).

No final do curso, o estudante estará familiarizado com algumas questões de método, como a distinção das produções librárias de várias áreas geográficas, as diversas tipologias de livros, os diferentes estilos, a periodização da iluminura medieval universitária, a geografia histórica, política, social e histórico-artística da produção iluminada universitária, a leitura estilística e iconográfica desta produção.

O estudante possuirá assim um conhecimento básico sobre história das universidades e acerca da produção do livro universitário do período medieval, bem como disporá das ferramentas metodológicas necessárias para a leitura deste fenómeno histórico, cultural e artístico. O estudante também reconhecerá, através da análise de casos específicos, as diferentes tipologias de livros e os diferentes estilos e saberá usar uma terminologia específica.

Maria Alessandra Bilotta é historiadora da arte, medievalista no Instituto de Estudos Medievais (IEM) da FCSH da Universidade Nova de Lisboa. A sua investigação atual se concentra sobre os manuscritos jurídicos iluminados medievais conservados em Portugal, um tema que se relaciona diretamente com a temática do curso.

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