resize=300,196" width="300" height="196" srcset="https://i1com/ In both writing and art, the triumphant living Christ of the early Middle ages, was transformed into the dying, suffering, and yet majestic savior of the twelfth century.
w=618 618w" sizes="(max-width: 300px) 100vw, 300px" data-recalc-dims="1" / Abstract The twelfth century was a period of significant development and change in the religious and secular world of Western Europe.
Art, being non-verbal, is seldom accompanied by any literary interpretation, complicating one’s ability to comprehend the deeper meaning, attitudes, and values contained in the image.
For the purpose of this review, four categories have been considered within the term « history » : works written about contemporary events (including crusades) ; works describing a sequence of events, sometimes spreading over many centuries, leading up i.
The history of Spain has been marked by all types of events, wars, conquests, marriages, deaths... From the epic tale of the "Cantar del Mio Cid" to the surrealism present in some of Cela's works; from the amazing adventures of Don Quixote to the many books recounting the horrors of the Spanish Civil War, Spanish literature has had it's own way of influencing history.
His testimony is valuable, coming as it does from the author of one of the earliest historical works written for a patron in the French vernacular. The aim of this article is to carry out a systematic examination of Old French historiographers writing for a patron in the twelfth and thirteenth centuries, in order to see if some kind of pattern for the patronage can be established.
It is a large subject which deserves fuller treatment, but a rapid review such as is presented here may perhaps be useful.
Furthermore, the essay will explore how the increased concern with Christ’s anguish and humanity heightened intolerance and contributed to the persecution of twelfth-century Western European Jews.
This essay examines images and written sources from the fourth to the twelfth centuries, and seeks to determine how the twelfth century renaissance and reformation—based on the discovery of the individual— influenced this evolution.
As Gold asserts, many obstacles stand in the way of the modern historian when they attempt to interpret medieval imagery.
An analysis of this shift in the depiction of Christ has many of the same advantages and disadvantages of Penny Schine Gold’s analysis, in The Lady and the Virgin, of twelfth and thirteenth-century artistic representations of the Virgin Mary.