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The set of 68 misericords in Beverley Minster, Yorkshire, carved in 1520, are considered here both as a corpus of 'folkloric' imagery in their own right, and in a eider cultural context. A detailed iconographic examination of the individual misericords under such headings as 'The Fool and Follies', 'Satires', 'The bestiary' 'Exempla', etc., leads to the isolation of a small number of motifs which are seen not to belong to the native tradition. These non-English motifs are traced to two main sources, the border woodcuts in early Parisian printed Horae and Flemish & German prints. The identification of these sources for the Beverley designs leads to further identifications else here, and especially in the stalls of St. George's Chapel, llindsor, c. 1430. In the case of Beverley it is suggested that the means of transmission of such Continental imagery is via the port of Hull (the Customs Accounts for the port being examined in this light), and the printers and book-sellers of York. The local cultural milieu in which the Beverley stalls were created is examined and Henry Percy, the 'Magnificent' Fifth Earl of Northumberland, shown to be an influential patron of the arts; but other local influences considered include the late medieval dramatic cycles played in Beverley, the town 's patron saint John (portrayed as a 'hairy anchorite') and a York & London printer known to have printed in Beverley, Hugo Goes (whose unique woodblock-printed wallpaper is also discussed). Goes's Flemish origin leads to a consideration of the presence of other alien artists and craftsmen (e. q. ! Maynard Weywick who provided the patterns for Torrigiano's Westminster tombs) at work in late medieval and early Tudor England -- much of it assembled here for the first time.

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The purpose of this thesis is to do an inventory of Swedish Bronze Age rock carvings depicting intercourse, and other sexual acts; applying gender traits on these in order to get a glimpse of what kind of normative outlook people at this time had upon sexuality.

he progress of man through the ages has been definitely marked by the various means he has employed in putting his thoughts into visible form. There are defnite milestones in the progress of the written word. History teaches us of the early Babylonian scripts, the strange and unusual characters of the Egyptians, and the writing of other ancient people. After the first early writings of stone carvings came the ancient development of papyrus in Egypt, the wax tables and atylus of the Romans, and the parchment of the Middle Ages. Then in the early days of that wondrous new era known as the Renaissance came the knowledge of a new process, paper manufacture. This information came from Mohammedan sources. Following this knowledge came the first Western paper mill, which was situated in Italy in the year 1276.

This essay explores the reason behind the sexless human figures depicted in rock carvings from the Bronze Age in Scandinavia, to understand why they are sexless while others have indicated sex markers, and to investigate which theories about them are the most reliable - are they sexless by purpose, or are they women, men, children or are they a third gender? This interdisciplinary study with archeology and gender research will discuss and analyze human figures with non distinct sex markers from 10 pictures of rock carvings from Scandinavia with the purpose to understand the lack of sex markers such as phallus and long hair. The ambition of this essay is that a study of this kind will deepen the general knowledge of the subject of rock art and possibly contribute to the discussion about the Bronze Age society's view of gender. The result and discussion of this study have shown that several earlier theories about the sexless human figures could be confirmed, for example that small mostly sexless human figures are children but that they are not a specific indicator of sex and that shamans are depicted in ceremonies, but that not all sexless human figures should be interpreted as shamans. The discussion also contradicted a few of the earlier theories, for example the theory that weapons always indicate male sex and that the lack of it indicates female sex, and that all human figures on ships should be interpreted as male even if they do not have any sex markers. The sexless human figures are still a mystery, but this study have lead to the conclusion that they are sexless by purpose and that sex markers such as phallus and long hair are indicators of masculinity and femininity, not the biological male and female sex.

The rock carvings in southern Scandinavia are an important part of Bronze Age research and the Scandinavian cultural heritage. There are three known sites with rock carvings on the island of Gotland. They are located in the parishes of Lärbro, Fårö, and Lye. The rock carvings on Gotland has been somewhat forgotten and are not a big part of research regarding the Bronze Age on Gotland. The aim of this thesis is to analyse the images on the rock carvings as well as analyse their placements in the landscape, both the natural and the cultural. The images will be analysed and possible interpretations of them will be discussed individually and together. Their relation to other ancient monuments and archaeological features will also be analysed. Each area’s cultural landscape where the rock carvings are present will be presented and compared with the other sites on Gotland. The result of this thesis shows that the rock carvings in Lärbro and Fårö are similar in both images and placement in the landscape. Ships, cupmarks, and weapons are among images carved at both sites. They both have a connection to fresh water and are in close proximity to stone ships. These two rock carving sites show a connection to the sea and a maritime identity in both their images and the surrounding cultural landscape. The rock carving in Lye has a smaller number of images, only cupmarks and a pair of foot soles. It is located in a different landscape which does not exhibit a connection to water in any way but instead shows a link to the land. This indicates that the rock carvings on Gotland had a connection to both the water and the land.

(in English): The main aim of this diplom thesis is introduce rock art from northern Scandinavia. Northern Tradition of rock art is connected to prehistoric hunther, gatherer and fishermen. Thesis presents three localities Alta, Vingen and Nämforsen. Author created summary of the most important motifs. Next aim was landscapes and environment of localities with rock art. One of the main focus is documentatin, dating and protection of rock art.

(in English): The main aim of this diplom thesis is introduce rock art from northern Scandinavia. Northern Tradition of rock art is connected to prehistoric hunther, gatherer and fishermen. Thesis presents three localities Alta, Vingen and Nämforsen. Author created summary of the most important motifs. Next aim was landscapes and environment of localities with rock art. One of the main focus is documentatin, dating and protection of rock art.