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Research Doctorate - Doctor of Philosophy (PhD) / How may ancient Hebrew texts be presented to a contemporary audience, remaining faithful to the original and at the same time relevant yet timeless? I am painting four series of watercolours, each focussing on a particular Australian habitat. These artworks form decorative borders to the four biblical texts of Lamentations, Ruth, Ecclesiastes and Esther, four of the Jewish Scrolls, and act as visual metaphors of underlying themes and indicators of structure and literary devices. My research is into the texts themselves, reading and responding to them; into natural subjects that express my response; and into the art-making process from which the final artworks are created. The end product of my research is an exhibition of these watercolour works and an A4-sized book combining the complete printed text of the Scrolls in the English Standard Version (ESV) as I have formatted it, with my illustrations as border designs. My aim is that through the manuscripts’ overall design, I honour the authors’ literary artistry, including symmetry, acrostic and reversal. Through my choice of subjects for each illustration, I aim to suggest themes in the adjoining text.

Research Doctorate - Doctor of Philosophy (PhD) / How may ancient Hebrew texts be presented to a contemporary audience, remaining faithful to the original and at the same time relevant yet timeless? I am painting four series of watercolours, each focussing on a particular Australian habitat. These artworks form decorative borders to the four biblical texts of Lamentations, Ruth, Ecclesiastes and Esther, four of the Jewish Scrolls, and act as visual metaphors of underlying themes and indicators of structure and literary devices. My research is into the texts themselves, reading and responding to them; into natural subjects that express my response; and into the art-making process from which the final artworks are created. The end product of my research is an exhibition of these watercolour works and an A4-sized book combining the complete printed text of the Scrolls in the English Standard Version (ESV) as I have formatted it, with my illustrations as border designs. My aim is that through the manuscripts’ overall design, I honour the authors’ literary artistry, including symmetry, acrostic and reversal. Through my choice of subjects for each illustration, I aim to suggest themes in the adjoining text.

The Epic is situated between history and the myth. It is a tribute to the entire cultural experience of a society to one character who has made a mark on their time, and derives all past, present, and future values of that society from this character thus rendering the epic a source of identity serving to distinguish itself from others. And of all the places in the world there is no place I would rather be. From the mind of the critically acclaimed visionary who brought you illuminazioni, Non Worldwide and Paradiso, Comes part one of An earth shattering Epic Globalist Thriller, Introducing : ONTICIDE 1 A new novel by Chino Amobi

Scholars including Christine Fell, Pauline Stafford and Catherine Cubitt have tried to explain the status of women in Late Anglo-Saxon England in a variety of ways. Some, such as Fell, have framed the earlier Anglo-Saxon period as a golden Age which saw greater freedoms; others, like Stafford, Cubitt and Patricia Halpin, have argued for a more complicated reading, one that acknowledges the impact of the tenth-century monastic reform and the changes in types of religious life open to women. Occasionally studies draw on the art of the period to demonstrate their claims, but none foreground the visual evidence in the exploration of women's status in Late Anglo-Saxon England. Art historical studies, such as Catherine Karkov's examinations of Junius 11 and the Old English Illustrated Hexateuch, which include discussion of the portrayal of women tend to examine the images in relation to various concepts ranging from the manuscript's audience to issues of female speech, as well as in isolation from the extant corpus of images of women known from Late Anglo-Saxon England. This study will focus on three distinct, yet related, case studies that typify the ways in which women are presented to different Late Anglo-Saxon audiences. These case studies emerge through a statistical analysis and survey of patterns of representation of over twenty illustrated manuscripts. The first focuses on the miniature of St Æthlthryth in the Benedictional of Æthelthryth, exploring how the image of Æthlthryth was utilised to communicate ideals, such as virginity, key to Æthelwold's view of reformed English monasticism. The second case study focuses on the Old English Illustrated Hexateuch and the ways in which women were utilised in demonstrating (un)righteous behaviours. The differences between the manuscripts while seeking to demonstrate how personifications, like the historical and biblical women of the first two case studies, can reveal the ways in which women were conceived in Late Anglo-Saxon society. Ultimately, this study will show that when women were portrayed in the art of the period, it is with specific ideals in mind that speak to acceptable behaviour, religious constructs, and the place and function of the woman in contemporary society.

abstract: The early-16th-century manuscript commonly known as the Geese Book (New York, Morgan Library, M. 905) contains the entire Mass liturgy sung by the boys choir of the parish church of St. Lorenz in Nuremberg, Germany prior to the Reformation. This thesis addresses the location and function of the sometimes enigmatic marginalia and the decorated or historiated initials in this large two-volume gradual. The paper begins with an analytical case study of a scene within the margins in which a wild woman, wielding a club, confronts a female dragon who has taken a child. Subsequently the size, subject matter, and physical positioning of the illuminations and decorations within the book and on its pages are examined with respect to the gradual's liturgical contents. It is hoped that through such methods, new conversations may begin as to the roles that marginalia and decoration may play within the multiple organizational schemes within a musical text of this kind. / Dissertation/Thesis / M.A. Art History 2013

The ambition of the proposed paper is to summarize all of the up to date information regarding Byzantine types of Madonnas in art production of the Czech lands. First part of this work takes aim at the period of early to high Middle Ages, paying speccial attention to the first Marian depictions in some of the illuminated manuscripts of the 13th century showing deep influences by the contemporary Byzantine or Italo-Byzantine art. Second part of this paper deals with 14th century wood panel paintings, depicting half figures of Virgin Mary with or without her child Jesus, again the attention focuses on those showing close relations to eastern Icons. Final part of this work works with the herritage of the passed, rich era of Marian devotion, being reborn in Czech Barock religious practice. Keywords Madonna, Virgin Mary, illuminated manuscripts, 13th century, wood panel painting, 14th century, Icon, Byzantine influences, Barock

In 1409 Pierre Salmon created the Dialogues, an illuminated manuscript, for Charles VI of France. The miniature of David and Solomon, found in the Dialogues, compared King Charles VI to the two Old Testament Kings of Israel. An exploration of this comparison reveals the inability of the king of France to rule his kingdom. Salmon purposefully brought this comparison to the attention of Charles VI to encourage the king to repent of his sins in order to restore his health and the political stability of France.