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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.

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.

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.

O presente trabalho visa uma aproximação da sensibilidade medieval a respeito do tema da Criação de Eva a partir de códices iluminados, especialmente os presentes nos mosteiros portugueses mais importantes de Coimbra nos séculos XII e XIII. As tensões entre a carne e o espírito, o masculino e o feminino, elementos essenciais na mentalidade medieval serão abordados a partir das imagens e das discussões sobre a Criação e o Pecado e as vivências quotidianas pelos sentidos corporais, ajudando a compor, a partir das imagens, a visão polissêmica da figura feminina em Portugal medieval. / The present work approaches the medieval understanding of the theme of the Creation of Eve through the study of manuscript illuminations, and particularly those in the most important monasteries of Coimbra, in the Kingdom of Portugal, in the 12th and 13th Centuries. The tension between the flesh and the spirit, and between the masculine and the feminine essential elements of the medieval mentality- essential elements of the medieval mentality - will be explored based on images and debates related to Creation, Original Sin and the daily life as experienced through the senses, producing a polysemic view of the feminine figure in medieval Portugal.

O presente trabalho visa uma aproximação da sensibilidade medieval a respeito do tema da Criação de Eva a partir de códices iluminados, especialmente os presentes nos mosteiros portugueses mais importantes de Coimbra nos séculos XII e XIII. As tensões entre a carne e o espírito, o masculino e o feminino, elementos essenciais na mentalidade medieval serão abordados a partir das imagens e das discussões sobre a Criação e o Pecado e as vivências quotidianas pelos sentidos corporais, ajudando a compor, a partir das imagens, a visão polissêmica da figura feminina em Portugal medieval. / The present work approaches the medieval understanding of the theme of the Creation of Eve through the study of manuscript illuminations, and particularly those in the most important monasteries of Coimbra, in the Kingdom of Portugal, in the 12th and 13th Centuries. The tension between the flesh and the spirit, and between the masculine and the feminine essential elements of the medieval mentality- essential elements of the medieval mentality - will be explored based on images and debates related to Creation, Original Sin and the daily life as experienced through the senses, producing a polysemic view of the feminine figure in medieval Portugal.

This study examines painted leaves and fragments that were extracted from a set of choir books created in the last decade of the fifteenth century for the basilica of Santa Maria in Aracoeli in Rome. These remnants are currently housed within various library and museum collections throughout Europe and the United States. The set is agreed upon generally by scholars to have been commissioned by Alexander VI (Rodrigo Borgia, 1431-1503), who was pope from 1492 to 1503, as a gift to the church during his time as pontiff. The choir books for Santa Maria in Aracoeli contain the bulk of the known body of work by the enigmatic illuminator Fra Antonio da Monza. The best known items from this set of choir books are a complete gradual (or book of chants for the Mass) currently housed in the Getty Museum, called the Ludwig Aracoeli Manuscript, and a montage of cuttings in the Albertina Museum, Vienna, that features a miniature of the Pentecost. These are studied in the context of the artistic patronage of Alexander VI, and political and diplomatic gift cultures in papal Rome during the last decade of the Quattrocento. Alexander VI's gift to Santa Maria in Aracoeli served multiple functions. It advanced church music, but is also an example of a pontiff using custom luxury books for cultural diplomacy. The intent of the choir books was to build social relationships and augment the prestige of Alexander VI's regime with a local audience. Alexander VI sought to acknowledge the symbolic resonance of Santa Maria in Aracoeli and attempted to recuperate the site's importance for his reign through the gift. This study argues that the choir books were commissioned by the pontiff to promote his cultural and religious authority through abbellimento or "embellishment", the practice of commissioning ostentatious liturgical objects and additions to religious ceremonies for the purpose of developing esteem for an ecclesiastical office. This thesis argues that another purpose of the bestowment was to appease the Observant Franciscans in charge of the basilica in anticipation of Alexander VI's reforms of the Franciscan order.