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This study deals with the churches of Oski and Iskhani, in the ancient Georgian province of Tao-Klardeti, now in eastern Turkey. Each church is examined separately, with a focus on the architecture and carved decoration.

Professor Fernie's research has done much to clarify the development of architecture in England and France from the Anglo-Saxon and Carolingian periods, through the Romanesque to the development of Gothic. Of particular interest has been his studies of architectural proportions and systems of length during this period.

This second volume of Professor Sullivan's studies covers his work on modern Chinese art and the art and archaeology of South-East Asia.

Christa Gardner von Teuffels studies of Italian altarpieces have provided fundamental insights concerning the original structure and setting of some of the canonical monuments of Italian late medieval and Renaissance painting. Studies of panel type and frame architecture are combined with an investigation of original sites.

This book is a reconsideration of the practice of whitewashing church interiors during the Protestant Reformation in the sixteenth and seventeenth centuries. It is the first detailed study of its kind which challenges the view that whitewash was always only a `cheap coat of paint'.

Niamh Whitfield is a leading authority on the metalwork of early Medieval Ireland and Scotland. Celtic metalwork of the seventh to twelfth centuries is extremely accomplished technically, and she has aimed at a thorough understanding of its manufacture.

Volumes I and II bring together all of Irving Lavin's studies aside from those on Gian Lorenzo Bernini. They range from studies of the art and architecture of Late Antiquity to twentieth-century painting in New York.

Marilyn Aronberg Lavin has taught the history of art at Washington University, the University of Maryland, Yale, Princeton, and Universita di Roma, La Sapienza. Specializing in Italian 13th-16th century painting, she is internationally known for her books and articles on Piero della Francesca. Her other books include The Place of Narrative: Mural Painting in Italian Churches, 431-1600 AD., and Seventeenth-Century Barberini Documents and Inventories of Art , both of which were recipients of international prizes for distinguished scholarship. She is one of the leaders in the use of computers and digitized imagery for research, teaching, and publication in the history of art. This book offers a series of case studies intended to introduce and define an important class of fifteenth-century Italian art not previously recognized. It is argued that the paintings and sculptures discussed were created privately by artists for personal satisfaction and internal needs, outside the traditional framework of patronage and commercial gain. Since there is no direct documentation from this period of a work being privately made, the selection presented here is necessarily speculative. Instead, the essays focus on works by Piero della Francesca, Mantegna, Michelangelo, Bellini, and Titian that appear in the artists' testaments, letters of refusals to sell, and inventories showing ownership at the time of death. The task at hand is to uncover the motivation and meaning of works of art in which the medieval craftsman began to rise to the status of independent artist, and the maker and the viewer confront each other face to face for the first time.

The churches of Rome constitute arguably the most important manifestations of art and architecture in the Western world.

"Rethinking Malevich" is an English-language collection of sixteen innovative essays by leading international scholars that document new and intriguing aspects of Kazimir Malevich's art and biography.

As early as the 1950s, Professor Irving Lavin was recognized as a major voice in American art history. His sustained production of seminal scholarly contributions have left their mark on an astonishingly wide range of -subjects and fields. Bringing these far-reaching publications together will not only provide a valuable resource to scholars and -students, but will also underscore fundamental themes in the history of art - historicism, the art of commemoration, the relationship between style and meaning, the -intelligence of artists - themes that define the role of the visual arts in human communication. Irving Lavin is best known for his array of fundamental publications on the Baroque artist Gian Lorenzo Bernini (1598-1680). These include new discoveries and studies on the master's prodigious childhood, his architecture and -portraiture, his invention of caricature, his depictions of religious faith and political leadership, his work in the -theatre, his attitude toward death and the role of the artist in the creation of a modern sense of social responsibility. All of Professor Lavin's papers on Bernini are here brought together in three volumes. The studies have been reset and in many cases up-dated, and there is a comprehensive index.

The author is Helen Gould Sheppard Professor of Art History at New York University, Institute of Fine Arts, and a leading authority on English medieval manuscript illumination. This volume bring together twenty-six of Professor Sandler's studies, focusing on illustrated manuscripts produced in England in the thirteenth and fourteenth centuries, particularly on the illuminated psalters. The marginal illustrations in these psalters are a topic of particular interest, and there are a number of iconographic studies derived from this material. A separate section deals with the illustrated encyclopedias of the period, particularly the Omne bonum.

Dr. Jean Michel Massing is a Reader in the History of Art and a Fellow of King's College, Cambridge. The first volume of Studies in Imagery, Text and Images consists of 25 studies grouped under four sections: Classical Art and its Nachleben; Symbolic Languages; Saints and Devils; Comets, Dreams and Stars.

This volume complements Anna Muthesius' two earlier ground-breaking volumes in the field of silk as material culture: Studies in Byzantine and Islamic Silk Weaving and Studies in Silk in Byzantium. The publication highlights the fact that similar patterns of selection were at work in the acquisition of silks by secular and ecclesiastical bodies.

The present volume gathers together a selection of the editorials, articles, conference papers and essays, though which he has furthered his own attempts to renew art history and participated in those of others.

A selection of twelve previously published papers by Ernst Grube which examine specific materials used in Islamic decorative arts. Six papers examine pottery and tiles, one considers Ilkhanis stucco work as represented in the mausoleum of the Shaykh Muhammad ibn Bakran and four explore the decorative arts of the Timuris period.

Professor Joseph Trapp has been Director of the Warburg Institute, and is an authority on Renaissance humanism and the classical tradition. The present volume brings together twenty-one of Professor Trapp's more recent papers on the illuminated manuscripts of Petrarch, and his lasting influence. The fifteenth- and sixteenth-century movement which led to a European revaluation of social, political, ethical, literary, artistic and intellectual experience and which we know as the Renaissance was given its decisive early impetus from Italy in the fourteenth by Francesco Petrarca (1304-1374). Petrarch is present, sometimes visibly, sometimes all but invisibly, within all the manifestations of the Renaissance imagination covered by these essays. His presence is most obvious in the first division of this book, Petrarch Illustrated, where a comprehensive survey and a number of specialized studies bring up to date and in other ways augment the great work of the prince d'Essling and Eugene Muntz, published in 1902 and now in need of revision in many respects. In the second section, Petrarch is present by reputation and implication, and through the homage paid to him, directly in pilgrimage to and adornment of places where he lived and the search for personal mementos, or indirectly in the search by generations succeeding him for the authentic image of the classical authors whom he studied, imitated, revered and loved as friends, or in the permeation into Northern Europe of the study of the classics which he saw as the guide to letters and to life and its modification by humanists and Biblical scholars. Erasmus, Thomas More and William Tyndale, widely different in both their Christian faith and their views of the Biblical text in Latin, Greek or English, without consciously being aware of it, owed their preoccupation with the texts ultimately to the example of Petrarch and his Italian successors, particularly the schoolmaster Guarino of Verona and the great philologists Lorenzo Valla and Angelo Poliziano.

The title is an allusion to the description by Suger, Abbot of St. Denis, of the men of the Auvergne.