Des le debut de l'histoire les artistes on depeint les creatures bizarres et surnaturelles qui resident dans l'obscurite de notre imagination collective. Le Moyen âge fut un moment fort de cette pratique artistique. Ce remarquable livre a colourier vous invite a decouvrir de monde mythique plein de monstres.Se cachant dans ce bestiare fabuleux sont quelques quarante-cinq images de creatures extraordinaries qui n'attendent que vos crayons de couleur pour etre ranimees. Ce livre contient des images detaillees de dragons, chiens ailes, demons, lions, griffons, licornes, aigles, et d'autres betes variees. Parmi les sources de ces images merveilleusement rendues on trouve le livre de Kells, les ouvrages de Durer, Leonard de Vinci, des artistes vikings et les cathedrals de Notre Dame de Paris et de Rouen et d'autres encore.Ce livre plein de merveilles est destine aux amateurs de livres a colourier ainsi qu'a ceux qui adorent les monstres et betes mythiques.
St Martin of Tours was a protector saint of numerous French kings. His was one of the most successful saintly cults in medieval Europe, and the city of Tours functioned as a religious metropolis, drawing pilgrims from all over the continent. Until now, little has been known about how St Martin came to inspire such a lively folkloric tradition, numerous works of art, and the establishment of thousands of churches and numerous confraternities. In this book, Yossi Maurey addresses these questions by focusing on the church dedicated to the saint in Tours, which acted as the crucible for Martin's cult. Maurey explores the music and liturgy of the cult - the most effective means of its dissemination - to reveal its enormous diffusion and impact. Building a more concrete picture of how saints' cults operated and shaped medieval realities, this book also provides new insights into the interactions between contemporary religion, art and politics.
The uncial Hexateuch, Ms. Ambrosianus A 147 inf., produced at the beginning of the 5th century, shows an unusual attitude towards the biblical text on the part of those who restored the codex at the end of the 11th century: they not only retraced the ink throughout and replaced some lost sheets, but also revised the biblical text of the Septuagint in order to make it conform to the Masoretic text. Mariachiara Fincati provides a complete analysis of each individual modification introduced by the restorers; specifically, Fincati exemplifies this by giving comparisons with extant Jewish and Christian Greek translations of the Bible.
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