Bibliography

 

Bibliography

Primary Source:

   De Troyes, Chretien. “Cliges.” http://omacl.org/Cliges/cliges1.html.

   The patron family (praised for the “merit of generosity”) is subtly mentioned in a fictional story; even though this was likely not requested, it is clear that author felt compelled to honor them so as to maintain the exchange of payment and art (Question 3).

 

Secondary Sources:

   Caskey, Jill. Art and Patronage in the Medieval Mediterranean: Merchant Culture in the Region of Amalfi. Cambridge: Cambridge University Press, 2004.

   This book mentions how Islamic aesthetics affected the architecture of the homes of powerful families in the Amalfi region - an area close to Islamic North Africa, known for Mediterranean trade and populated with Muslim craftsmen. The families built homes and donated to churches to show their power. (Question 2, Question 3).

 

   Caskey, Jill. "Whodunnit? Patronage, the Canon, and the Problematics of Agency in Gothic and Romanesque Art." In A Companion to Medieval Art: Romanesque and Gothic in Northern Europe, 193-204. Malden, MA: Blackwell Publishing Ltd., 2010.

   This chapter discusses the relations between the patron, artist, and user of a commissioned piece, and how the identity of each shapes the piece. (Question 1, Question 2, Question 3).

 

   Flora, Holly. "Patronage." Studies in Iconography 33, 207-18. 2012. http://www.jstor.org/stable/23924284.

   This journal discusses just how little influence a donor had in the specifics of a religious architectural commission. However, those who had the influence to dictate specific components of the piece did so with an agenda (Question 1, Question 3).

 

   McCash, June Hall. The Cultural Patronage of Medieval Women. Athens, GA: University of Georgia Press, 1996.

   This book discusses specific women in Medieval patronage who used pieces of commissioned works (sculptures, manuscripts, etc.) to communicate their unheard voices (Question 1, Question 2).

 

   Overbey, Karen. “Seeing Through Stone: Materiality and place within in a medieval Scottish pendant reliquary.” In RES: Anthropology and Aesthetics 65/66, 242-258. Harvard University Press, 2014-2015. http://www.journals.uchicago.edu/doi/full/10.1086/691037

   This article discusses the materials used in reliquaries and the meaning behind why certain precious materials were chosen by artisans. It also elaborates on the religious connotations of rock crystal, which is one of the materials used in the monstrance (Question 2).

 

   Paston, Elizabeth Carson et al. "Imagined Patronage." In The Bayeux Tapestry and Its Contexts: A Reassessment, 59-81. Boydell and Brewer, 2014. http://www.jstor.org/stable/10.7722/j.ctt6wp9gx.10.

   The article elaborates on how weavers did not have much room for personal interpretation of images in commissioned tapestries. Observations regarding the difficulty of identifying the patron and therefore the purpose of the piece are also made (Question 2, Question 3).

 

   “What is Eucharistic Adoration?” Saint Ambrose Foundation. Accessed April 26, 2017. http://www.catholic-church.org/kuwait/eucharistic_adoration.htm

   I wasn’t familiar with the theology behind the Eucharist, nor did I know when exactly a monstrance would be displayed. This website provided me with cursory information about Eucharistic Adoration, which helped to form some context for the monstrance itself.