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Insular and Anglo-Saxon Artand Thought in the EarlyMedieval PeriodEdited by Colum HourihaneCovering the arts of Ireland and England withsome incursions onto mainland Europe, wherethe same stylistic influences are found, the terms“Insular” and “Anglo-Saxon” are two of the mostproblematic in medieval art history. Originally usedto define the manuscripts of ninth- and tenth-centuryIreland and the north of England, “Insular” is nowmore widely applied to include all of the media ofthese and earlier periods. It is a style that is closelyrelated to the more narrowly defined Anglo-Saxon.Stretching from the sixth or seventh centuries possiblyto the late eleventh century, these styles aretwo of the most innovative of the Middle Ages. Thestudies in this volume, which were undertaken bysome of the most eminent scholars in the field, highlightthe close interaction between the two worlds ofIreland and England in the early medieval period.346 pages | 186 illustrations | 8.5 x 11 | 2011isbn 978-0-9837537-0-4 | paper: $35.00 shThe Index of Christian Art: Occasional Papers SeriesDistributed by Penn State University Press forThe Index of Christian Art, Princeton UniversityFrom Minor to MajorThe Minor Anne McGee Morganstern Arts is in Professor Medieval Emerita Art Historyof the History of Art at The Ohio StateEdited University. by She is Colum the author of Gothic HourihaneTombsof Kinship in France, the Low Countries, andEngland (Penn State, 2000).Whether we care to admit it or not, we have alwaysdistinguished between those arts that we considersuperior and the lesser or minor forms. GiorgioVasari is usually credited with formally structuringthe primary nature of architecture, painting, andsculpture in his Lives of the Most Eminent Painters,Sculptors, and Architects. All of the other arts—suchas ivory carving, glass, enamels, and goldsmiths’work—were lumped together into a secondarygroup that took on pejorative associations, espe-Cover art: (front) Statue of Saint Theodore at the Martyrs’cially Portal, in Chartres the Cathedral eighteenth (photo: Conway Library, and nineteenth centuries.The Courtauld Institute of Art, London); (back) effigyAndré (photo: Jeanneteau).of Guillaume I, count of Joigny, at the church of Saint-This collection explores the way in which these minorarts have fought back to gain wider acceptanceJacket designed by Garet Markvoort, zijn digitalin our holistic approach to studying the arts of themorganstern_jkt.indd 1Middle Ages. This collection, written by some of themost eminent scholars in the field, looks at minormedia from a historiographical perspective andshows how they are gaining wider acceptance.336 pages | 257 color/42 b&w illustrations | 8.5 x 11 | 2012isbn 978-0-9837537-1-1 | paper: $35.00 shThe Index of Christian Art: Occasional Papers SeriesDistributed by Penn State University Press forThe Index of Christian Art, Princeton University“ In her thoughtful and thorough High Gothic Sculpture at ChartresCathedral, the Tomb of the Count of Joigny, and the Master ofthe Warrior Saints, Anne McGee Morganstern reassesses themuch-studied sculpture of the Chartres south transept throughinnovative comparisons with the tomb sculpture of CountGuillaume de Joigny. These investigations clarify the nature ofthe sculptural workshop during the thirteenth century, an issue ofvital importance to all who study medieval art. Additionally, sherevitalizes the method of stylistic analysis in a way that is useful totwenty-first-century readers. This book is a significant contributionto the study of Gothic sculpture.”—Susan Leibacher Ward, RhodeIsland School of Design, co-director of the Census of GothicSculpture in America“ Anne McGee Morganstern’s new book reconstructs the historyof the tomb of Count Guillaume de Joigny in an impressivelymeticulous fashion. It is a genuine and significant addition to theliterature.”—Walter Cahn, Yale University\ \ \ \ \ \THE PENNSYLVANIA STATE UNIVERSITY PRESSUniversity Park, Pennsylvaniawww.psupress.orgisbn 978-0-271-04865-9MORGANSTERN\ \ \High Gothic Sculpture at Chartres Cathedral, the Tomb ofthe Count of Joigny, and the Master of the Warrior Saints\ \ \PENNSTATEPRESSAnne McGee MorgansternHIGH GOTHIC SCULPTUREAT CHARTRES CATHEDRAL\ \ \ \ \ \High Gothic Sculpture at ChartresIn 1790s sculptural decoration of manyCathedral, the Tomb of the CountFrench cathedrals was destroyed, and monasticchurches were stripped of their royal and nobleof Joigny, and the Master of thetombs. As a result, modern art historians haveremained largely unaware of the link betweenWarrior Saintsarchitectural sculpture and monumental tombsculpture. Some years ago, Anne McGeeAnne MorgansternMorganstern recognized the hand of a mastersculptor who worked at Chartres in the littleknowntomb of a McGee nobleman. This connection Morganstern’s new book “Anne reconstructsthe history of the tomb of Count Guillaume deprompted the author to investigate therelationship between the two. In High GothicSculpture at Chartres Cathedral, the Tomb of theJoigny in an impressively meticulous fashion. It is aCount of Joigny, and the Master of the Warriorgenuine and significant addition to the literature.”Saints, Morganstern offers a new study of thesculptor whom Louis Grodecki associatedwith a group of stained-glass windows that heattributed to the “Master of Saint Chéron.”—Walter Cahn, Yale UniversityMorganstern proposes that the windows reflect“In her thoughtful and thorough High Gothic Sculpturethe designs of the sculptor whom she calls the“Masterat Chartresof the Warrior Saints,”Cathedral,whether orthe Tomb of the Count of Joigny,not he was their designer. She also shifts thechronological and the framework Master associated with of the the Warrior Saints, Anne McGeeMorganstern reassesses the much-studied sculpturesouth transept porch back approximately twentyyears, a move that has broad implications forof the Chartres south transept through innovativescholarly consideration of the development ofFrench High Gothic sculpture.comparisons with the tomb sculpture of Count12/01/12 11:47 AMGuillaume de Joigny. These investigations clarifythe nature of the sculptural workshop during thethirteenth century, an issue of vital importance to allwho study medieval art. Additionally, she revitalizesthe method of stylistic analysis in a way that is usefulto twenty-first-century readers. This book is a significantcontribution to the study of Gothic sculpture.”—Susan Leibacher Ward,Rhode Island School of Design,co-director of the Census of GothicSculpture in Americaonasterboice, Tall Cross, first broad side, east (photo:ncipit of Matthew’s gospel (Liber generationis), Lindisc.715–720. London, British Library, Cotton Ms. Neroight © The British Library Board; All Rights Reserved ).tian art occasional papers · xiiiDistributed by Penn State University Press820 north university driveusb 1, suite c, university park, pa 16802hourihane Insular & Anglo-Saxon Art and Thoughtprinceton*Insular & Anglo-SaxonART & THOUGHT IN THE EARLY MEDIEVAL PERIODEdited by colum hourihaneback cover image: Nave towards the east, Abbey Church of Saint-Savin-sur-Gartempe, France (photo: Thomas E. Dale).front cover image: Paris, Musée National du Moyen Âge, LimogesEnamel Eucharistic Dove, mid-thirteenth century, Cl. 1957 (photo: ©Marie-Lan Nguyen / Wikimedia Commons).the index of christian art occasional papers · xivISBN 978-0-9837537-1-1Distributed by Penn State University Press820 North University Drive USB 1, Suite CUniversity Park, Pennsylvania 16802hourihane FROM MINOR TO MAJORprinceton*FROMMINOR TO MAJORThe Minor Artsin MedievalArt HistoryEdited by Colum Hourihane216 pages | 116 illustrations | 8 x 10 | 2012isbn 978-0-271-04865-9 | cloth: $79.95 sh8 | penn state press