L’exposition « Gagner la guerre de Cent Ans. Jean de Dunois, Jeanne d’Arc et leurs compagnons », en partenariat avec le musée de l’Armée, se penche sur cette période complexe qui ne se résume pas qu’au conflit entre la France et l’Angleterre, et voit se succéder guerres civiles, révoltes, affrontements dynastiques, sociaux et religieux !
Elle met en lumière les bouleversements politiques et l’évolution des techniques de combat à la fin du Moyen Âge grâce à une trentaine d’objets, d’œuvres et de documents spectaculaires.
Profitez-en pour (re)découvrir le château de Châteaudun, que Jean de Dunois dit le « Bâtard d’Orléans », neveu de Charles VI et compagnon d’armes de Jeanne d’Arc, entreprit de transformer au sortir de la guerre de Cent Ans.
Des victoires anglaises à la reconquête française
Le parcours propose d’abord un éclairage sur les victoires anglaises et les guerres civiles de 1337 à 1422. Au cours des batailles de l’Écluse (1340), Crécy (1346) et surtout d’Azincourt (1415), les chevaliers français sont à la peine face aux archers anglais.
Admirez des pièces rares héritées directement du champ de bataille d’Azincourt !
Puis l’exposition s’attarde sur l’épopée de Jeanne d’Arc et de Jean de Dunois dans les années 1420, une période charnière au cours de laquelle l’avantage bascule définitivement du côté français.
Elle évoque enfin la reconquête, rendue possible notamment par le développement de l’artillerie, qui s’illustre particulièrement à la bataille de Castillon en 1453. Des épées du champ de bataille vous sont présentées !
Au cœur de l’exposition figure la représentation spectaculaire du chevalier Jean de Dunois, Bâtard d’Orléans, lors de son entrée dans Rouen le 10 novembre 1449. Monté sur un cheval grandeur nature, le chevalier est en habit d’apparat, portant l’armure et l’épée réservée à son rang…
In the summer of 2020, one of several dozen protests organised throughout the world in response to the murder of George Floyd in Minneapolis (USA) culminated in the statue of the slave trader Edward Colston being dumped into the water of Bristol Harbour (England). The ripples were felt across the globe. In the ensuing days, weeks and months, scores of other monuments depicting historical figures were variously defaced, toppled, removed from view, or placed under new scrutiny. Many of these had played prominent roles in the slave trade and/or in European colonialism. Some of these monuments were of medieval figures, while others were evocative—to varying degrees of credibility—of the (faux-)chivalric codes and rose-tinted regalia of the medieval past. Of course, to medievalists, the convergence of civic and civil statuary with protest and activism was nothing new. In fact—from the damnatio memoriae of later Roman Emperors to Saints Florus and Laurus smashing statues in Kosovo; Byzantine Eikonomachía; Aniconism in medieval Islam; the Huichang Persecution of Buddhist images; the Ghaznavid plundering of Mathura and Somnath; the Khmer intolerance of Jayavarman monuments in Angkor; the Strigólnik stripping of Pskov and Novgorod; and the First and Second Suppression Acts of the 1530s—many of its roots actually lie in the medieval world. What use then, or advantage, might the study of the Middle Ages hold in evaluating these modern political struggles? This workshop will address precisely this question.
The workshop has three aims. Firstly, it will explore examples of statues, monuments and related forms of public sculpture which speak to the ongoing making and unmaking of medieval figures, images and histories: what we term ‘Monumental Medievalism’. Secondly, in addition to considering the ‘when’, ‘how’ and ‘why’ of monuments’ original production, it will interrogate the varied and often contested meanings that monuments later acquired over time. Of special interest, moreover, will be papers that address not only the use but the misuse of the Middle Ages, in connection to questions of local identity, gender, sexuality, race, religion and/or marginalisation. Thirdly, it will take the measure of nostalgia for the Middle Ages in the twenty-first century, asking questions of appropriation, anachronism, authenticity, nationalism and reflecting upon the possibilities and pitfalls of conscripting medieval images to serve as contemporary cultural conduits.
The topics of papers may include, but are not limited to:
– The intersection of statuary invoking the Middle Ages with protest and awareness/activism in popular or political thought – The global and/or post-colonial Middle Ages and monumental evocations of the medieval world in Africa, Asia, the Americas and Europe – The creation, alteration or removal of statues of medieval figures in any context – The use of medieval figures, tropes and traditions in memorials to frame post-medieval history – The commemoration of medieval figures by, inter alia, national, civic and civil communities – The role of monuments in debates over the legacy of divisive or contested medieval figures and histories
Scholars at all career stages, regardless of disciplinary background or affiliation status, are invited to submit a (max) 300-word abstract for their proposed paper, along with a short biography, by 1 July 2022. Scholars invited to present at the workshop will be contacted soon after. Papers should be 25-30 minutes long. Attendance will be free. This event is supported by Swansea University’s Research Centre for Medieval and Early Modern Studies (MEMO) and by the Paul Mellon Centre for Studies In British Art.
KEY DETAILS Format: Online, via Zoom Dates: 5-6 October 2022; sessions will run c. 1pm–6pm GMT Organisers: Euan McCartney Robson and Simon John Contact email: monumentalmedievalism@gmail.com
The collaboration between Michelangelo Buonarroti (1475-1564) and Sebastiano del Piombo (1485-1547), is among the most extraordinary artistic partnerships of the early modern period. It produced works of startling originality, crucial to the development of the so-called High Renaissance in the first decades of the sixteenth century.
It was arguably Michelangelos most creative collaboration, helping him refine motifs and narrative strategies, and it proved determining for Sebastianos development of a monumental, spiritually invested idiom whose influence became a touchstone for religious art deep into the following century, and for principles of painterly abstraction beyond.
Inspired by the exhibition Michelangelo & Sebastiano, mounted at The National Gallery in London in 2017, this book unites a group of international scholars in reflection on the two artists, their collaboration and its wider significance.
Matthias Wivel, PhD, is Curator of Sixteenth-Century Italian Paintings at the National Gallery, London. He was the curator of the major 2017 exhibition Michelangelo & Sebastiano, as well as the primary author and editor of the attendant catalogue. He has published widely on Venetian drawing, painting and printmaking and has recently, in 2016, co-edited a special issue of Artibus et Historiae dedicated to Prof. Paul Joannides.
Table des matières :
Matthias Wivel — The Compass and the Mirror
Elena Calvillo — Friendship, Medium and the Diverging Lives of Sebastiano del Piombo and Michelangelo
Piers Baker-Bates — Copies and Versions in Sebastiano’s Art? The Christ Carrying the Cross
Sheryl E. Reiss — A Word Portrait of a Medici Maecenas: Giulio de’ Medici (Pope Clement VII) as Patron of Art
Arnold Nesselrath — Raphael: Of Heirs and Pretenders
Matthias Wivel and Rachel Billinge — Sebastiano’s Vich Triptych
Carlo Piga — Da Michelangelo a Sebastiano: antiche suggestioni e moderne invenzioni nel ciclo decorativo della Cappella Borgherini in San Pietro in Montorio a Roma
Stefania Pasti — Aperietur in tempore: Sebastiano del Piombo and the Borgherini Chapel in the Light of Prophetic Readings
Paul Joannides — A New Drawing by Sebastiano del Piombo for the Semi-Dome of the Borgherini Chapel
Costanza Barbieri — Sebastiano as Portraitist and a Case Study: The Portrait of Michelangelo Pointing at His Drawings
Oriana Sartiani — A Portrait of Michelangelo Attributed to Sebastiano del Piombo: Technical Examination, Discoveries, and Treatment
Simonetta Antellini — L’originalità compositiva della Nascita della Vergine di Sebastiano del Piombo
Daniela Luzi — ‘Il bel secreto’: La pittura sperimentale sulla pietra di Sebastiano nella Cappella Chigi
Morten Steen Hansen — The Readings of Angels: Sebastiano del Piombo and the Politics of the Immaculate Conception
Andrea Donati — Marcello Venusti, Michelangelo and the Legacy of Sebastiano del Piombo
Charles Robertson — Michelangelo’s Last Judgement: Sebastiano del Piombo’s Contribution
Informations pratiques :
Sebastiano del Piombo and Michelangelo: The Compass and the Mirror. An Anthology, dir. Matthias Wivel, Turnhout, Brepols, 2022 (Museums at the Crossroads, 31). 344 p., 10 b/w ill. + 150 colour ill., 210 x 297 mm. ISBN: 978-2-503-58026-5. Prix : 120 euros
Marcelo CÂNDIDO DA SILVA (Universidade de São Paulo) Jean-Pierre DEVROEY (Université Libre de Bruxelles) Alexis WILKIN (Université Libre de Bruxelles)
In recent years, it has become a commonplace to assert that medieval history is a European invention. This is true for the concept itself, but also for the chronology and certain interpretive models that derive from it. Indeed, at least since the 19th century, historians have tended to treat the Middle Ages as the prehistory of the nations of this continent, especially in its western part. However, national history has not been satisfied with projecting itself into the notion of the Middle Ages but has intervened in the very logic of organising the archives of this period. Thus, research topics as diverse and non-national as monasticism and religious orders, piracy, barbarian kingdoms, among others, ended up being interpreted within a territorial and institutional logic that corresponded roughly to the frame- works of modern nation states. In this perspective, the Mediterranean appears essentially as a frontier: an often- impassable barrier for international trade, especially from the eighth century onwards, and also the place of confron- tation between Latin and Greek Christians, between Latin Christians themselves and, above all, between Christians and Muslims. This shared Mediterranean was built at the cost of erasing the diversity within these communities and exaggerating the differences between them. The image of the Mediterranean as a divided sea owes much to the work of Henri Pirenne, in particular the classic Mahomet et Charlemagne, published in 1937, and to the article that gave rise to it, has been published almost one century ago, in 1922. Pirenne’s thesis, which associates the Muslim expansion of the 7th and 8th centuries with the closure of the Mediterranean to Christian trade and navigation, was soon the subject of much criticism. These criticisms showed the permanence of intense trade networks that were based in the Mediterranean and whose ramifications extended to Scandinavia, the Baltic and the North Sea. How- ever, the challenges to Pirenne’s thesis have not produced a connected history of the Mediterranean, whether from a political, economic or cultural point of view. Fernand Braudel’s Mediterranean, despite its innovative character, is still a shared sea, in which political actors and local societies are largely absent. The weight of national histories, as well as the imperatives of specialisation in the fields of history and archaeology, which led to the production of re- gional monographs, help to explain why historians did not embark very early on a connected history of the Mediter- ranean. The emergence of global history seems to have changed this. Horden and Purcell’s The Corrupting Sea (2000), already proposes another vision, which insists on the existence of micro-societies united by the sea, in a continuous movement of connectivity on a daily basis (through coastal shipping, roads), or sometimes experienced on exceptional scales (Roman supplies), and marked by incessant environmental challenges, to which these societies brought contrasting responses that have shaped the history of the great sea. The result of this investigation is there- fore a panoramic vision of a highly fragmented history, while also minimising the difficulties and gaps in this history.
From another perspective, David Abulafia’s work also rewrites Braudelian space, notably with The Great Sea: A Human History of the Mediterranean (2011) and The Boundless Sea: A Human History of the Oceans (2019). These two books bring navigation techniques, competition and the role of the merchant as a smuggler back to the forefront of the debate.
Therefore, from the perspective of ‘liquid territories’, the river, the sea and even the ocean constitute spaces of connection between communities rather than obstacles or borders (the same discourse is held for other physical barriers or limits, such as mountains). The analysis of the construction of the Iberian empires from the perspective of global history has shown, on the one hand, that these ‘liquid territories’ are formidable tools of communication, circulation and domination, in a word, vectors of integration. On the other hand, it has also revealed that borders in the New World do not disappear, even if they do not have the rigidity of the borders of the nation state. These borders are part of a political game, appearing and disappearing according to the balance of power between the groups participating in the process of colonisation. The optimism born of connected history should not make us forget the limits of integration and connection.
This conference, organised on the occasion of the centenary of the 1922 article mentioned above, has a multi-scalar objective and is based on the fruitfulness of a shared vision by researchers in medieval, modern and contemporary history from Latin America and Europe. This is about:
Starting from Henri Pirenne’ work, to think about the tension between compartmentalisation and integra- tion, in order to better reflect on the ways in which « liquid territories » integrate and separate communities. The different models of connectivity, of centre and periphery, of world-economies conveyed by Pirenne, Braudel, Wallerstein or recently by Horden and Purcell or Wickham in the Mediterranean space, and their echo in the historiography of Latin American medievalists and modernists, will be discussed in an historio- graphical manner.
To assess the question of the reception of Pirenne’s work in Latin America, from 1922 to the present day, and in particular to reflect on the resonance that Pirenne’s work and ideas have had in the scientific commu- nity: The aim is to examine the way in which his vision of the Mediterranean has been appreciated, particu- larly in the light of his contacts with Latin American researchers, but also with the whole world of Portuguese and Spanish-speaking research; as well as the echoes that his vision of exchanges, connectivity and the re- lationship between centre and periphery have had.
La mer qui sépare ou réunit. Réflexions inspirées par la Méditerranée, de Pirenne à Horden et Purcell, en passant par Braudel – Alexis Wilkin (Université Libre de Bruxelles-Sociamm) and Jean-Pierre Devroey (Université Libre de Bruxelles- Sociamm)
Expériences impériales prémodernes et « territoires liquides » – Marcelo Cândido da Silva (Universidade de São Paulo) and Maria Filomena Coelho (Universidade de Brasília)
What Pirenne got right and what he got wrong in his thesis. A new appraisal – Eduardo Manzano Moreno (University of St. Andrews)
Competition on a Connected Sea: The Material Culture of Expanding Empires in the Mediterranean – Joanita Vroom (Universiteit Leiden)
Remettre l’Europe à sa (juste) place. La scène maritime des Grandes découvertes (Insulinde, XVIe-XVIIe siècles) – Romain Bertrand (Institut d’Études Politiques de Paris)
Very far from the Mediterranean: the impact of Pirenne’s theses on Argentinian Medieval Studies (1940- 1990) – Eleonora Dell’Elicine (Universidad de Buenos Aires)
Deux formes d’engagement politique, Pirenne et Sanchez-Albornoz – Agnès Graceffa (ULB – SociAMM)
Henri Pirenne in Mexico: influence and impact – Diego Spínola (Universidad Nacional Autónoma de México)
The University of Pennsylvania Libraries is accepting applications for the 2022-2023 Schoenberg Institute for Manuscript Studies (SIMS) Visiting Research Fellowship program. Guided by the vision of its founders, Lawrence J. Schoenberg and Barbara Brizdle Schoenberg, SIMS aims to bring manuscript culture, modern technology, and people together to provide access to and understanding of our shared intellectual heritage. Part of the Penn Libraries, SIMS oversees an extensive collection of premodern manuscripts from around the world, with a special focus on the history of philosophy and science, and creates open-access digital content to support the study of its collections. SIMS also hosts the Schoenberg Database of Manuscripts and the annual Schoenberg Symposium on Manuscript Studies in the Digital Age.
The SIMS Visiting Research Fellowships have been established to encourage research relating to the premodern manuscript collections at the University of Pennsylvania Libraries, including the Schoenberg Collection. Affiliated with the University of Pennsylvania, located near other manuscript-rich research collections (the University of Pennsylvania Museum of Archaeology and Anthropology, the Free Library of Philadelphia, the Science History Institute, and the Rosenbach Museum and Library, among many others), and linked to the local and international scholarly communities, SIMS offers fellows a network of resources and opportunities for collaboration. Fellows will be encouraged to interact with SIMS staff, Penn faculty, and other medieval and early modern scholars in the Philadelphia area. Fellows will also be expected to present their research at Penn Libraries either during the term of the fellowship or on a selected date following the completion of the term.
Applicants can apply to spend 1 month (minimum of 4 work weeks) at SIMS between July 1, 2022, and June 30, 2023. Project proposals should demonstrate that the Libraries’ premodern manuscript resources are integral to proposed research topics. Up to 3 fellowships will be awarded this year.
Recipients will be expected to conduct their research at SIMS, with the exception of short research trips in support of the proposed project to nearby institutions. Proposals with a digital component are encouraged though not required.
Fellowships are open to all scholars living outside of the greater Philadelphia area. Applicants must have completed a Ph.D. or an equivalent professional degree by the time the fellowship begins. Independent scholars with a substantial record of achievement are encouraged to apply. Applicants who have not completed a Ph.D. at the time of application must have a letter from their dissertation advisor(s) stating that the degree will be completed prior to the applicant’s proposed dates of the fellowship.
Application Process To be considered, applicants must submit the following by May 15, 2022:
A 2-3 page summary of the project that clearly states a) the relationship of Penn Libraries’ manuscript collections to the project, b) the project’s significance to manuscript studies, and c) a workplan for the duration of the fellowship. The proposal should include name of applicant(s), title of project, preferred dates of the fellowship.
A cv.
Two letters of support from scholars who can speak to the merits of the project. Letters should address the project’s potential for contributing to the advancement of the understanding of the material and its impact on its related field(s) of study. Letters may be included in the application or sent separately by the referee if preferred.
Applications should be sent by email to lransom@upenn.edu, preferably as a single pdf, or by post to:
Lynn Ransom Curator, SIMS Programs Schoenberg Institute for Manuscript Studies University of Pennsylvania Libraries 3420 Walnut St. Philadelphia, PA 19104
The Oxford Transnational and Global History Seminar is inviting submissions for a postgraduate conference, Saturday 25 June, 2022. The conference will be held in person by the Oxford History Faculty.
We welcome submissions on the theme ‘Encounters and Exchanges in a Global Past.’ We will explore the ways in which encounters and exchanges were experienced in the near and distant past. Despite the recent proliferation of frameworks for understanding contact and the exchange of goods, ideas and biota that accompanied it, contact is rarely considered from a truly global perspective that spans millennia, continents and disciplines.
We welcome interdisciplinary submissions relating to exchanges across time and space. We are particularly interested in submissions on the infrastructure that underlay encounters and exchanges, such as technology and ideology; multi-scalar interaction; the role of translation in contact; the environmental history of encounters and exchanges.
Sessions will consist of 20-minute papers with time for questions and discussion. Interested postgraduates should send a 400-word abstract and brief biography to oxfordtghs@gmail.com. The deadline to submit is 1st May 2022.
Une solide compréhension de la littérature française des XIIe et XIIIe siècles doit passer par la connaissance de sa matérialité. Cette traduction mise à jour par l’auteur de son livre fondamental publié en 2002 s’adresse tant aux chercheurs qu’aux étudiants à la recherche d’un ouvrage de référence riche et précis.
Keith Busby, Codex et Contexte. Lire la littérature médiévale française dans les manuscrits, Paris, Classiques Garnier, 2022 (Recherches littéraires médiévales, n° 33). 904 p. ISBN : 978-2-406-12210-4. Prix : 49 euros.
Cambridge University Library (CUL) holds one of the largest collections of fragments of medieval manuscripts in the UK, comprising approximately 1,750 items arranged into over 80 separate sub-collections. Many of the fragments originate from the rebinding or repair of medieval handwritten or early printed books at CUL and are therefore integral to gaining the fullest understanding of the material histories of many items in the historic collections of one of the country’s leading research libraries. The fragments comprise texts in Latin and a wide range of European vernacular languages, and the remnants of illuminated and decorated manuscripts, liturgical and musical books, and other texts. They range in date from the 9th to the 15th centuries. Mostly gathered during the 19th and early 20th centuries, these collections illustrate the development at its earliest stages of the modern collection, preservation and study of this category of manuscripts. However, only a small proportion of the collection has been the subject of published research and very little information is publicly available about its contents.
Cambridge University Library is looking to recruit a Fragmentarium Research Associate, who will have the opportunity to shed new light on this collection. This post is funded by a grant from Fragmentarium, the ‘Laboratory of Medieval Manuscript Fragments’ based at the University of Fribourg, which is supported by the Zeno Karl Schindler Foundation. CUL has also secured supplementary funding for this post from the Aurelius Charitable Trust.
The Fragmentarium Research Associate will be responsible for producing detailed catalogue descriptions of the fragments in TEI format using the XML editor Oxygen and following in-house guidelines drawn up in collaboration with the Bodleian Library (https://msdesc.github.io/consolidated-tei-schema/msdesc.html), and preparing them for publication on the Cambridge Digital Library alongside high-resolution digital images (https://cudl.lib.cam.ac.uk/). You will also be responsible for disseminating the results of your work via CUL’s Special Collections blog (https://specialcollections-blog.lib.cam.ac.uk/), social media channels and other outreach initiatives. You will also be supported in attending a relevant conference (for which funding is available) as well as pursuing initiatives to introduce medieval manuscript fragments into special collections-based teaching at CUL. As part of the appointment, you must submit a written report to Fragmentarium, for publication in their in-house online journal, Fragmentology (https://fragmentology.ms/).
Applicants should hold a post-graduate qualification in a relevant field, preferably a doctorate, and have a proven ability to read and catalogue manuscripts in Latin and medieval vernacular languages. Knowledge of palaeography and codicology, and manuscript and bibliographical research skills, are essential. Applicants must also have experience of cataloguing or describing medieval manuscripts.
Applicants must possess excellent written and verbal communication skills and IT skills, and be able to manage their workload independently, work under pressure and meet tight deadlines. Experience in using TEI to create catalogue records would be an advantage, though training in TEI and XML will be provided. Experience of designing and delivering special collections-based teaching is desirable.
Fixed-term: The funds for this post are available for 1 years in the first instance.
Applications are welcome from internal candidates who would like to apply for the role on the basis of a secondment from their current role in the University.
We welcome applications from individuals who wish to be considered for part-time working or other flexible working arrangements.
We particularly welcome applications from candidates from a BME background for this vacancy as they are currently under-represented at this level in our institution.
Click the ‘Apply’ button below to register an account with our recruitment system (if you have not already) and apply online.
If you have any questions about this vacancy or the application process, please email Dr Suzanne Paul, Keeper of Rare Books and Early Manuscripts, 01223 333149, e-mail: sp510@cam.ac.uk.
The closing date for applications is Sunday 8 May 2022.
Interviews are planned to held on Friday 27 May 2022.
Please quote reference VE30760 on your application and in any correspondence about this vacancy.
The University actively supports equality, diversity and inclusion and encourages applications from all sections of society.
The University has a responsibility to ensure that all employees are eligible to live and work in the UK.
Album della mostra. Pistoia, Antico Palazzo dei Vescovi/Museo Civico, 27 novembre 2021-8 maggio 2022, a cura di Angelo Tartuferi, Enrica Neri Lusanna e Ada Labriola
Protagonista della mostra “Medioevo a Pistoia. Crocevia di artisti fra Romanico e Gotico” è la ricchezza artistica di una città che ha avuto un ruolo di primo piano della cultura figurativa del tardo Medioevo.
L’album raccoglie una selezione delle opere che il visitatore avrà modo di vedere dal vivo, capolavori realizzati da grandi personalità della storia dell’arte, universalmente conosciute, come Nicola e Giovanni Pisano, Pacino di Bonaguida, Pietro Lorenzetti, Taddeo Gaddi, Mariotto di Nardo e Lorenzo Ghiberti.
Informations pratiques :
Medioevo a Pistoia Crocevia di artisti fra Romanico e Gotico, dir. Angelo Tartuferi, Enrica Neri Lusanna e Ada Labriola, Mandragora, 2022. 48 p. ISBN : 978-88-7461-576-6. Prix : 10 euros.
La Mappa mundi d’Albi constitue l’un des exemplaires les plus anciens de représentation du monde en Occident. La cartographie antique n’est en effet connue que par des descriptions textuelles et des copies plus tardives. Ce document cartographique exceptionnel (inscrit en 2015 au registre Mémoire du monde de l’Unesco) ne se présente pas seul : il est conservé dans un manuscrit de parchemin, constituant un recueil de vingt-deux textes, copiés et reliés ensemble vers la fin du VIIIe siècle et conservé depuis dans le fonds de la bibliothèque du chapitre de la cathédrale d’Albi.
Bien que connus des spécialistes et souvent cités, la Mappa mundi d’Albi et le manuscrit dans lequel elle se trouve n’ont jamais fait l’objet d’une recherche approfondie. Les articles du présent volume proposent d’aborder l’étude du manuscrit dans son environnement médiéval, ouvrant des pistes pour des recherches futures et soulignant des points de méthode. Il s’agit tout d’abord d’une interrogation sur le contexte historique et intellectuel du manuscrit et les preuves avancées pour sa datation. Il est question de la persistance des modèles cartographiques antiques, des possibilités matérielles de leur transmission et de leur réception à Albi, et du lien entre la mappemonde et les textes qui l’accompagnent. La comparaison avec d’autres mappemondes et d’autres ouvrages géographiques du haut Moyen Âge permet de mieux comprendre les usages de cette image du monde dans le contexte monastique du chapitre d’Albi et plus largement, de l’essor intellectuel de l’Occident médiéval à l’aube de la Renaissance carolingienne.
Table des matières :
Remerciements
Préface. La Mappa mundi d’Albi, un objet d’étude exceptionnel
Geneviève Bührer-Thierry
Planches
Introduction. La Mappa mundi d’Albi. Un état de la question
Emmanuelle Vagnon, Sandrine Victor
Première partie — Le document et son histoire
Albi, des Mérovingiens aux Carolingiens
Jean-Louis Biget
Histoire du manuscrit de la Mappa mundi d’Albi
Jocelyne Deschaux
Analyse matérielle du manuscrit de la Mappa mundi d’Albi
Le ms. 29 d’Albi : une encyclopédie du VIIIe siècle ?
Nadège Corbière
Deuxième partie — Le contexte culturel
En marge du monde : les barbares
Magali Coumert
Autour du corpus géographique d’Albi : culture lettrée et savoir géographique du haut Moyen Âge
Claire Tignolet
Isidore de Séville et la géographie
Jacques Elfassi
Troisième partie — La carte, marque de transmissions et de transferts
La Mappa mundi d’Albi au regard de la Mappa mundi du Vatican comme illustration de la nécessaire comparaison des mappae mundi du haut Moyen Âge
Jean-Baptiste Amat
The Cotton mappa mundi as analogue to the Albi world map
Alfred Hiatt
Concevoir l’espace à l’échelle du monde dans les manuscrits saint-gallois des Étymologies
Julie Richard Dalsace
La mappemonde d’Albi et la cartographie arabe
Jean-Charles Ducène
Bibliographie
Index des manuscrits
Index des noms de personnes
Liste des auteurs
Liste des planches et des figures
Informations pratiques :
La Mappa mundi d’Albi. Culture géographique et représentation du monde au haut Moyen Âge, éd. Emmanuelle Vagnon et Sandrine Victor, Paris, Éditions de la Sorbonne, 2022 (Histoire ancienne et médiévale). 280 p., 24 x 16 cm. ISBN : 979-10-351-0786-4. Prix : 30 euros.
Avec le soutien du FNRS, du CRHiDI (UCLouvain – Saint-Louis, Bruxelles), d'INCAL (UCLouvain), de PraME (UNamur), de sociAMM (ULB) et de Transitions (ULiège)
L'Agenda des Médiévistes 
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