In this interdisciplinary study, Henry Maguire examines the influence of several literary genres and rhetorical techniques on the art of narration in Byzantium. He reveals the important and wide-reaching influence of literature on the visual arts. In particular, he shows that the literary embellishments of the sermons and hymns of the church nourished the imaginations of artists, and fundamentally affected the iconography, style, and arrangement of their work. Using provocative material previously unfamiliar to art historians, he concentrates on religious art from A.D. 843 to 1453. Professor Maguire first considers the Byzantine view of the link between oratory and painting, and then the nature of rhetoric and its relationship to Christian literature. He demonstrates how four rhetorical genres and devices—description, antithesis, hyperbole, and lament—had a special affinity with the visual arts and influenced several scenes in the Byzantine art, including the Annunciation, the Nativity, the Massacre of the Innocents, the Presentation, Christ's Passion, and the Dormition of the Virgin. Through the literature of the church, Professor Maguire concludes, the methods of rhetoric indirectly helped Byzantine artists add vividness to their narratives, structure their compositions, and enrich their work with languages. Once translated into visual language, the artifices of rhetoric could be appreciated by many. Henry Maguire is Assistant Professor of Art History at the University of Illinois at Urbana-Champaign. Originally published in 1982. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

For those within the fields of art history and Byzantine studies, Professor Henry Maguire needs no introduction. His publications transformed the way art historians approach medieval art through his insightful integration of rhetoric, poetry and non-canonical objects into the study of Byzantine art. His ground-breaking studies of Byzantine art that consider the natural world, magic and imperial imagery, among other themes, have redefined the ways medieval art is interpreted. From notable monuments to small-scale and privately used objects, Maguire’s work has guided a generation of scholars to new conclusions about the place of art and its function in Byzantium. In this volume, 23 of Henry Maguire’s colleagues and friends have contributed papers in his honour, resulting in studies that reflect the broad range of his scholarly interests.

In this interdisciplinary study, Henry Maguire examines the influence of several literary genres and rhetorical techniques on the art of narration in Byzantium. He reveals the important and wide-reaching influence of literature on the visual arts. In particular, he shows that the literary embellishments of the sermons and hymns of the church nourished the imaginations of artists, and fundamentally affected the iconography, style, and arrangement of their work. Using provocative material previously unfamiliar to art historians, he concentrates on religious art from A.D. 843 to 1453. Professor Maguire first considers the Byzantine view of the link between oratory and painting, and then the nature of rhetoric and its relationship to Christian literature. He demonstrates how four rhetorical genres and devices—description, antithesis, hyperbole, and lament—had a special affinity with the visual arts and influenced several scenes in the Byzantine art, including the Annunciation, the Nativity, the Massacre of the Innocents, the Presentation, Christ's Passion, and the Dormition of the Virgin. Through the literature of the church, Professor Maguire concludes, the methods of rhetoric indirectly helped Byzantine artists add vividness to their narratives, structure their compositions, and enrich their work with languages. Once translated into visual language, the artifices of rhetoric could be appreciated by many. Henry Maguire is Assistant Professor of Art History at the University of Illinois at Urbana-Champaign. Originally published in 1982. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

A winged centaur with the spotted body of a leopard playing a lute; a naked man with an animal head; a goat-footed Pan; a four-bodied lion; sphinxes, and hippocamps. Few would associate these forms of art with the Byzantine era, a period dominated by religious art. However, an art of strikingly secular expression was not only common to Byzantine culture, but also key to defining it. In Other Icons, Eunice Dauterman Maguire and Henry Maguire offer the first comprehensive view of this "unofficial" Byzantine art, demonstrating the role it played and its dialogue with traditional Christian Byzantine art. This beautifully illustrated book creates an entirely new understanding of the whole of Byzantine art and culture. With its wide-ranging examples, the book vividly demonstrates how the surprise of this "profane" art is not only in its subjects of mythic creatures, exotic imagery, and eroticism, but also in the ubiquity and beauty of their placement--within churches and without, woven into silk, illuminated on manuscripts, engraved into pottery, painted in frescoes, and taking life in marble, bone, and ivory. By presenting and exploring this profane art for the first time in a scholarly book in English, Other Icons will change the way we look at the art of an entire era.

The Byzantines surrounded themselves with their saints, invisible but constant companions, who were made visible by dreams, visions, and art. The composition and presentation of this imagined gallery followed a logical structure, a construct that was itself a collective work of art created by Byzantine society. The purpose of this book is to analyze the logic of the saint's image in Byzantium, both in portraits and in narrative scenes. Here Henry Maguire argues that the Byzantines gave to their images differing formal characteristics of movement, modeling, depth, and differentiation, according to the tasks that the icons were called upon to perform in the all-important business of communication between the visible and the invisible worlds. The book draws extensively on sources that have been relatively little utilized by art historians. It considers both domestic and ecclesiastical artifacts, showing how the former raised the problem of access by lay men and women to the supernatural and fueled the debates concerning the role of images in the Christian cult. Special attention is paid to the poems inscribed by the Byzantines upon their icons, and to the written lives of their saints, texts that offer the most direct and vivid insight into the everyday experience of art in Byzantium. The overall purpose of the book is to provide a new view of Byzantine art, one that integrates formal analysis with both theology and social history.

Nature and Illusion is the first extended study of the portrayal of nature in Byzantine art and literature. It provides a new view of Byzantine art in relation to the medieval art of Western Europe.

This volume publishes twelve papers that were delivered at an academic symposium held at The Metropolitan Museum of Art, New York, on April 16-18, 2004, in conjunction with the exhibition, "Byzantium: Faith and Power (1261-1557)" (held at The Metropolitan Museum of Art from March 23 to July 5, 2004).