Karl Morrison discusses historical writing at a turning point in European culture: the so-called Renaissance of the twelfth century. Why do texts considered at that time to be masterpieces seem now to be fragmentary and full of contradictions? Morrison maintains that the answer comes from ideas about art. Viewing histories as artifacts made according to the same aesthetic principles as paintings and theater, he shows that twelfth-century authors and audiences found unity not in what the reason read in a text but in what the imagination read into it: they prized visual over verbal imagination and employed a circular, or nuclear, spectator-centered perspective cast aside in the Renaissance of the fourteenth and fifteenth centuries. Twelfth-century writers assimilated and transformed a tradition of the conceptual unity of all the arts and attributed that unity to the fact that art both conceals and discloses. Recovering that tradition, especially the methods and motives of concealment, provides extraordinary insights into twelfth-century ideas about the kingdom of God, the status of women, and the nature of time itself. It also identifies a strain in European thought that had striking affinities to methods of perception familiar in Oriental religions and that proved to be antithetic to later humanist traditions in the West. Originally published in 1990. 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.

This volume surveys the wide range of cultural and intellectual changes in western Europe in the period 1050-1250. The Twelfth-Century Renaissance first establishes the broader context for the changes and introduces the debate on the validity of the term "Renaissance" as a label for the period. Summarizing current scholarship, without imposing a particular interpretation of the issues, the book provides an accessible introduction to a vibrant and vital period in Europe’s cultural and intellectual history.

DigiCat Publishing presents to you this special edition of "The Arts in the Middle Ages and at the Period of the Renaissance" by P. L. Jacob. DigiCat Publishing considers every written word to be a legacy of humankind. Every DigiCat book has been carefully reproduced for republishing in a new modern format. The books are available in print, as well as ebooks. DigiCat hopes you will treat this work with the acknowledgment and passion it deserves as a classic of world literature.

Examination of the striking new style of writing history in the twelfth century, by men such as Gaimar, Wace and Ambroise.

Renaissance and Renascences in Western Art spans the period from the 10th to the 15th century, including discussion of the Carolingian renaissance and the 12th century proto-renaissance. Erwin Panofsky posits that there were "reanscences" prior to the widely known Renaissance that began in Italy in the 14th century. Whereas earlier renascences can be classified as revivals, the Renaissance was a unique instance that led to a wider cultural transformation.

This book presents a study of twelfth-century humanism seen as an all-embracing discourse in which the human and the divine interact on equal terms. The book focuses on a number of twelfth-century intellectuals, especially Thierry of Chartres, Peter Abelard, William of Conches, Bernard Silvestris, and Alan of Lille. The book explains both the appeal and the demise of this humanism.