"From the time of the foundation of its cathedral in 597, Canterbury has been the epicentre of Britain's ecclesiastical history, and an exceptionally important centre for architectural and visual innovation. Focusing especially but not exclusively on Christ Church cathedral, this legacy is explored in seventeen essays concerned with Canterbury's art, architecture and archaeology between the early Anglo-Saxon period and the close of the middle ages. Papers consider the relationship between between architectural setting and liturgical practice, and between stationary and movable fittings, while fresh insights are offered into the aesthetic, spiritual, and pragmatic considerations that shaped the fabric of Christ Church and St Augustine's abbey, alongside critical reflections on Canterbury's historiography and relationship to the wider world. Taken together, these studies demonstrate the richness of the surviving material, and its enduring ability to raise new questions.

"From the time of the foundation of its cathedral in 597, Canterbury has been the epicentre of Britain's ecclesiastical history, and an exceptionally important centre for architectural and visual innovation. Focusing especially but not exclusively on Christ Church cathedral, this legacy is explored in seventeen essays concerned with Canterbury's art, architecture and archaeology between the early Anglo-Saxon period and the close of the middle ages. Papers consider the relationship between between architectural setting and liturgical practice, and between stationary and movable fittings, while fresh insights are offered into the aesthetic, spiritual, and pragmatic considerations that shaped the fabric of Christ Church and St Augustine's abbey, alongside critical reflections on Canterbury's historiography and relationship to the wider world. Taken together, these studies demonstrate the richness of the surviving material, and its enduring ability to raise new questions.

This book focuses on art, palaeography, bindings and the monastic library. It is based on lectures given at the Association's Annual Conference, the 20th in the present series, which was held at Bury St Edmunds, from 16 to 20 April 1994: three specially commissioned articles are also included.

Contents of this volume include: The Significance of the 11th-century Rebuilding of Christ Church and St Augustines, Canterbury, in the Development of Romanesque Architecture (Richard Gem); Remains of the Lanfranc Building in the Great Central Tower and the North-West Choir/Transept Area (H.J.A. Strik); St Anselm's Crypt (Eric Fernie); The Romanesque Vices at Canterbury (David Parsons); Canterbury Cathedral Clerestory: the Glazing Programme in Relation to the Campaigns of Construction (Madeline H. Caviness); Notes on the Decorated Stone Roundels in the Corona and Trinity Chapel in Canterbury Cathedral (Elizabeth Eames); Archbishop Hubert Walter's Tomb and its Furnishings (Neil Stratford, Pamela Tudor-Craig and Anna Maria Muthesius); The Conventual Seals of Canterbury Cathedral, 1066-1232 (T. A. Heslop); Manuscripts of Early Anglo-Norman Canterbury (Anne Lawrence); The Great Hall of the Archbishop's Palace (Tim Tatton-Brown); The Completion of the Abbey Church of SS Peter, Paul and Augustine, Canterbury, by Abbots Wido and Hugh of Fleury (Humphrey Woods); The Decoration of Canterbury Castle Keep (Derek Renn).

Medieval Art, Architecture and Archaeology in Cambridge explores the archaeology, art, and architecture of Cambridge in the Middle Ages, a city marked not only by its exceptional medieval university buildings but also by remarkable parish churches, monastic architecture, and surviving glass, books, and timber work. The chapters in this volume cover a broad array of medieval, and later, buildings and objects in the city and its immediate surrounds, both from archaeological and thematic approaches. In addition, a number of chapters reflect on the legacy and influence medieval art and architecture had on the later city. Along with medieval colleges, chapels, and churches, buildings in villages outside the city are discussed and analysed. The volume also provides detailed studies of some of the most important master masons, glassmakers, and carpenters in the medieval city, as well as of patrons, building types, and institutional development. Both objects and makers, patrons, and users are represented by its contents. The volume sets the archaeological and art historical analysis in its socio-economic context; medieval Cambridge was a city located on major trade routes and with complex social and institutional differences. In an academic field increasingly shaped by interdisciplinary interest in material culture, Medieval Art, Architecture and Archaeology in Cambridge marks a major new contribution to the field, focussing on the complexity, variety, and specificity of the buildings and objects that define our understanding of Cambridge as a medieval city.

Exploring the medieval heritage of Aberdeenshire and Moray, the essays in this volume contain insights and recent work presented at the British Archaeological Association Conference of 2014, based at Aberdeen University. The opening, historical chapters establish the political, economic and administrative context of the region, looking at both the secular and religious worlds and include an examination of Elgin Cathedral and the bishops’ palaces. The discoveries at the excavations of the kirk of St Nicholas, which have revealed the early origins of religious life in Aberdeen city, are summarized and subsequent papers consider the role of patronage. Patronage is explored in terms of architecture, the dramas of the Reformation and its aftermath highlighted through essentially humble parish churches, assailed by turbulent events and personalities. The collegiate church at Cullen, particularly its tomb sculpture, provides an unusually detailed view of the spiritual and dynastic needs of its patrons. The decoration of spectacular ceilings, both carved and painted, at St Machar’s Cathedral, Provost Skene’s House and Crathes Castle, are surveyed through the eyes of their patrons and the viewers below. Saints and religious devotion feature in the last four chapters, focusing on the carved wooden panels from Fetteresso, which display both piety and a rare glimpse of Scottish medieval carnal humour, the illuminated manuscripts from Arbuthnott, the Aberdeen Breviary and Historia Gentis Scotorum. The medieval artistic culture of north-east Scotland is both battered by time and relatively little known. With discerning interpretation, this volume shows that much high-quality material still survives, while the lavish illustrations restore some glamour to this lost medieval world.

Contents of this volume include: The Significance of the 11th-century Rebuilding of Christ Church and St Augustines, Canterbury, in the Development of Romanesque Architecture (Richard Gem); Remains of the Lanfranc Building in the Great Central Tower and the North-West Choir/Transept Area (H.J.A. Strik); St Anselm's Crypt (Eric Fernie); The Romanesque Vices at Canterbury (David Parsons); Canterbury Cathedral Clerestory: the Glazing Programme in Relation to the Campaigns of Construction (Madeline H. Caviness); Notes on the Decorated Stone Roundels in the Corona and Trinity Chapel in Canterbury Cathedral (Elizabeth Eames); Archbishop Hubert Walter's Tomb and its Furnishings (Neil Stratford, Pamela Tudor-Craig and Anna Maria Muthesius); The Conventual Seals of Canterbury Cathedral, 1066-1232 (T. A. Heslop); Manuscripts of Early Anglo-Norman Canterbury (Anne Lawrence); The Great Hall of the Archbishop's Palace (Tim Tatton-Brown); The Completion of the Abbey Church of SS Peter, Paul and Augustine, Canterbury, by Abbots Wido and Hugh of Fleury (Humphrey Woods); The Decoration of Canterbury Castle Keep (Derek Renn).