000			03730nam a22004093i 4500
001			EBC4949407
003			MiAaPQ
005			20191009123132.0
006			m o d |
007			cr cnu||||||||
008			191009s2002 xx o ||||0 eng d
020			_a9781846151460 _q(electronic bk.)
020			_z9780851158549
035			_a(MiAaPQ)EBC4949407
035			_a(Au-PeEL)EBL4949407
035			_a(CaONFJC)MIL54485
035			_a(OCoLC)1024273982
040			_aMiAaPQ _beng _erda _epn _cMiAaPQ _dMiAaPQ
050		4	_aNA5453.D73 2002
082	0		_a726.5291
100	1		_aDrake, C. S.
245	1	0	_aRomanesque Fonts of Northern Europe and Scandinavia, The.
264		1	_aWoodbridge : _bBoydell & Brewer, Limited, _c2002.
264		4	_c�2002.
300			_a1 online resource (233 pages)
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
520			_aBy the end of the eleventh century, when Romanesque art first appeared, and by the twelfth when it flourished, every parish church had a font. Increasing prosperity in Europe in the twelfth century was accompanied by the blossoming of the arts in all their forms, and baptismal fonts were often covered in lavish decoration of a high quality, at times producing masterpieces in form and iconography. Romanesque art is, above all, religious art, and the sacrament of baptism, being second only to the Eucharist in liturgical importance, is the first in which a Christian takes part. Because of this, almost all the decoration found on fonts is linked to the underlying meaning of the rite, whether directly in the portrayals of relevant stories from the Bible and the lives of saints, or indirectly in the symbolism of the bestiary and of formal motifs such as the vine, the palmette and the fleur de lis. Even the geometric ornament contained, at times, a symbolic meaning. At the lowest level, the illiterate village craftsmen resorted to a modest vocabulary of enrichment, such as the incised wavy line, the chevron and the rope.; Messages urging the faithful to renounce their sins and warning them of the punishment awaiting them in hell were depicted in vivid forms. The struggle for the human soul between the forces of Good and Evil was a frequent theme of font iconography. As fonts were prominently positioned in the churches and were an object of veneration and respect, they were particularly suitable for transmitting moral lessons through images which could be understood even by the illiterate. Mr Drake's work fills a significant gap in medieval historiography. He has personally examined almost all the fonts which are described in the text, enabling him to correct many misdescriptions by earlier scholars, who often had to rely on the observations of others,
520	8		_aand also to update the available information about the present state of surviving fonts. His lists of fonts, his bibliography and the extensive illustrations to support his often detailed descriptions will be invaluable to future research.
588			_aDescription based on publisher supplied metadata and other sources.
590			_aElectronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, 2019. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries.
655		4	_aElectronic books.
776	0	8	_iPrint version: _aDrake, C. S. _tRomanesque Fonts of Northern Europe and Scandinavia, The _dWoodbridge : Boydell & Brewer, Limited,c2002 _z9780851158549
797	2		_aProQuest (Firm)
856	4	0	_uhttp://ezproxy01.ny.edu.hk:2048/login?url=https://ebookcentral.proquest.com/lib/ircp3g4/detail.action?docID=4949407 _zClick to View
999			_c36267 _d36267