Likeness and presence: a history of the image before the era of art

Abstract

List of Illustrations Foreword 1: Introduction a: The Power of Images and the Limitations of Theologians b: Portrait and Memory c: The Images' Loss of Power and Their New Role as Art 2: The Icon from a Modern Perspective and in Light of Its History a: The Painter's Manual of Mount Athos and Romanticism b: The Rediscovery of the Icon in Russia c: Italian Panel Painting as the Heir to the Icon d: The Discoveries in Rome and at Mount Sinai e: Problems with a History of the Icon: The Deficiency of a History of Styles 3: Why Images? Imagery and Religion in Late Antiquity a: The Virgin's Icon Icon Types and Their Meaning b: The Virgin's Personality in the Making: The Mother of God and the Mother of the Gods c: Pagan Images and Christian d: Why Images? 4: Heavenly Images and Earthly Portraits: St. Luke's Picture and in Rome and the Eastern Empire a: Unpainted Images of Christ and Relics of Touch b: St. Luke's Images of the Virgin and the Concept of the Portrait c: Relic and Image in Private and Public Life d: Early in Papal Rome e: The Image of the Hodegetria in Constantinople 5: Roman Funerary Portraits and Portraits of the Saints a: Pagan and Christian Cults of Images b: The Origin of Saint's Images c: Cult Image and Votive Image d: Funerary Portraits and e: Idealism and Realism in the Ancient Portrait 6: The Imperial Image in Antiquity and the Problem of the Christian Cult of Images a: The Worship of the Imperial Image b: The Emperor's Person and the Legal Status of His Image c: The Military Standard and the Cross as Bearers of Images d: Images of Christ in State Iconography 7: Image Devotion, Public Relations, and Theology at the End of Antiquity a: Wall in a Roman Church b: Early Panels in Rome and the Problem of an Iconic c: Image and Politics at the Papal Curia d: Styles and Conventions of the Early Icon e: and Politics at the Imperial Court: The Christ Coin f: and Theological Argument 8: Church and Image: The Doctrine of the Church and Iconoclasm a: The Image in Christendom b: Byzantine Iconoclasm c: The Theory of Images and Its Traditions d: Image and Sign, Icon and Cross 9: The Image in Church Decoration and a New Policy of Images a: The Role of the Imperial Court in the Reintroduction of Images b: Patriarch Photius in Hagia Sophia c: New Pictorial Programs in Churches of the Court d: Church Decoration: An Applied Theory of Images e: Liturgy and Images in Church Interiors 10: Pilgrims, Emperors, and Confraternities: Veneration of in Byzantium and Venice a: The Emperors b: Confraternities and Processions c: Pilgrimages and the Program for Visitors to Hagia Sophia d: San Marco in Venice and Its 11: The Holy Face: Legends and Images in Competition a: The Original of the Abgar Image and Its Legend b: The Abgar Image at Constantinople and a New Aesthetics of the Ideal Portrait c: The Veronica in Rome 12: The Iconostasis and the Role of the Icon in the Liturgy and in Private Devotion a: The Church Interior and the Site of the Images b: Cross, Gospel Book, and Icon in Church Ritual c: Votive Images as Instruments of Salvation and as Commemorations of the Donor d: The Chancel Screen as Iconostasis e: Calendar and Biographical 13: Living Painting: Poetry and Rhetoric in a New of in the Eleventh and Twelfth Centuries a: Icons in the New Style b: Aesthetics, Ethics, and Theology c: Poetic Continuity in a Changing Society d: The Paradox of the Crucifixion and the Reality of the Image e: Painted Poetry and Treatises: The Narrative Structures of Four Feast-Day f: New Images of the Virgin 14: Statues, Vessels, and Signs: Medieval Images and Relics in the West a: The Different Premises of Image Worship in the West b: The Crucified and the Enthroned Statue as Examples of the Bodily Image c: The Relation of Relic and Image d: A Theological Aesthetic? e: Legends about Originals and the Distinction between Image and Persons 15: The Icon in the Civic Life of Rome a: Images and Institutions in the High Middle Ages b: An Old Icon in a New Role: The Madonna as Advocate of the Roman People c: The Competition of the Madonnas d: The Multiplication of an Original and the August Procession 16: In the Greek Manner: Imported in the West a: The Eastern Origin: Idea and Reality b: The Imperial Court in Prague and Its c: The Migration of Images to Italy d: by St. Luke in the Historical Legends of the Renaissance 17: Norm and Freedom: Italian in the Age of the Tuscan Cities a: East and West in Comparison: What Is an Image? b: The Introduction of New Types of Images c: Icon and Devotional Image: The Language of Gestures d: Maniera greca and Dolce stil nuovo: Duccio and the Icon 18: The Madonnas of Siena: The Image in Urban Life a: Feast Images of the Mendicant Orders in Pisa b: The Panels of the Confraternities in Siena and Florence c: The Altarpiece d: Duccio's Synthesis in the Altarpiece for Siena Cathedral 19: The Dialogue with the Image: The Era of the Private Image at the End of the Middle Ages a: Mysticism and the Image in the Practice of Devotion b: Devotional Images and Jewelry at the Courts c: Visual Media in Competition: Panel Paintings and Prints d: Archaism and Quotation in the Aesthetics of the Image e: The Winged Altarpiece as the Stage of the Public Image f: The Pilgrimage to the Fair Virgin of Regensburg 20: Religion and Art: The Crisis of the Image at the Beginning of the Modern Age a: Criticism and Destruction of Images during the Reformation b: Image and Word in the New Doctrine c: Image and Art in Renaissance Painting d: The Controversy over Raphael's Sistine Madonna e: Art as the Mise-en-scene of the Image at the Time of the Counter-Reformation Appendix. Texts on the History and Use of Images and Relics Notes Bibliography Index of Persons and Places Index of Subjects Photo Credits