[POSTPONED] "Scripture Transformed in Late Medieval England: The Religious, Artistic, and Social Worlds of the Welles-Ros Bible (Paris, BNF FR. 1)" - The Courtauld Institute of Art

[POSTPONED] “Scripture Transformed in Late Medieval England: The Religious, Artistic, and Social Worlds of the Welles-Ros Bible (Paris, BNF FR. 1)”

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International Center of Medieval Art at The Courtauld, Research Forum

[POSTPONED] “Scripture Transformed in Late Medieval England: The Religious, Artistic, and Social Worlds of the Welles-Ros Bible (Paris, BNF FR. 1)”

The Courtauld Institute of Art, Vernon Square, Penton Rise, King’s Cross, London

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Initial for Ecclesiasticus, Welles-Ros Bible (Paris, BnF fr. 1, fol. 205v)

  • Wednesday 18 March 2020
    PLEASE NOTE: This Date Has Passed
    5:30 pm - 6:30 pm

    Lecture Theatre 2, second floor, The Courtauld Institute of Art, Vernon Square, Penton Rise, King’s Cross, London, WC1X 9EW

Speaker

  • Kathryn A. Smith - Professor, New York University

Organised by

  • Jessica Barker - Lecturer, The Courtauld Institute of Art

In the interest of public, staff and student safety, we have taken the decision to cancel a number of our upcoming events in light of the ongoing COVID-19 (coronavirus) outbreak. This event has been postponed a new date will follow soon.

 

“My talk brings together my early and more recent research on the manuscript that I call the Welles-Ros Bible (Paris Bibliothèque nationale de France fr. 1) — the most complete surviving witness and sole extant illuminated copy of the Anglo-Norman Bible, the “earliest full prose vernacular Bible produced in England” (Russell).  Building on the work of biblical and literary scholars, I argue that this grand multilingual manuscript and the revised translation that it contains were produced in the later fourteenth century on the order of one or more matriarchs of the baronial Welles family of Lincolnshire.  I discuss the circumstances of the commission and the volume’s functions and intended audience; and show how the Bible’s rich pictorial and heraldic program reframes Christian salvation history as Welles family history.  Moreover, the manuscript’s main artist clearly read the scriptural text assiduously, adapting or even rejecting his wide-ranging, trans-regional models in order to visualize for his noble clients both the sense of the vernacular translation and its very words.  My talk sheds new light on lay literate and religious aspiration and pedagogy; women’s cultural patronage; artists’ literacy and working methods; the history of bible translation and reception; medieval ideas about gender, sexuality, health, memory, and the emotions; and English art, society, and culture after the Black Death.”

The lecture will be followed by a drinks reception.

This event is generously supported by ICMA and Sam Fogg.

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