This book articulates a new approach to medieval aesthetic values, emphasizing the sensory and emotional basis of all medieval arts, their love of play and fine craftsmanship, of puzzles, and of strong contrasts.It offers an understanding of medieval literature and art that is rooted in the perceptions and feelings of ordinary life.

This book articulates a new approach to medieval aesthetic values, emphasizing the sensory and emotional basis of all medieval arts, their love of play and fine craftsmanship, of puzzles, and of strong contrasts.It offers an understanding of medieval literature and art that is rooted in the perceptions and feelings of ordinary life.

Evan William Cameron Thinking through Imagery _Film-Philosophy_, vol. 3 no. 22, May 1999.

Imagining structures from the ekphrastic descriptions of the Jerusalem Temple and Temple Mount in I Kings and Ezekiel is an ancient meditation discipline, which was adopted from Jewish practices into early Christian monasticism. Though it could take various forms, ‘imagining/remembering Jerusalem’ was often practised as a devotional exercise throughout the European Middle Ages. Drawings of such an imagined character are significant to late medieval exegesis of these and related scriptural materials, particularly those associated with the commentaries of Nicholas of Lyra (...) and the collection of visual meditations known as the Speculum theologie. This chapter queries a late medieval illuminated manuscript that, in the fifteenth century, formed part of the library of St John's Hospital in Exeter, to suggest that its materials were acquired and used for scriptural study and sermon composition by scholars of the hospital and its associated school. (shrink)

Since the theme of this issue is ‘back to the future,’ especially to the ways in which information formats before the age of printing anticipate and perhaps even may give some guidance to principles of organization and cognitive layouts for the ‘new’ science of information design, I am going to focus in my presentation on the design of memory storage, as it was taught and practiced in the Middle Ages. It is important to recognize that ‘memory-art’ accompanied every aspect of (...) education in the ancient trivium, though different aspects and capacities of human memory were emphasized as appropriate to its various disciplines. What is commonly now taken to be ‘the art of memory,’ namely the advice to link powerful images of ‘content’ (imagines rerum) together in dramatic scenes conceived within a mental location (locus) (as described most completely in the early first century B.C. Rhetorica ad Herennium) is not a universal technique but specifically a device of Rhetoric, and thus of composition. There is also an ‘art of memory’ associated with Dialectic, and this is the device of the ‘topics’ or ‘seats’ (topoi) of argument, syllogism and enthymeme arranged in an orderly schematic of specific mental ‘places.’ Aristotle expounded this scheme as a variety of mnemonic art in his treatise Peri Topoi, and in turn it was further disseminated to later antiquity and the Middle Ages in works by Cicero and Boethius. (shrink)