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Altarpieces, Gothic --- Panel painting, Medieval --- Panel painting, English --- Altarpieces, Medieval --- Retables gothiques --- Peinture sur panneau médiévale --- Peinture sur panneau anglaise --- Retables médiévaux --- Conservation and restoration --- Conservation et restauration --- Westminster Abbey. --- Hamilton Kerr Institute --- Panel painting, Gothic --- Altarpieces --- Panel painting --- Expertising --- Westminster Abbey --- Westminster retable (Art) --- Painting, Gothic --- Technique. --- History --- Sources. --- Westminster abbey --- Peinture sur panneau médiévale --- Retables médiévaux --- Westminster abbey (London) --- Altarpieces [Gothic ] --- Great Britain --- London (England) --- 13th century --- Altarpieces, Gothic - England - London --- Panel painting, Gothic - England - London --- Panel painting, English - England - London - 13th century --- Altarpieces - Conservation and restoration - England - Cambridge --- Panel painting - Conservation and restoration - England - Cambridge --- Panel painting, English - Expertising - England - Cambridge
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Technology and conservation are indispensible to our understanding of the history of religious art. Material and technical aspects of historical art works yield a great deal of information about provenance, and thus reflect the cultural networks that characterized the world that produced them. Furthermore, the imagery and decoration of art works express their religious meanings, while details including reworking and damage may inform us about their use (or disuse) in liturgy and devotion. The Swedish conservator and art historian Peter Tångeberg has shown how the insights and methods of art conservation can make important steps in the history of art (not least religious art). He has brought the wealth of medieval and early modern art works in Scandinavia to a European audience and opened up new discussions – as well as stirring up old ones – on a range of aspects, including the transfer of styles and motifs, materials and technologies across Central and Northern Europe. This volume, which is dedicated to Tångeberg by fifteen friends and colleagues on the occasion of his 75th birthday, reflects much of his long and fruitful professional life. All of the contributions pursue a combined perspective on technical/material issues and contextual (mostly liturgical or devotional) aspects. The art works cover the period from c. 1100 to c. 1800 and all originated in the wide area of Tångeberg’s scholarly activity, especially Scandinavia and large parts of Western and Central Europe
Art --- anno 1100-1199 --- anno 1700-1799 --- anno 1400-1499 --- anno 1200-1299 --- anno 1600-1699 --- anno 1300-1399 --- anno 1500-1599 --- Eastern and Central Europe --- Europe: North --- Tångeberg, Peter --- anno 1500-1799 --- anno 1200-1499 --- Wood sculpture, Medieval --- Sculpture, Medieval --- Christian art and symbolism --- Conservation and restoration --- Festschriften
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Constructed in 1297-1300 for King Edward I, the Coronation Chair ranks amongst the most remarkable and precious treasures to have survived from the Middle Ages. It incorporated in its seat a block of sandstone, which the king seized at Scone, following his victory over the Scots in 1296. For centuries, Scottish kings had been inaugurated on this symbolic 'Stone of Scone', to which a copious mythology had also become attached. Edward I presented the Chair, as a holy relic, to the Shrine of St Edward the Confessor in Westminster Abbey, and most English monarchs since the fourteenth century have
Coronations --- Stone of Scone. --- Coronation Chair. --- History. --- Westminster Abbey
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