This event marks the completion of a three-year digitization project delivered by the Bodleian Libraries, Oxford and the Herzog August Bibliothek in Wolfenbuttel. The ‘Manuscripts from German-Speaking Lands’ project, funded by The Polonsky Foundation, has digitized hundreds of medieval manuscripts from collections at The Herzog August Bibliothek and the Bodleian and made these freely available online to scholars and the public.
The panel discussion will explore the journey of these manuscript collections from their origins in the religious houses of medieval Germany, their acquisition by the libraries in Wolfenbüttel and Oxford and their digitization and publication online.
Speakers
Richard Ovenden OBE, Bodley’s Librarian
Julia Gross, Chargé d’ Affaires a.i. of the German Embassy London
Marc Polonsky, The Polonsky Foundation
Peter Burschel, Herzog August Bibliothek
Henrike Lähnemann, University of Oxford
Joanna Story, University of Leicester
Booking information
When you have booked your place, the ticketing system will send you an automated confirmation.
A link to access the online event will be sent by the morning of the event to the email address associated with your booking.
See our project website for more information about the project and to see the digitized collections.
Building on the success of Gregorian chant workshops with manuscripts from the Bodleian Library (Singing Together, Apart 1 and Singing Together, Apart 2 ), a group of Oxford medievalists are offering insights into working with manuscripts during lockdown. Meet some of the manuscripts from the Abbey of Medingen, recently digitized through the Polonsky German project, and sing along to chants from the Easter period. A special focus was on the ‘Exsultet’ which attracted some of the most colourful illumination of the manuscripts as well as detailed devotional instructions in Latin and Low German on how to sing it both out aloud and “on the harp strings of the soul”. Read more on Savouring the Exultet at Medingen in this blog post by Innocent Smith OP for the Polonsky German manuscript digitisation project.
Andrew Dunning, R.W. Hunt Curator of Medieval Manuscripts, showed the Medingen manuscripts at the Bodleian Library live via visualiser from the Weston Library; Zachary Guiliano, Chaplain of St Edmund Hall, Henrike Lähnemann, Professor of Medieval German Literature and Linguistics, and Nick Swarbrick, Gregorian chant instructor, and Connor Wood, Organ Scholar at St Edmund Hall, formed a Schola in the Crypt of St-Peter-in-the-East, the library of St Edmund Hall, and commented on the manuscripts, the music, and their theological significance. Two graduate students working on the Easter prayer books, Carolin Gluchowski and Marlene Schilling, pointed out some of the special nuntastic features of the manuscripts.
This was part of the IMC Leeds Fringe Events but open to all manuscript and music enthusiasts! Music downloads for the event: Nunc dimittis (audience sings the ‘repetitio’ Lumen ad revelacionem gencium as congregational responses); Exultet (audience sings the congregational responses); Victime paschali laudes (audience sings the ‘Christ ist erstanden’ as congregational response and the question of the disciples Dic nobis Maria…)
Instruction for the Medingen Provost when during the ‘Exsultet’ to put the incense into the Easter candle, Bodleian Library MS. Lat. liturg. e. 18, fol. 36v
Medieval Trade Study Day, 1st July, 10am-3:30pm. There are places left for this study day, which will involve small group handling sessions at the Ashmolean in the morning, a packed lunch provided, and afternoon discussions with the group as a whole. If anyone would like to sign up, please fill in the following form: https://forms.gle/LB2wWvWdFU4gKRkXA. The Study Day has been arranged for the Medieval Trade Reading Group to further our conversations from over the past year. Sign up will close at the end of 24th June.
The day will consist of:
Morning: Ashmolean visit. We will have small group handling sessions led by Dr Harris (to abide by Covid regulations). While one group is in the session, the other two will be exploring the museum.
Lunch: Packed sandwich lunches, (probably provided at the Andrew Wiles building but location TBC).
Afternoon: Group discussions about methodologies and primary sources in the Humanities Division building. This is planned to be very much guided by what the group would most benefit from – please indicate preferences below.
The scheduled study day will begin at 10:00 is planned to end by 15:30.
Unbelievably, here we are at the end of Trinity Term! The end of the year always flies by. Best wishes to all the Masters students turning in dissertations in the next few weeks.
There is only one announcement today: at the end of term, I’m departing my post as Communications Officer for Oxford Medieval Studies, as I’ll be headed off on postdoctoral adventures starting this autumn. I am, however, leaving you in the most capable of hands: the wonderful and brilliant Luisa Ostacchini will be taking over this job for the next academic year alongside her new role as Stipendiary Lecturer in Medieval English at St Edmund Hall.
It’s been an honour cluttering up your Monday inboxes. I’ve loved this job, and have deeply appreciated your hard work and enthusiasm in organizing these events and seminars; your promptness with announcements and reminders; your friendly corrections; and your kind missives about my relentless butchering of medieval texts for laughs. In the words of dear old Geoffrey: Min be the travaille, and thin be the glorie.
Hwæt, we Oxnaforda in ær-dagum / leorning-cnihta ond lareowa cræft gefrunon, / hu þa searo-monnas seminara fremedon. [Lo, we have heard of the skill of students and teachers of Oxford in the current times, how those clever people made seminars.] – A recently discovered Old English poem that will no doubt revolutionize the field
Onward to the seminars!
MONDAY 14 JUNE
The Oxford Byzantine Graduate Seminar meets at 12:30 pm on Zoom. Please register in advance by contacting james.cogbill@worc.ox.ac.uk. This week’s speaker is Kyriakos Fragkoulis (University of Birmingham), ‘(Re)contextualising a Late Antique City Through the Ceramic Record: The Case of Dion in Macedonia (Pieria, Greece)’.
The Medieval History Seminar meets at 5 pm on Teams. This week we hear from another exciting panel of speakers: Tom McAuliffe, Richard Schlag, Ellie Birch, and Laura Rosenheim on ‘Politics and Power Plays, c. 1000-1500’.
Forgotten Christianities meets at 5 pm on Zoom. This week’s speakers are Joseph Glynias (Princeton), ‘Ibrahim the Protospatharios, the Melkites of Antioch, and Local Autonomy under Byzantine Rule’, and Kyle Brunner (NYU/ISAW), ‘Creation and Maintenance of Communal Boundaries Real and Imagined in Syriac Hagiography during the Early Islamic Period’. Register here.
TUESDAY 15 JUNE
The Medieval Book Club meets at 3:30 pm on Google Meet. Contact oxfordmedievalbookclub@gmail.com to receive notices. This week’s theme is ‘Image and Legend’, an exploration of visual sources.
The Early Slavonic Seminar meets at 5 pm on Zoom. Register here. This week’s speaker is Kati Parppei (University of Eastern Finland), ‘Between East and West: Assumptions and Interpretations Concerning Medieval Karelia’.
WEDNESDAY 16 JUNE
Digital Editions Live returns from 3-5 pm on Teams (join the meeting here). This week’s seminar is a book launch; Edmund Wareham presents the newest book in the Reformation Pamphlet series, speaking on ‘500 Years Passional Christi und Antichristi’.
The Late Antique and Byzantine Seminar meets at 5 pm on Google Meet (link here). This week’s speaker is Michiel Op de Coul (Tilburg), ‘Theodore Prodromos: Towards an Edition of his Letters and Speeches’.
THURSDAY 17 JUNE
The Early Text Cultures Astronomy and Astrology Seminar meets at 3 pm on Zoom. Fill out this Google form to receive the link. This week’s speakers are Vilius Bartninkas (Vilnius) and Federico Valenti (Independent Scholar), on ‘Naming and Nomenclature: Ancient Greek and Early Chinese Astronomical Terminology’.
In place of the Aquinas Seminar Series, Bernd Goebel (Faculty of Theology, Fulda) will offer a reading session on Ralph of Battle at 4:30 pm on Zoom, focusing on an extract (§§37-46) from Meditatio cuiusdam Christiani de fide. Register here.
The Celtic Seminar meets at 5:15 pm on Teams. Contact david.willis@ling-phil.ox.ac.uk for the link. This week’s speaker is Joshua Byron Smith (University of Arkansas), ‘Madog of Edeirnion’s Strenua cunctorum: A Welsh-Latin Poem in Praise of Geoffrey of Monmouth’.
The Medieval Trade Reading Group also returns this week at 7 pm on Teams. To be added to the team and have access to the reading materials, email annabel.hancock@history.ox.ac.uk.
FRIDAY 18 JUNE
Pre-Modern Conversations returns at 11 am on Teams to help you workshop your works in progress. Contact lena.vosding@mod-langs.ox.ac.uk for details.
A few seminars this term will continue into WEEK 9:
The Medieval History seminar will meet on Monday 21 June at 5 pm on Teams, as usual. Another exciting panel: Mary Hitchman, John Merrington, James Miller, and Elena Rossi, speaking on ‘Minds, Morals, and Martyrs in Medieval Communities’ (you have to love that alliteration).
Forgotten Christianities will meet on both Monday 21 June and Monday 28 June at 5 pm on Zoom. On the 21st, the speakers will be Augustine Dickinson (Hamburg), ‘Martyrs of God and Pillars of Faith: Literature and Identity in the Stephanite Movement’, and Nevsky Everett (SOAS), ‘The Ark of the Covenant and the Cross in Isaac of Nineveh and the Adversus Judaeos Tradition’. Register here. On the 28th, the speakers will be Emily Chesley (Princeton), ‘“I am going to go beyond the bounds”: Creating Miaphysite Community through a Woman’s Biographical Mimro’, and Samuel Noble (KU Leuven), ‘Abdallāh ibn al-Faḍl’s Conception of Philosophy: Byzantine Falsafa’. Register here.
The Early Text Cultures Astronomy and Astrology Seminar will meet on FRIDAY (note the time change) 25 June at 3 pm on Zoom. Fill out this Google form to receive the link. Massimiliano Franci (CAMNES, Firenze) and Cristian Tolsa (Barcelona) will speak on ‘Cultural Vistas: Ancient Egyptian and Graeco-Roman Culture’.
The Anglo-Norman Reading Group will meet on Friday of Week 9 at its usual time of Friday 5 pm.
Thanks to you all for brightening a trying year with such an incredible array of events, and maintaining our academic community even in times of plague. With all best wishes for a lovely end to term and a (hopefully) covid-free summer,
Anyone who has strolled through Oxford and paused to look up at a college window or church tower will have noticed that the city abounds in medievalist architecture. Oxford’s Gothic Revival buildings are not the only material witnesses testifying to nineteenth-century fascination with medieval-inspired styles and with debates harking back to the medieval period. Textile arts also evince how the Victorians read their own age through past ages, and vice versa. Few textiles exemplify this knitting together of past and present as attractively as the textile treasures in the archive of Pusey House, which was established to commemorate Edward Bouverie Pusey (1800-1882), one of the leaders of the Oxford Movement, Regius Professor of Hebrew and Canon of Christ Church.
(The Oxford Movement was a mid-nineteenth century movement within the Church of England that sought to revive an interest in patristics, the sacraments, and ritual, and generally to restore what they saw as pre-Reformation ideals (another instance of medievalism!)).
(One of the altar cloths we discovered, embroidered by Mother Marian Hughes (1817-1912)
Several months ago, the librarian of Pusey House, Jessica Woodward, and Godelinde Gertrude Perk, a researcher at the Faculty of Medieval and Modern Languages, were discussing textiles, both of us being interested in historical embroidery and other fibre arts. Jessica pointed out that the Pusey House archive holds many textiles, several of which are connected to the Pusey family, but also associated with some of the first Anglican nuns. We agreed that it was a pity these textiles were so little known, not only because they were quite expertly made, but also in the light of their historical importance: the Sisters of St Margaret (who owned the book with the sample) and the Sisters of the Holy and Undivided Trinity (one of whom made the corporal) were among the first nuns in the Church of England since the Reformation. Central figures in the Oxford Movement supported this Anglican revival of monasticism.
The spookiest object in the House: a nun doll dressed in the habit of the Sisters of the Society of the Holy and Undivided Trinity, dressed by Mother Marian Rebecca Hughes (1817-1912)
Jessica and Godelinde brainstormed a little about an exhibition and reached out to a fellow academic at the Faculty of Medieval and Modern Languages, Natascha Domeisen for a first look at the textiles, and finally to the textile conservators of the Ashmolean Museum, who generously offered conservation advice and help displaying the objects. The exhibition would never have been possible without the expertise of Clare Hills-Nova, Sue Stanton, and Sebastian Blue Pin; Sebastian came over several times, analysed the fibres, and displayed the objects beautifully.
While we (Jessica, Sebastian, and Godelinde) studied the textiles in order to select the ones to display (the display case being rather moderate in size), we made several unexpected discoveries: we found a handwritten note sewn onto a cloth, which stated that the set of altar linens had been made by Mother Marian Hughes in 1846, the first Englishwoman since the Reformation to become an Anglican professed religious. According to the note, Dr Pusey had used the set when celebrating mass at home. We then discovered an altar cloth from the same set was still in daily use in the Pusey House chapel, despite it being 175 years old. The letters were also quite illuminating, shedding light upon attitudes about embroidery at that time. Godelinde, for one, was also quite delighted to find that a familiarity with medieval religious iconography will stand you in good stead when deciphering Victorian religious art. However, we were most impressed by the skill of the textile artists and their thematic complexity, as emblematized by the corporal and the sermon case.
This blogpost serves as the online version of the exhibition, but if possible, you are warmly invited to visit the exhibition “Threads of Devotion: Textile Treasures from the Pusey House Archive” which can be seen from the 17th of June to the 9th of July 2021. The exhibition is open Monday to Friday, 9:30-17:25 – you can book a viewing slot at https://tinyurl DOT com/puseyhouselib .
1. Wedding veil
Pusey House Archive, PUS/Veil
Date unknown
Vertical maximum 117 cm, horizontal maximum 122 cm
Lace veil of a cream mercerised cotton ground featuring scalloped edges that frame an embroidered border of repeat pattern wheat and floral motifs. The central field displays clusters of larger floral motifs and singular embroidered flowers. This veil is believed to have been worn by Dr Pusey’s wife, Maria Catherine née Barker (1801–1839), at her wedding in 1828, although the tulle seems more characteristic of the early 20th century. It was presented to Pusey House in 1947 by Mrs Edith McCausland née Brine, Dr Pusey’s last surviving grandchild, who claimed it to be Mrs Pusey’s possession.
2. Letter from Edward Bouverie Pusey to his goddaughter, Clara Maria Hole (later Sr Clara Maria), transcribed by Henry Parry Liddon
Pusey House Archive, LBV 125
Originally written on 3 February 1875 at Christ Church, Oxford
The first page reads:
“There is a large proportion of embroidery in your distribution of time … but, I suppose, that, after the illness which you had some time ago, the quietness of needle work would be very good for the brain. I would only say on this, ‘Do not work against time,’ for this would produce an excitement and hurry which would undo the good of a quiet employment.”
Dr Pusey then goes on to recommend reciting psalms or hymns to prevent overtaxing the brain, but concludes his letter with a more optimistic conceptualization of art, presenting God as carving the artwork of the soul by way of trials: “a block of rough stone would not … mind the blows which indented, in view of the beauty of form which it was to acquire hereafter. And the form which we are to have traced in us, is the image of God.” The goddaughter’s crafting should be as deliberate and careful as God’s is.
Dr Pusey’s letter
Dr Pusey’s anxieties about too much embroidery contrast strikingly with Maria Pusey sending a workbox to her goddaughter and wholeheartedly recommending embroidery. This workbox and its accompanying letter can be seen in the cabinet outside the Pusey House Chapel.
According to the caption, the second page of the letter, now hidden by the first page, recounts how Mrs Pusey ‘had learnt to value needlework when she was ill and was pleased that her goddaughter had asked for the workbox as a present’.
Maria Pusey’s letter
3. Sermon case made for Dr Pusey by an anonymous embroiderer
Pusey House Archive, Object 15
1847
32.5 cm by 25.5 cm
Obverse cover: folded card covered in burgundy silk velvet, edged with twisted braid of metal threads and secured with a whip stitch. The centre of each face bears a cross motif, possibly of palm wood, that is overworked with basket weave type embroidery (replicating cross repetitions) in metal threads, creating a raised emblem. Interior: ground fabric of cream dyed silk embroidered with polychrome silk threads in a floral, foliate and fruit design. The Lord’s Prayer, the blessing and the dedication have been worked in embroidered stitches.
With its raised cross with metal embellishment, the sermon case recalls opus anglicanum, medieval religious embroidery produced in England. Victorians believed these medieval embroideries to be the handiwork of nuns, although they were actually predominantly produced in professional workshops in London. We do not know who made this particular gift for Dr Pusey, but Mother Marian Rebecca Hughes (1817–1912), the first Anglican Sister to take vows since the Reformation, is one likely candidate. She was a friend of Dr Pusey’s who made several embroideries for him during the 1840s (see item 4). If she is the artist, the medieval echoes in this embroidery present her as part of a long lineage of female monastics: she restores a tradition disrupted during the Reformation.
(Note the misspelling of “Christ Church” as “Christ’s Church”)
(Obverse cover)
4. Corporal made by Mother Marian Rebecca Hughes (1817–1912) for Dr Pusey
Pusey House Archive, PUS/Lin/1
1846
25 cm by 25 cm
Ground of plain weave mercerised cotton embroidered with red and blue silks. The outer border exhibits Neo-Gothic text and large Greek crosses worked in raised stumpwork to create a dimensional effect. The central field dedicates patterning to fleurs-de-lis and small Greek crosses executed in a chain stitch which frame the monogram of the Holy Name (IHC, Jesus Christ), again in raised stumpwork technique.
A corporal is a square linen cloth onto which the chalice with wine, the paten (silver plate) with bread, and the ciborium (a container for additional hosts) are placed during the consecration of the bread and wine. This particular corporal gives material expression to Tractarian understandings of the Real Presence in the sacrament. The border reads Hoc est corpus meum quod pro vobis traditur (“This is my body, which is given for you”), the words of the consecration of the Eucharist as given in the first Epistle to the Corinthians (11:24) and recited by the celebrant. The circle surrounding the monogram recalls the host, and the monogram itself also draws attention to the presence of the Incarnate Christ in the sacrament. The fleurs-de-lis (lilies) in Marian blue are a traditional attribute of the Virgin Mary, likewise alluding to the mystery of the Incarnation; the red circles signify Christ’s five wounds and, by extension, his Passion.
This corporal forms part of a set that is now 175 years old. A hand-written note, possibly by Henry Parry Liddon (1829–1890), sewn onto an altar cloth states that the entire set was given by Mother Marian Hughes to Dr Pusey, who would use it when celebrating mass privately. A second, larger cloth is still in use in the Pusey House Chapel, literally threading together Dr Pusey’s devotion and that of the House.
5. Sample card from Liberty’s, inserted (by publisher) into Designs for Church Embroidery by A.R and Alathea Wiel. Chapman and Hall, 1894.
Pusey House Archive, SSM 40/298
1894
Samples of polychrome silk floss embroidery thread (Liberty’s) wound around card. This book was the property of the convent of the Society of Saint Margaret, an Anglican order, in East Grinstead, Sussex. The convent also ran a School of Ecclesiastical Embroidery in London, but the library stamp indicates that this copy of the book was kept in the convent. The Victorian era saw an upsurge of interest in the creation of medievalist vestments and church hangings, which women particularly were encouraged to create. These textiles furnished Gothic Revival churches (omnipresent in Oxford!). The faint pencil markings and numbers signal that the nuns were particularly interested in various shades of gold, frequently found in Victorian church embroideries. This use of colour also harks back to opus anglicanum, once again suggesting that the nuns perceive themselves as stitching together past and present.
Photos by Jessica Woodward, Sebastian Blue Pin, and Godelinde Gertrude Perk. Blog introduction by Godelinde Gertrude Perk, captions by Sebastian Blue Pin and Godelinde Gertrude Perk.
Exhibition credits: Conservation Advice: Sue Stanton, Sebastian Blue Pin, and Clare Hills-Nova Captions: Godelinde Gertrude Perk and Sebastian Blue Pin Display & Publicity: Jessica Woodward
On Saturday the 9th of March, thirty-one pilgrims (and one canine pilgrim companion) met at St Helen’s Church in Abingdon, ready to walk the twelve miles to Christ Church Cathedral in Oxford. Much like the Canterbury Tales, our party was diverse; there were students from across the UK and across disciplines and stages, porters, academics from far and wide and members of the public (one of which who had run a half marathon the very same morning). As a BYOB (Bring Your Own Beliefs) pilgrimage, there were also a range of reasons for pilgrimaging present among our group. This was the start of the Oxford Medieval Studies Pilgrimage Day 2019, a day that would engage with the practice, literature, history and revitalisation of medieval pilgrimage.
At St Helen’s we handed out pilgrim badge replicas, kindly funded by the Oxford Pilgrimage Studies Network, to each of our pilgrims. Beautifully recreated in pewter by Lionheart Replicas, the original badge dated from the fifteenth century and depicted two pilgrims, one male and one female, ready to set out on their walk. After some quick ground rules, some advice for how to make the most of a pilgrimage and a rousing reading of the opening lines to the General Prologue of Chaucer’s Canterbury Tales from Rebecca, we set off on our journey.
Although the preceding week had been plagued with rain and wind, the day was miraculously sunny with only the occasional gusty spell, the perfect walking weather. Our next stopping point was only five minutes away: the Abingdon Abbey buildings. The curator of the buildings, Tim Miller, led us around the surviving buildings of the Benedictine Abbey, including Unicorn Theatre, the Long Gallery and the Chequer. Tim was an excellent guide for us, bringing the stories of the abbey and its uses to life and showing us the most impressive parts of the building, such as the beautifully painted remains of a Tudor room partition decorated with roses and pomegranates.
After leaving Tim, we then had a long walk ahead of us. We walked through the grounds of Radley College and across the countryside until we reached the picture-perfect village of Sunningwell and its church, St Leonard’s, at just past midday. This was our lunch stop, many of the pilgrims pausing to eat their packed lunch in the sunny grounds of the church or enjoying some hot chips and a pint at the local pub. This church is now mostly fifteenth century, but the village and its association with Abingdon abbey traces back far further. It also features a stunning seven-sided porch at its entrance, the victorian stained glass of which was designed by J.P. Seddon.
We then moved off again, quickly looking at the well after which the village took its name. The landscape was a little steeper as we climbed Boar’s Hill, but the view on the descent of Oxford’s ‘dreaming spires’ was worth it, and we then arrived at St Lawrence’s Church in South Hinksey. Father Ben Drury kindly gave us an history of the church and pointed out the distinctive minstrel’s gallery and the little private window for viewing mass.
We then set off on the last part of our walk, trekking over the train lines and the river, then through the outskirts of the city to Christ Church Cathedral – our pilgrims had made it home! We rounded off the walk with Rebecca reading from the Book of Margery Kempe, a moving passage describing how she reaches the English shore after a stormy passage, before our pilgrims dispersed for a well-earned rest.
The last order of the day was a talk from Dr Guy Hayward, co-founder of the British Pilgrimage Trust, at St John’s College. Guy talked about his experience of pilgrimage, its history and how he is working to revive the practice in the UK – the perfect reflective end to the day with the lasting message that we should all work to bring pilgrimage back. If you would like to walk a pilgrimage to Oxford, we encourage you to check out the BPT website http://britishpilgrimage.org/portfolio/five-ways-to-oxford/ and let us know how you get on!
Some feedback from our pilgrims:
‘Talking with people about their different life experiences was enlightening’
‘I think it was great. The highlight for me was doing a journey together with people from different walks of life.’
‘Well co-ordinated, well supported, very friendly. Had a lovely day. One to remember.’
‘Really enjoyed it, would love to do more’
We would like to say thank you to the OMS Small Grant at TORCH for their support, and that of the Oxford Studies Pilgrimage Network. We would also like to say a special thank you to Guy Hayward, Tim Miller, Fr Ben Drury and Robert Culshaw for helping the smooth running of the day, and, of course, our brilliant pilgrims.
Our understanding of medieval culture vastly relies on fragmentary sources. Musicologists are especially well-acquainted with this —most historians working on pre-1500 music rely to a significant extent on ‘waste’ parchment as a source of information about lost musical cultures. Working with fragments is challenging; however, it can also yield extremely rewarding results when we are able to reconstruct a wider picture.
In a recent publication, I re-examined a group of musical fragments preserved in Catalan archives. They transmit a highly sophisticated repertory inspired by the musical practices of late fourteenth-century cardinals and popes in Avignon, alongside northern French aristocratic and royal households. My essay traces the provenance of these fragments, recalibrating the way we think about the connection between the original manuscripts, local ecclesiastic and courtly institutions, and individual clerics. To make a long story short, most of the manuscripts converge with the itineraries of King John I of Aragon (b. 1350, r. 1387-1396) —who was an enthusiastic lover of music— and his court. The rather concrete picture emerging from my study confirms the long-held hypothesis that the royal court of Aragon was a major force behind the dissemination of this refined musical repertory throughout late medieval Catalonia.
In order to make the results of my research accessible to non-specialists, I have put together this ten-minute video. I couldn’t resist including footage of some of my favourite medieval towns and buildings. I Hope you’ll enjoy watching it.
David Catalunya is a post-doctoral research fellow at the University of Oxford, and a member of the ERC-funded project ‘Music and Late Medieval European Court Cultures’. Earlier he has worked at the University of Würzburg, where he served as an editor of Corpus Monodicum. He has been an Associate Director of DIAMM, and a member of the research board of the Universidad Complutense de Madrid. His scholarly research embraces a wide range of topics in music, history and culture from the early Middle Ages to the Early Modern period. He is currently completing his book project Music, Space and Ceremony at the Royal Abbey of Las Huelgas in Burgos, 1200-1350.
