The rood was central to medieval Christianity and its visual
culture: Christ's death on the cross was understood as the means by
which humankind was able to gain salvation, and depictions of the
cross, and Christ's death upon it, were ubiquitous. This volume
brings together contributions offering a new perspective on the
medieval rood - understood in its widest sense, as any kind of
cross - within the context of Britain and Ireland, over a wide
period of time which saw significant political and cultural change.
In doing so, it crosses geographical, chronological, material, and
functional boundaries which have traditionally characterised many
previous discussions of the medieval rood. Acknowledging and
exploring the capacity of the rood to be both universal and
specific to particular locations and audiences, these contributions
also tease out the ways in which roods related to one another, as
well as how they related to their physical and cultural
surroundings, often functioning in dialogue with other images and
the wider devotional topography - both material and mental - in
which they were set. The chapters consider roods in a variety of
media and contexts: the monumental stone crosses of early medieval
England, twelfth-century Ireland, and, spreading further afield,
late medieval Galicia; the three-dimensional monumental wooden
roods in English monasteries, Irish friaries, and East Anglian
parish churches; roods that fit in the palm of a hand, encased in
precious metals, those that were painted on walls, drawn on the
pages of manuscripts, and those that appeared in visions, dreams,
and gesture. PHILIPPA TURNER gained her PhD in History of Art at
the University of York; JANE HAWKES is Professor of Art History at
the University of York. Contributors: Sarah Cassell, Sara Carreno,
Jane Hawkes, Malgorzata Krasnodebska-D'Aughton, John Munns, Kate
Thomas, Philippa Turner, Maggie Williams, Lucy J. Wrapson,
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