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The Renaissance theorist and architect Leon Battista Alberti imagined houses as living beings: when they are happy they welcome you to their ‘bosom’, the central hall; when they are badly sited they feel humiliated, ‘enjoying no dignity’ and ‘taking no pleasure’. Gendered as feminine, the building loves to ‘gaze out’ at her surrounding landscape, ‘both […]
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The medieval Mediterranean was a sea of exchange of cultures, religions, commodities, and worldviews. With a focus on monumental and panel painting, Italy, Cyprus, and Artistic Exchange in the Medieval Mediterranean probes issues of cultural transmission through a comparative and interdisciplinary perspective. It is a product of almost ten years of research; it began as […]
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When I lived in Germany, I was spoilt by choice so far as opera was concerned. I was in an area that had three large theatres separated by two rivers and all very close to one another. I certainly wasn’t alone in having such great access to music and theatre, as Germany has more theatres […]
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Around 1248, the merchants of Flanders submitted a complaint to the French king Louis IX about the malfeasance of customs agents at the Franco-Flemish border at Bapaumes. Among the specific complaints regarding their overreaching exercise of power is the anecdote of a young man from Bruges who was travelling with 28 headless and tailless herrings, […]
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Architecture and Material Politics in the Fifteenth-century Ottoman Empire stems from my research on Ottoman architecture, which I began in summer 2014, shortly before the publication of my first book, Rebuilding Anatolia after the Mongol Conquest. That book addresses buildings located in Turkey, which were built for Muslim patrons in the second half of the […]
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In the opening to The Decameron (c. 1350), Boccaccio described how the ten young people who would become storytellers in his book met in a Florentine church during the height of the Black Death: “it chanced […] that there foregathered in the venerable church of Santa Maria Novella, one Tuesday morning when there was well-nigh […]
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Peter Brook’s The Empty Space famously begins, I can take any empty space and call it a bare stage. A man walks across this empty space whilst someone else is watching him, and this is all that is needed for an act of theatre to be engaged.[1] Playing and Playgoing in Early Modern England: Actor, […]
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One of the most enriching aspects of working on Clara Schumann Studies was the opportunity to rethink and listen afresh to Schumann’s rich and varied contributions to musical culture in the nineteenth century and beyond. Bound up with the project, the first in the Cambridge Composer Studies series to address a woman, was an enticing […]
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