Focusing on the differences and similarities between the renowned 'Alpais' Limoges ciborium, dated to c. 1200, in the Musée du Louvre, and examples in the British Museum, the National Museums of Scotland, together with two electrotype copies of the 'Alpais' ciborium in the Victoria and Albert Museum, this volume uses a cross-disciplinary approach, based on the differing specialisations of the authors (curators, scientists and conservators) to examine the group of ciboria. New and previously unpublished information, analyses and conclusions are presented that will serve to locate all the ciboria in their respective artistic and cultural context.

Westminster Abbey is one of the most important and well-known medieval buildings in Europe but, despite being studied by generations of scholars, there is still much to learn about its history and architecture. The lantern over the centre of the church is a case in point. Edward the Confessor built a great tower here, which is depicted on the Bayeux Tapestry. When Henry III was rebuilding the Abbey in the 1250s, a new tower was begun which was to have dominated the Westminster skyline, but it was never finished and 150 years later an octagonal lantern like that at Ely Cathedral was built on the roof. It in turn was demolished in the sixteenth century, and in 1710 Sir Christopher Wren designed a 400-foot tower and spire, but did not live to see it built. His successor, Nicholas Hawksmoor, then produced a range of options for completing the lantern tower: a design was chosen and construction began in 1724. However, King George I died in 1727 and the Abbey had to be cleared of scaffolding for the coronation of his son. Although only the first stage of the new tower and spire had been built, construction never resumed and the inelegant stump was capped with a temporary roof. Subsequently, the lantern was burnt out in 1803 and again in 1941, but its shell remains today basically as Hawksmoor left it. In this study, Professor Warwick Rodwell assembles for the first time all the historical and architectural evidence, to tell the remarkable story of Westminster Abbey's unfinished lantern tower over the last 950 years.

This volume tells the complete story of the Westminster Abbey chapter house, which ranks as one of the spectacular achievements of European Gothic art and architecture; and that is precisely what its builder, King Henry III, intended. Begun in the mid-1240s, and completed within a decade, its pre-eminence was recognized in its own day, when the chronicler Matthew Paris described Westminster as having 'a chapter house beyond compare'. Papers by leading scholars in the field of medieval art and architecture reveal the reasons for the construction of the chapter house and trace the possible influences upon the master mason in charge of the project. The subsequent history of the structure is revealed as it evolved from a meeting place of the king's Great Court, the predecessor of the English Parliament, and as a royal treasury into a repository for government archives after the Dissolution, home to the Public Record Office until the late 1850s, and its subsequent restoration at the hands of Sir George Gilbert Scott. Now under the care of English Heritage, the chapter house has just been cleaned and restored again, leading to the spectacular light-filled building that we see today, to which full justice is done by this richly illustrated book, filled with pictures of the architectural and sculptural details, the medieval tilework and the wall painting that justify the motto inscribed in the chapter house floor: 'as the rose is the flower of flowers, so is this the house of houses'.

Dorchester-on-Thames and its abbey have been subjects of antiquarian interest for more than 450 years, and during that time much has been written about them. They are, however, still far from being comprehensively studied and recorded. Indeed, the most substantial architectural description of the medieval church was written as long ago as 1845, and a thoroughgoing reappraisal has long been overdue. In this major new study on the origins, history and architecture of Dorchester Abbey, Warwick Rodwell assembles a huge amount of material from observations during repair and conservation and information derived from archaeological excavation, as well as the unexpected discovery of previously unstudied and unpublished topographical and architectural material, housed in several archives. The volume is divided into two parts: the first contains an account of the archaeology of the site and the architectural development of the abbey, while the second comprises a series of detailed notes and observations on the present structure, its fittings and furnishings.

The Thomson Collection contains examples of the highest quality of most types of medieval ivory carving, both secular and religious. These include large statuettes of the Virgin and Child intended to stand on altars in chapels, small versions for private use in the home, and folding tablets or diptychs with scenes from the life of Christ carved in relief.

This catalogue accompanied an exhibition at the Groeninge Museum, Bruges, which celebrated one of the greatest European artists of the late fourteenth century, André Beauneveu, apparently born in Valenciennes c. 1335. Active throughout the Southern Netherlands, his reputation grew swiftly and in 1364 he was commissioned by the King of France, Charles V, to create a group of royal tombs at St Denis. In the 1370s he oversaw another ambitious funerary project, for Louis de Mâle, Count of Flanders, at Courtrai, whilst continuing to undertake major civic commissions at Ypres, Mechelen and his home town of Valenciennes. Beauneveu spent the last years of his career in Bourges working for the most celebrated royal patron of all, Jean, Duc de Berry.The extraordinary scope of Beauneveu's talent was fully exploited by Jean de Berry, for whom he produced manuscript illuminations, made designs for stained glass and oversaw the construction of his château at Mehun-sur-Yevre. However, it is primarily his unrivalled skill in the handling of stone which gives Beauneveu such significance, not only in the context of Northern sculpture but also for the arts of Europe as a whole.The known sculptural oeuvre of Beauneveu, however, is not substantial. The reappearance of the Virgin and Child once in the collection of Eduoard Aynard at the Abbey of Fontenay and its new attribution to this sculptor "who had no better nor equal in any land" dramatically increases our knowledge of his work and must entail a rethink of many histories of French and Flemish art in the fourteenth century, for we now have not two but three life-sized figures from which our view of his style and achievements can be formed.

The San Vincenzo Project, focused upon the Benedictine monastery of San Vincenzo al Volturno, in central Italy, was launched in 1980. In addition to developing the archaeological potential of the well-known ninth-century painted crypt of San Lorenzo and to defining the general character of the early medieval monastery, a major aim of the project was through a combination of survey and small-scale excavation within the territory to define the relationship between the early medieval monastery and its dependent communities. This volume summarizes the archaeology of the territory, placing emphasis upon the long settlement history of which San Vincenzo al Volturno was a part, as well as the dependent communities of the Benedictine monastery identified during the fieldwork. The volume includes an overview of the 1980-1 field survey (including investigations of the castelli in the upper Volturno valley and the survey and excavations on Monte Mare); the principal results of the extensive excavations on the east bank of the river, including the Samnite cemetery and vicus, the Samnite and Roman settlement, the early medieval industrial complex and borgo, as well as the twelfth-century monastery; reports on excavations at two hilltop sites, Colle Castellano and Colle Sant'Angelo. In addition, there are essays on the San Vincenzo community in Capua; on the upper Volturno valley in Roman times; a reconsideration of late antique San Vincenzo and an assessment of the upper Volturno valley in the early Middle Ages.

This long-awaited publication elucidates a remarkable monument, now preserved in situ beside the Tower of London. Excavations at Tower Hill in 1979 uncovered substantial reamins of the medieval postern gate at the junction of the City's defensive wall and the moat of the Tower of London. The postern gate was constructed between 1297 and 1308, towards the close of the reign of Edward I. It formed a defensible terminus to the City wall and a minor gateway suitable for pedestrian traffic. The base of a rectangular tower survived on the south side of the gate passage, along with a staircase turret. The structure had a cellar and a ground floor chamber with a suspended timber floor, the superstructure surviving to the level of the arrow loops. The tower must have had at least one upper floor. These remarkable remains survived because of a dramatic landslip in 1431 or 1440, when the southern part of the structure slipped at least three metres down the side of the moat. The northern part of the gate probably remained standing whilst the underpinned southern tower provided the foundation for a rebuilt postern gate. Cartographic evidence shows that a postern gate stood on the site until at least the 17th century. Thematic aspects include documentary evidence that the gate was administered by the City rather than the nearby royal castle, the question of whether there was a Roman gate in the adjascent city wall, the appearance of the gateway and the character of the Tower Hill area in the 16th and 17th centuries.

This is an archaeological, architectural and historical study of one of the largest complexes of buildings in the medieval City of London, but one which is largely unknown and of which only two fragments survive above ground today. It is the fifth volume in a series on the monasteries of London. Holy Trinity Priory, Aldgate, was the first religious house to be established inside the walls of London after the Norman Conquest, in 11078; one of the earliest Augustinian houses to be established in England; and the first to be dissolved, in 1532. By 1200 the precinct north of Leadenhall Street and just inside Aldgate was filled with imposing stone buildings, including a large and architecturally impressive church which was the burial place of two of the children of King Stephen in the middle of the 12th century. Londons first mayor, Henry FitzAilwin, was buried in the entrance to the chapter house. In the 16th century the monastery was owned by the Duke of Norfolk, second only to Queen Elizabeth in power, who was executed in 1572 for his part in plots surrounding Mary Queen of Scots. Several modern excavations of 1977 to 1990, many antiquarian drawings, and a ground-floor and a first-floor plan of all the monastery buildings made around 1585 are brought together here for the first time, to reconstruct a fully illustrated and detailed history and archaeology of the priory site. Not only can all the major periods of the priorys building history be suggested and compared with other religious houses in medieval London, but the excavations produced their own surprises, such as evidence of the beginning of the tin-glazed or delftware pottery industry in the 1590s, and a unique Jewish plate of the 18th century.

The Cistercian monastery of St Mary Stratford Langthorne once stood on land south of the new Jubilee Line station at Stratford. Excavations 1973-94 recorded large parts of the monastic church, cemetery and related buildings. Topics include the precinct arrangement, architecture and decoration, and the way of life of the inhabitants. The expansion of the monastic church from a simple cruciform building in the mid 12th century into an aisled presbytery with ambulatory and eastern chapel in the 13th century is notable. The excavated burials (647) are the largest sample from a Cistercian site in Europe and provide evidence for burial customs, patterns of cemetery use and the physical characteristics of the population, including medical care.

An enclosed settlement of 12th- to 13th-century date was excavated in advance of gravel extraction at a former airfield near Chelmsford in Essex. Several timber buildings, interpreted as a house, outbuildings, a granary and an early form of windmill, were recorded within a large rectangular moat. The physical evidence for the windmill is of significance, especially as it was found within the context of a settlement, rather than as an isolated structure. Analysis of the charred grain assemblage, in addition to aiding interpretation of the buildings, has contributed to the understanding of agricultural activities in and around the settlement. The medieval pottery from the site represents a typical household assemblage, although the presence of some non-local fine wares such as Developed Stamford ware, is rare in Essex. The relatively short-lived settlement was abandoned in the mid-13th century or later, perhaps following the catastrophic fire indicated by the evidence of the charred grain assemblage. During the later medieval period the site appears to have been absorbed into a park, possibly associated with New Hall, and was covered by Dukes Wood until the construction of the airfield in the 1940s.

The twenty-five papers in this volume cover diverse aspects of the material culture of the late Roman, Byzantine and Medieval periods, with particular emphasis on the metalwork and enamel of these times. Individual papers include major reinterpretations of objects in the British Museum's Byzantine collections as well as essays devoted to the Museum's recent acquisitions in this field. The volume celebrates the retirement of David Buckton, for over twenty years the curator of the British Museum's Early Christian and Byzantine collections and the National Icon Collection.

The enigmatic remains of Baconsthorpe Castle in north-east Norfolk belie the story of a very grand fortified manor house. Owned by the Heydon family from the early 15th to the late 17th century, the house once comprised an inner moated enclosure, an outer court and gatehouse, a barn, mere and gardens and park. This report outlines the history of Baconsthorpe based on documentary and iconographic evidence, and archaeological investigations of the 1950s and, especially, the excavations of 1972. As well as an analysis of the standing remains and earthworks, this volume presents the artefactual evidence, including ceramics, metal objects, coins, glass, building material, sculpted stone, evidence for leatherworking and zoological remains.

Reports of two church excavations, St Martin-at-Palace, Norwich and St Michael, Bowthorpe, undertaken prior to their re-building and re-use. The reports cover the earliest evidence for occupation of the site and the phases of re-building, repair and ruin (in the case of St Michael's) from the Anglo-Saxon period through to their present state.

^Aby Beric Morley and David Gurney ^DThis book starts with a wide-ranging overview of Castle Rising, going on to review the archaeological evidence, in conjunction with comment on the archaeological explorations themselves, for the site from prehistoric times up to the post-medieval period. Three chapters are devoted to finds, including coins, building materials, pottery and zoological evidence. The development of the main building and its surrounds is fully documented, and the entire text is amply supplemented by illustrations.