Presented to you through Paradigm Publishing Services
Penn State University Press
Chapter
Licensed
Unlicensed
Requires Authentication
3 Fragmented and Recomposed: Ivories and Jewelry Reused on Precious Book Covers
You are currently not able to access this content.
You are currently not able to access this content.
Chapters in this book
- Frontmatter i
- Contents v
- List of Illustrations vii
- Introduction 1
- 1 “These fragments I have shored against my ruins”: Medieval Art and Architecture as a Source of Redemption in Post–World War II Cologne 11
- 2 Fragments of the Arch of the Argentarii and the Early Medieval Diaconia of San Giorgio in Velabro in Rome 36
- 3 Fragmented and Recomposed: Ivories and Jewelry Reused on Precious Book Covers 61
- 4 On Fragments, Restoration, Frauds, and Forgeries: Some Observations on a Creatively Restored Romanesque Cross and Its Counterfeit Copy 79
- 5 The Knotted Philology of the Quedlinburg Carpet Fragments 105
- 6 Fragments of Paradise: Ottoman Wall Paintings in the Fifteenth Century 121
- 7 Fragments of What? Epitaphioi and the Byzantine Tradition in Pieces 143
- Contributors 163
- Index 165
Chapters in this book
- Frontmatter i
- Contents v
- List of Illustrations vii
- Introduction 1
- 1 “These fragments I have shored against my ruins”: Medieval Art and Architecture as a Source of Redemption in Post–World War II Cologne 11
- 2 Fragments of the Arch of the Argentarii and the Early Medieval Diaconia of San Giorgio in Velabro in Rome 36
- 3 Fragmented and Recomposed: Ivories and Jewelry Reused on Precious Book Covers 61
- 4 On Fragments, Restoration, Frauds, and Forgeries: Some Observations on a Creatively Restored Romanesque Cross and Its Counterfeit Copy 79
- 5 The Knotted Philology of the Quedlinburg Carpet Fragments 105
- 6 Fragments of Paradise: Ottoman Wall Paintings in the Fifteenth Century 121
- 7 Fragments of What? Epitaphioi and the Byzantine Tradition in Pieces 143
- Contributors 163
- Index 165