Illuminated 14th-century deluxe Icelandic manuscript (420×290 mm, 202 fols; Reykjavík, Árni Magnússon Institute, GKS 1005 fol.) of King Sverrir’s Saga. It was compiled by the priests Jón Þórðarson and Magnús Þórhallsson for Jón Hákonarson (1350–before 1416), a wealthy landowner in northern Iceland who collected sagas of the kings of Norway. A note on folio 4r dates Jón Þórðarson’s contribution to 1387, and Magnús Þórhallsson’s annals at the end of the manuscript indicate the book was completed in 1394 or 1395. Magnús illuminated the whole manuscript and was the scribe of King Sverrir’s Saga (composed in part by Abbot Karl Jónsson of Þingeyrar, Iceland, c. 1185). The saga contains eight initials decorated in a style combining Gothic curved and draped human figures with Romanesque grotesques and acanthus motifs. Five initials depict Sverrir (with crown, orb and weapons), his opponent Sigurðr, and their soldiers. One initial is foliate, and two depict hybrid monsters. The taunting grotesque (fol. 156...
Elizabeth Ashman Rowe
Italian cathedral city in the province of Salerno, Campania. Ravello has been documented as an urban centre since the 10th century and as a bishopric since 1087. The centre, near the Toro quarter, is high up between the two rivers that separate the city from Scala and Minori. The city’s fortifications were damaged and the city itself was sacked by a Pisan assault in 1135 and in 1137. At the end of the 14th century, its inhabitants also clashed with the neighbouring city of Scala. In the 13th century a mercantile oligarchy with power throughout all of Sicily and close relations to the Crown took control of the city, celebrated in Boccaccio’s Decameron (II.4), and enriched it with numerous monuments and artworks.
The cathedral, dedicated to S Pantaleone, dates to 1087 but was extensively altered in the late 18th century. The cathedral has three naves and the façade has three portals—the central one has a bronze door (...
R. Windsor Liscombe
(b Norwich, Aug 31, 1778; d Cambridge, Aug 31, 1839).
English architect, writer and collector . A ‘profound knowledge of the principles both of Grecian and Gothic architecture’ generated the career of Wilkins, who was also remembered as ‘a most amiable and honourable man’. He promoted the archaeological Greek Revival in Britain and a Tudor Gothic style. More intellectual than imaginative, his architecture was distinguished by a deft and disciplined manipulation of select historical motifs, a refined sense of scale and intelligent planning, outmoded by the time of his death. Besides his architecture and extensive antiquarian writings, Wilkins assembled an eclectic art collection and owned, or had a financial interest in, several theatres in East Anglia.
The theatres and Wilkins’s architectural bent were inherited from his father, a Norwich architect also called William Wilkins (1751–1815), who assisted Humphry Repton from 1785 to 1796 and established a successful domestic practice, mainly in the Gothick style. His eldest son was educated at Norwich School, then at Gonville and Caius College, Cambridge, from which he graduated Sixth Wrangler in ...