Explores the relationships among art, theology, exegesis, and literature - issues central to the study of medieval art. This book examines the illustration of theological commentaries, the use of images to expound or disseminate doctrine, the role of images within theological discourse, the development of doctrine in response to images, and more.

Introduction by Jeffrey F. Hamburger The Place of Theology in Medieval Art History: Problems, Positions, Possibilities by Jeffrey F. Hamburger Anthropology and the Use of Religious Images in the Opus Caroli Regis (Libri Carolini) by Karl F. Morrison Replica: Images of Identity and the Identity of Images in Prescholastic France by Brigitte Miriam Bedos-Rezak Is There a Theology of the Gothic Cathedral? A Re-reading of Abbot Suger's Writings on the Abbey Church of St.-Denis by Andreas Speer Christ and the Vision of God: The Biblical Diagrams of the Codex Amiatinus by Celia Chazelle Raban Maur, Bernard de Clairvaux, Bonaventure: expression de l'espace et topographie spirituelle dans les images medievales by Christian Heck Typology and Its Uses in the Moralized Bible by Christopher Hughes L'Exception corporelle: a propos de l'Assomption de Marie by Jean-Claude Schmitt Theologians as Trinitarian Iconographers by Bernard McGinn Seeing and Seeing Beyond: The Mass of St. Gregory in the Fifteenth Century by Caroline Walker Bynum Porous Subject Matter and Christ's Haunted Infancy by Alfred Acres Love's Arrows: Christ as Cupid in Late Medieval Art and Devotion by Barbara Newman Moving Images in the Mind's Eye by Marty Carruthers Vox Imaginis: Anomaly and Enigma in Romanesque Art by Anne-Marie Bouche Seeing as Action and Passion in the Thirteenth and Fourteenth Centuries by Katherine H. Tachau "As far as the eye can see...": Rituals of Gazing in the Late Middle Ages by Thomas Lentes The Medieval Work of Art: Wherein the "Work"? Wherein the "Art"? by Jeffrey F. Hamburger Turning a Blind Eye: Medieval Art and the Dynamics of Contemplation by Herbert L. Kessler

"The Mind's Eye represents the most significant collection of essays on medieval art that has been assembled in recent memory, and its implications for the understanding of medieval art and society will be felt for a long time to come. Rarely does a group of conference proceedings demonstrate such a uniformly high quality of intellectual accomplishment, and credit is due not only to the contributors themselves, but also to the editors for bringing together such an important group of scholars in the first place. Indeed, the volume demonstrates, among other things, the inadequacy of modern disciplinary boundaries in addressing medieval history in general and medieval art in particular; this is a model of what interdisciplinarity should be."—Adam Cohen, University of Toronto

"The Mind's Eye represents the most significant collection of essays on medieval art that has been assembled in recent memory, and its implications for the understanding of medieval art and society will be felt for a long time to come. Rarely does a group of conference proceedings demonstrate such a uniformly high quality of intellectual accomplishment, and credit is due not only to the contributors themselves, but also to the editors for bringing together such an important group of scholars in the first place. Indeed, the volume demonstrates, among other things, the inadequacy of modern disciplinary boundaries in addressing medieval history in general and medieval art in particular; this is a model of what interdisciplinarity should be."—Adam Cohen, University of Toronto

The Mind's Eye represents the most significant collection of essays on medieval art that has been assembled in recent memory, and its implications for the understanding of medieval art and society will be felt for a long time to come. Rarely does a group of conference proceedings demonstrate such a uniformly high quality of intellectual accomplishment, and credit is due not only to the contributors themselves, but also to the editors for bringing together such an important group of scholars in the first place. Indeed, the volume demonstrates, among other things, the inadequacy of modern disciplinary boundaries in addressing medieval history in general and medieval art in particular; this is a model of what interdisciplinarity should be. -- Adam Cohen, University of Toronto