| Abstract | Paper -a:
In 1084 the monk Goderannus of Lobbes signs a highly decorated Bible. Later, he leaves his original institution for the abbey of Stavelot even though monk transfers are rare. We find his name at the end of two other manuscripts. The decoration of the first is still modest. At present, the second is regarded as one of the major illumination works of the mosan art. Stylistic analysis permits us to determine which part Goderannus took in the realization of each of the three manuscripts we mentioned. It allows us to follow his whole evolution: how he groped for a painting technique, who he met, what he changed or kept.
Paper -b:
An impressive early series of typological images of the cross initiates the work Dialogue on the Cross (Dialogus de cruce), which was previously called On the Praises of the Cross (De laudibus crucis). The unique manuscript of the work is Munich, Staatsbibliothek, Clm. 14159, and it was made ca. 1170-85 at St Emmeram, Regensburg. A recent publication attributes this work to Conrad of Hirsau based on a study of the text. This paper will examine the miniatures in relation to those in other works by Conrad of Hirsau in order to investigate the attribution.
Paper -c:
The penwork produced by the workshop of William de Brailes in early 13th-century Oxford is elaborate and distinctive. This paper examines the sources for this perceived house style, with particular attention given to Parisian developments. Productions of the de Brailes workshop will be discussed in relation to deluxe MSS produced in Paris. The Lewis Psalter (Philadelphia MS Lewis E 185) will be examined in terms of directional, stylistic influence. The work of the de Brailes workshop will also be contrasted to the conservative style of early 13th-century penwork.
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