Art and Education: The Medieval Stained Glass of Merton College, Oxford

牛津大学默顿学院是英格兰最早的学术学院之一，可以说是最重要的学院，因为它直接或间接地成为大多数后续基金会的典范。它迅速建立了一个国际声誉，作为一个中心的智力卓越的自然科学和，在14世纪，没有一所大学贡献了更多的校友，以精英的教会和国家。在其结构中，创始人，典狱长和研究员开创了一种新的学术架构，并开发了自己作为个人和社区的纪念碑形象，通常与他们所服务的社会形象相关。在这些图像中，彩色玻璃保存得非常好，特别是在小教堂，但也在其他地方。然而，它仍然令人遗憾地未被研究。事实上，尽管对其他类型的中世纪制度的制度身份的建构进行了卓有成效的研究，但哥特式艺术和经院哲学之间的关系很少引起持续的关注，尽管埃尔温·帕诺夫斯基（Erwin Panofsky）在1951年发表了一篇关于这个主题的著名文章。这个项目将提供第一个系统的记录和解释彩色玻璃在默顿，在一个卷将出版在英国科学院的语料库玻璃系列。材料非常丰富。玻璃是其时期在英格兰生存的最广泛的收藏之一，当然也是在英国中世纪大学中生存的最重要的收藏之一。默顿的档案也异常完整，从十三世纪开始，但自20世纪30年代以来，他们没有从这个角度进行过探索。本书对这些作品进行了全面的梳理，为学院玻璃的生产及其周围环境提供了新的证据。本书在一个扩展的总体介绍中，从知识、制度和建筑的角度，全面地介绍了玻璃，然后在五个章节的介绍中进行了更详细的介绍，并对整个收藏品进行了明确的编目。总的介绍将探讨艺术和建筑在材料展示和奖学金的优先事项之间的常年冲突的地方。其他主题是使用艺术来构建知识和社会中的博学者的角色，以及在感知威胁的时候，学院在赞助，国家政治和英国正统网络中的位置。它的范围从世纪末默顿设立新标准时第一次建立这样的机构;通过大学内部竞争的视觉话语，以及与那些在它之外运作的人的接触;到宗教改革时期教堂结构的破坏-以及超越。在哥特复兴时期，牛津剑桥的古老学院在大学生活和国家生活中的重要性确保了他们的中世纪织物引起了艺术家和设计师的注意，包括约翰埃弗雷特米莱，威廉莫里斯和菲利普韦伯。没有一件彩色玻璃藏品比默顿的藏品对莫里斯、马歇尔、福克纳和公司的影响更大。该项目立足于经验观察和历史背景，从根本上讲是跨学科的。这项研究清楚地表明，艺术和建筑是这个社区构思自己的方式的基础，表达了自己的理想，并回答了制度和政治挑战。在一个层面上，这个项目是中世纪晚期大学中一个重要学院的案例研究。另一方面，它强调了视觉证据在这种跨学科背景下被严重忽视的潜力。

Merton College, Oxford was among the first academic colleges in England and arguably the most important, in that it became a model directly or indirectly for most subsequent foundations. It rapidly established an international reputation as a centre of intellectual excellence in the natural sciences and, in the fourteenth century, no college contributed more alumni to the elites of church and state. In its fabric, the founder, warden and fellows pioneered a new scholastic architecture and developed monumental images of themselves, as individuals and as a community, often presented in relation to images of the society that they served. Of these images, the stained glass is exceptionally well preserved, especially in the chapel but also elsewhere. Yet, it remains astonishingly unstudied. Indeed, while constructions of institutional identity have been examined fruitfully for other kinds of medieval institution, the relationship between Gothic art and scholasticism has rarely attracted sustained attention, in spite of Erwin Panofsky's famous article on the subject (1951). This project will provide the first systematic record and interpretation of the stained glass at Merton, in a volume to be published in the British Academy's Corpus Vitrearum series. The materials are outstandingly rich. The glass is among the most extensive of its period to survive in England, and certainly one of the most important collections to survive in either of the English medieval universities. The Merton archives are also exceptionally full, from the thirteenth century onwards, but they have not been explored from this point of view since the 1930s. They have been thoroughly trawled for the present project, yielding new evidence for the production of the college's glass and for the circumstances surrounding it. The book presents the glass within its fullest context, intellectually, institutionally and architecturally, in an extended general introduction and then, in more detail, in the introductions to five chapters, accompanying definitive cataloguing of the entire collection. The general introduction will explore the place of art and architecture within the perennial conflict between expenditure on material display and the priorities of scholarship. Other themes are the use of art to construct the roles of knowledge and the learned in society, and the place of the college within networks of patronage, national politics and English orthodoxy, at times of perceived threat. It will range from the first establishment of such institutions in the later thirteenth century, when Merton set new standards; through visual discourses of rivalry within the university, and engagement with those operating outside it; to the well documented destruction of the fabric of the chapel at the Reformation - and beyond. During the Gothic Revival, the importance of Oxbridge's ancient colleges in the life of the university and the nation ensured that their medieval fabric came to the attention of artists and designers, including John Everett Millais, William Morris and Philip Webb. No collection of stained glass was more influential upon that of Morris, Marshall, Faulkner & Co. than that at Merton.Grounded in empirical observation and historical contextualization, the project is fundamentally interdisciplinary. This research reveals clearly that art and architecture were fundamental to the ways in which this community conceived of itself, articulated its ideals and answered institutional and political challenges. On one level, this project is a case study of a centrally important college within the late medieval university. On another it underlines the extraordinarily neglected potential of visual evidence within such interdisciplinary contexts.