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After two informative introductory chapters setting the historical and narrative context of pictorial hagiography, Hahn considers the Lives of Martyrs and Virgins, Bishops, Monks and Abbots, and Kings and Queens, and concludes with an examination of the extraordinary chronicles and illustrations of the lives of saints by the English monk Matthew Paris. She considers such questions as: Why were illustrated saints' lives produced in such great numbers during this period? Why were they illustrated at all given the trouble and expense of such illustration? And to whom did the saints' lives appeal, and how did their readers use them?
As she addresses these and other intriguing questions, Hahn traces changes that occurred over time both in the images and the stories, and shows how their creators, mostly the intellectual elite, were finely attuned to audience reception. This important aspect of hagiographic production has received scant attention in the past, and as she considers this issue in light of contemporary narrative theory, Hahn brings us to a fresh appreciation of these intricately illustrated manuscripts and their multiple audiences.
|1||The Historical Setting: The Production of Saints' Lives||11|
|2||Word and Image: Narrative Problems in Pictorial Hagiography||29|
|3||Martyrs' Passions: Bearing Witness||59|
|4||The Virgin as Corpus: Bodily Offering||90|
|5||The Lives of Confessors: Bishops||129|
|6||The Lives of Confessors: Monks and Abbots||172|
|7||Lay and Royal Saints: Kings and Nobles||209|
|8||The Lives of Confessors: Nuns and Queens||255|
|9||The End of the Monastic Tradition and a New Beginning: Matthew Paris||282|
|Epilogue: Narrative Innovation||319|
|App||List of Manuscripts Cited||333|
|Abbreviations and Frequently Cited Bibliography||345|