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Who was commissioned to produce heraldic art in medieval and Early Modern culture? Was it a matter left to a small number of specialists, or was it an everyday business that any artisan or artist could execute? Was there any particular knowledge that had to be acquired in pursuing heraldic depiction? Finally, and most importantly, who was able to conceive of such depictions and arrangements? Such questions have never been addressed before on a broad scale, yet they are crucial considerations when it comes to determining the place and importance of heraldic communication in medieval and Early Modern society.
The studies gathered in this collection of papers offer detailed answers to the questions raised. They confirm something which was - until now - nothing more than an assumption: namely, that the conception and production of heraldic display was indeed by no means restricted to a select few specialists. To the contrary, it utilised knowledge available throughout all strata of medieval and Early Modern society.
About the author
Torsten Hiltmann is Juniorprofessor at the University of Münster and leads the "Coats of arms in practice" research project, funded by the Volkswagen Foundation.Laurent Hablot is Directeur dâétudes at the Ãcole Pratique des Hautes Ãtudes in Paris where he holds the chair of Western Emblematics.
Summary
Who was commissioned to produce heraldic art in medieval and Early Modern culture? Was it a matter left to a small number of specialists, or was it an everyday business that any artisan or artist could execute? Was there any particular knowledge that had to be acquired in pursuing heraldic depiction? Finally, and most importantly, who was able to conceive of such depictions and arrangements? Such questions have never been addressed before on a broad scale, yet they are crucial considerations when it comes to determining the place and importance of heraldic communication in medieval and Early Modern society.
The studies gathered in this collection of papers offer detailed answers to the questions raised. They confirm something which was - until now - nothing more than an assumption: namely, that the conception and production of heraldic display was indeed by no means restricted to a select few specialists. To the contrary, it utilised knowledge available throughout all strata of medieval and Early Modern society.
