Emblemas heraldicos en el arte medieval navarro

1090 Reviews In his valuable Islam and the West (1958), Norman Daniel argued that Homer's remarks in the Disputatio "follow a dialectic pattern peculiar to and characteristic of [Lull's] own philosophico-theological writings, and [do] so much too closely to represent the actual course of a discussion to which a living Muslim really contributed seriously." Given Lull's exceptional knowledge of Arabic, this would seem somewhat surprising. Another criticism one might make of the Disputatio—as compared with earlier works by Lull, in which he dissuaded Christians from attacking Mahomet—concerns the repeated onslaughts on the Prophet in 2.2 (pp. 243-46, etc.). However, one should perhaps not expect the author of so many works, written under very difficult conditions and over many years, to be perfectly consistent. In the Disputatio and the Liber clericorum, addressed to the University of Paris, which he was to revisit in 1309, Lull turned from the development of his Art to the question of how to implement missions and crusades that had long preoccupied him. Both books contain the same three demands, for the foundation of "monasteries" to educate missionaries in oriental languages, the union of the military orders, and the use of a tenth of the church's revenues to pay for the continuation of the crusade until the total recovery of the Holy Land. Despite the fact that the members of one of the main military orders, the Templars, had been arrested (in France and elsewhere) in late 1307 and were then under trial for heresy, there is, remarkably, no reference to this in either of the works in question. It was not until the Liber de acquisitione Terrae Sanctae (Montpellier, March 1309) that Lull refers to the Templars and accepts the view that they were guilty as charged. The four volumes now available of NEORL and the two latest volumes of ROL contribute very substantially to our knowledge of Lull's later life and writings, expressed as they were—very unusually for a thinker of his time—in a vernacular language as well as in Latin. J. N. HIIXGARTH, Pontifical Institute of Mediaeval Studies (Emeritus) JAVIER MARTINEZ DE AGUIRRE ALDAZ and FAUSTINO MENENDEZ PIDAL DE NAVASCUES, Emblemas herdldicos en el arte medieval navarro. (Arte, 27.) Pamplona: Gobierno de Navarra, Departamento de Education, Cultura, Deporte y Juventud, 1996. Pp. 475; 412 black-and-white and color plates and tables. This lavishly illustrated volume is most welcome. While no one disputes that heraldry is a precious auxiliary science in the service of history and art history, it is a science that is not often enough exploited. Here presented is chiefly a catalog (pp. 113-445), from Aoiz to Zunzarren, of sites in the modern province of Navarre where coats of arms from the twelfth century through 1512 are located, with photographs, plans, and diagrams. Included are places of interest like Roncesvalles and Estella, the abbey of Leyre, the late "Gothic town" of Olite, cathedral complexes of Tudela and Pamplona, and the Cistercian monasteries La Oliva, Fitero, and Iranzu. Preceding the catalog introductory essays discuss, with reference to Navarre, the topics of heraldry in medieval art, the types of art on which arms appear (from architecture to precious metalwork), and the chronology of the shapes of the shields. Catalogued objects are numbered—though one could complain that the numbers are inconveniently buried within the text of their entries. The catalog's usefulness is increased by a chart of the objects (pp. 433-45) listing medium, date, form of shield, and identification of the arms. Also provided is a simplified heraldic table listing charges and figures alphabetically, essential in searching unidentified arms. The authors know what they are talking about. Menendez Pidal is a heraldist of considerable authority. No fewer than seven of his publications, beginning in 1974 and touching on such diverse themes as seals, armoiries parlantes, the origins of heraldry, and Arthurian 1091 Reviews arms, appear in Michel Pastoureau's authoritative revised edition of Traite d'heraldique (Paris, 1993). Martinez de Aguirre, who published part of his 1985 doctoral dissertation from the University of Seville as number 17 of this same series (Arte y monarquia en Navarra, 1328-1425 [Pamplona, 1987]), is the author of a half-dozen specialized studies on this region listed in the bibliography. Of interest to French specialists are the famous cbaines de Navarre (escarbuncle), arms connected to the counts of Champagne from 1234 to 1284 and thereafter, with the marriage of the champenoise heiress to Philippe le Bel, to members of the French royal house. Evreux receives brief discussion, with a list of the contentious bibliography now accumulated on the famous stained glass portraits of the cathedral of Evreux, one of them illustrated (pp. 105, 109). Genealogical charts, even drastically simplified ones, would have been useful in cases like this. A curious combination of these illustrious arms is at San Miguel de Estella (cat. 50, p. 146, fig. 83, ca. 1300); the Navarre escarbuncle is displayed across the whole shield, but at the same time overlaid by quarterings (1 and 4), France moderne. It is hard to imagine such a hybrid occurring in fourteenth-century France. The color plates, while numerous and handsome, are consistently too warm in tone, though perhaps for Spain this fault can be forgiven. My review copy fell out of the binding before I began to use it, and into pieces by the time I had finished. MEREDITH PARSONS LILLICH, Syracuse University P. MCCARREN and DOUGLAS MOFFAT, eds., A Guide to Editing Middle English. Ann Arbor, Mich.: University of Michigan Press, 1998. Pp. x, 338; black-and-white figures. $47.50. VINCENT This book aims in the first place to guide new editors of Middle English texts, and it does this in two ways: by surveying the practice of editing as performed by many people in many genres and by presenting detailed practical advice with bibliographies. It fulfills its purpose admirably. I would certainly recommend it, for example, to a graduate student about to undertake an edition as a doctoral dissertation, and I hope that it will soon appear in a cheaper edition. The essays collected here, all new and mainly by various hands, are naturally uneven in quality, and some would be of little practical use. But nearly all contain material of interest; the inevitable overlap of material is minimal; and the book is well produced and nearly free of typographical lapses. Its bibliographies will perhaps be its most valuable feature for many users, and these are full, sound, and intelligently managed. My only criticisms of the editors' work are that the index is too brief and perfunctory and that the selection of the first and last essays was unlucky—these are among the weakest in the book. The Guide divides into five parts. First are three essays that deal with the question of authority and editorial responsibility: what an editor's aim should be in different textual situations. Nicholas Jacobs in "Kindly Light or Foxfire? The Authorial Text Reconsidered" argues, mainly against Tim Machan and the "social" school of editing deriving from Jerome McGann, that medieval texts have authors, after all, and that in many situations an editor should strive to determine and print that author's words. Apart from obvious exceptions, I have yet to see a successful edition made on the basis of any other premise; until I do, I will have to think that Jacobs's argument, not well written, scarcely needed saying. Jennifer Fellows presents another fairly obvious case in "Author, Author, Author . . . : An Apology for Parallel Texts" (ellipsis hers). Copyists in some Middle English genres, including romance, revised their exemplars at large. In some of these instances editors do better to present parallel texts rather than attempt to reconstruct an "original" from vastly divergent materials. This has been common practice for a century and a half. The Guide's general