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By reconstituting Cl mence de Hongrie's long-lost collection, this meticulous and yet expansive study of the queen's detailed inventory adds a significant chapter to our understanding of female royal patronage. Medieval Art in Motion excels in mapping the vibrant social life of things, the trajectories of materials sourced from distant lands, and courtly practices of gift-giving. --Brigitte Buettner, author of Boccaccio's Des Cleres Et Nobles Femmes: Systems of Signification in an Illuminated Manuscript Billed as a 'microhistory, ' Medieval Art in Motion is expansive, using understudied primary sources related to one woman to explore networks across Europe. Cle mence de Hongrie's remarkable manuscript inventory proves a treasure, in and of itself. Examining sacred and secular contexts and encompassing luxury media from bejeweled, enameled goldwork and illuminated manuscripts to coconuts and fossilized shark teeth, this beautifully produced volume restores to these works--and their impressive owner--physicality, materiality, and dynamism. --Asa Simon Mittman, author of Maps and Monsters in Medieval England Proctor-Tiffany's pathbreaking study of the art of Cl mence de Hongrie, queen of France (1293-1328), argues convincingly that queens were crucial bearers of culture in medieval Europe. Proctor-Tiffany's expertise as an art historian is evident on every page. Especially innovative is her use of urban cartography and geospatial mapping to track the sources of raw materials and their movement to the artists who created objects for personal delight, bodily adornment, spiritual devotion, or public display. --Theresa Earenfight, author of Queenship in Medieval Europe

Billed as a `microhistory,' Medieval Art in Motion is expansive, using understudied primary sources related to one woman to explore networks across Europe. Cle mence de Hongrie's remarkable manuscript inventory proves a treasure, in and of itself. Examining sacred and secular contexts and encompassing luxury media from bejeweled, enameled gold and illuminated manuscripts to coconuts and fossilized shark teeth, this beautifully produced volume restores to these works-and their impressive owner-physicality, materiality, and dynamism. -Asa Mittman, author of Maps and Monsters in Medieval England Proctor-Tiffany's pathbreaking study of the art of Clemence of Hungary, Queen of France (1293-1328), argues convincingly that queens were crucial bearers of culture in medieval Europe. Proctor-Tiffany's expertise as an art historian is evident on every page. Especially innovative is her use of urban cartography and geospatial mapping to track the sources of raw materials and their movement to the artists who created objects for personal delight, bodily adornment, spiritual devotion, or public display. -Theresa Earenfight, author of Queenship in Medieval Europe

Billed as a 'microhistory, ' Medieval Art in Motion is expansive, using understudied primary sources related to one woman to explore networks across Europe. Cle mence de Hongrie's remarkable manuscript inventory proves a treasure, in and of itself. Examining sacred and secular contexts and encompassing luxury media from bejeweled, enameled goldwork and illuminated manuscripts to coconuts and fossilized shark teeth, this beautifully produced volume restores to these works--and their impressive owner--physicality, materiality, and dynamism. --Asa Simon Mittman, author of Maps and Monsters in Medieval England Proctor-Tiffany's pathbreaking study of the art of Cl mence de Hongrie, queen of France (1293-1328), argues convincingly that queens were crucial bearers of culture in medieval Europe. Proctor-Tiffany's expertise as an art historian is evident on every page. Especially innovative is her use of urban cartography and geospatial mapping to track the sources of raw materials and their movement to the artists who created objects for personal delight, bodily adornment, spiritual devotion, or public display. --Theresa Earenfight, author of Queenship in Medieval Europe

Proctor-Tiffany's emphasis on the mobility of such noble women, and the objects they owned, makes a key contribution to medieval studies. -Alexandra Gajewski, Burlington Magazine In focusing on Clemence's use of art objects to assert her identity as queen, Proctor-Tiffany contributes to a growing body of scholarship that argues for medieval women's agency in relationship to works of art. -Marian Bleeke, CAA.Reviews Clemence de Hongrie is a particularly inviting subject as both her testament and the inventory made after her death in 1328 still exist. Mariah Proctor-Tiffany enlivens these texts by considering the idea of movement: provenance of materials in the objects the queen commissioned, the sources of gifts she received, and the destinations of those she bestowed on others. This study, as finely detailed as the documents and the objects they describe, goes beyond the case study to enrich our understanding of the nature and functions of collecting and the bonds created by exchange, among women and with men, in France and across Europe. -Joan A. Holladay, author of Illuminating the Epic: The Kassel Willehalm Codex and the Landgraves of Hesse in the Early Fourteenth Century By reconstituting Clemence de Hongrie's long-lost collection, this meticulous and yet expansive study of the queen's detailed inventory adds a significant chapter to our understanding of female royal patronage. Medieval Art in Motion excels in mapping the vibrant social life of things, the trajectories of materials sourced from distant lands, and courtly practices of gift-giving. -Brigitte Buettner, author of Boccaccio's Des Cleres Et Nobles Femmes: Systems of Signification in an Illuminated Manuscript Billed as a 'microhistory,' Medieval Art in Motion is expansive, using understudied primary sources related to one woman to explore networks across Europe. Cle mence de Hongrie's remarkable manuscript inventory proves a treasure, in and of itself. Examining sacred and secular contexts and encompassing luxury media from bejeweled, enameled goldwork and illuminated manuscripts to coconuts and fossilized shark teeth, this beautifully produced volume restores to these works-and their impressive owner-physicality, materiality, and dynamism. -Asa Simon Mittman, author of Maps and Monsters in Medieval England Proctor-Tiffany's pathbreaking study of the art of Clemence de Hongrie, queen of France (1293-1328), argues convincingly that queens were crucial bearers of culture in medieval Europe. Proctor-Tiffany's expertise as an art historian is evident on every page. Especially innovative is her use of urban cartography and geospatial mapping to track the sources of raw materials and their movement to the artists who created objects for personal delight, bodily adornment, spiritual devotion, or public display. -Theresa Earenfight, author of Queenship in Medieval Europe

Billed as a 'microhistory, ' Medieval Art in Motion is expansive, using understudied primary sources related to one woman to explore networks across Europe. Cle mence de Hongrie's remarkable manuscript inventory proves a treasure, in and of itself. Examining sacred and secular contexts and encompassing luxury media from bejeweled, enameled gold and illuminated manuscripts to coconuts and fossilized shark teeth, this beautifully produced volume restores to these works--and their impressive owner--physicality, materiality, and dynamism. --Asa Mittman, author of Maps and Monsters in Medieval England Proctor-Tiffany's pathbreaking study of the art of Cl mence of Hungary, Queen of France (1293-1328), argues convincingly that queens were crucial bearers of culture in medieval Europe. Proctor-Tiffany's expertise as an art historian is evident on every page. Especially innovative is her use of urban cartography and geospatial mapping to track the sources of raw materials and their movement to the artists who created objects for personal delight, bodily adornment, spiritual devotion, or public display. --Theresa Earenfight, author of Queenship in Medieval Europe

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Mariah Proctor-Tiffany is Associate Professor of Art History at California State University, Long Beach.

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