[учтено в библиографическом разделе. — ИЛ]
Вот еще один чудесный каталог, формата А4 примерно и довольно толстый — 658 страниц, более 800 цветных иллюстраций. Но на английском. Видел его довольно давно в продаже и в «Троицкой книге», и в «Москве», но сейчас, почему-то, на их сайтах найти его не могу. Есть в «Библио-Глобусе», но цена кусачая. Привожу аннотацию и содержание "как есть" + одну страничку для примера, чтобы было понятно, как там внутри устроено.
Byzantium. Faith and Power (1261-1557)
Edited by Helen C. Evans
The Metropolitan Museum of Art, New York; Yale University Press, New Haven and London, 2004
Цена 4080 руб. (в торговом доме «Библио-Глобус»)
The fall of the Byzantine capital of Constantinople to the Latin West in 1204 during the Fourth Crusade abruptly interrupted nearly nine hundred years of artistic and cultural traditions. In 1261, however, the Byzantine general Michael VIII Palaiologos triumphantly reentered Constantinople and reclaimed the seat of the empire, initiating a resurgence of art and culture that would continue for nearly three hundred years, not only in the waning empire itself but also among rival Eastern Christian nations eager to assume its legacy. Byzantium: Faith and Power (1261-1557), and the groundbreaking exhibition that it accompanies, explores the artistic and cultural flowering of the last centuries of the «Empire of the Romans» and its enduring heritage.
Conceived as the third of a trio of exhibitions dedicated to a fuller understanding of the art of the Byzantine Empire, whose influence spanned more than a millennium, «Byzantium: Faith and Power (1261–1557)» follows the 1997 landmark presentation of «The Glory of Byzantium,» which focused on the art and culture of the Middle Byzantine era — the Second Golden Age of the Byzantine Empire (843-1261). In the late 1970s, «The Age of Spirituality» explored the early centuries of Byzantium's history. The present concluding segment explores the exceptional artistic accomplishments of an era too often considered in terms of political decline. Magnificent works — from splendid frescoes, textiles, gilded metalwork, and mosaics to elaborately decorated manuscripts and liturgical objects — testify to the artistic and intellectual vigor of the Late and Post-Byzantine era. In addition, forty magnificent icons from the Holy Monastery of Saint Catherine, Sinai, Egypt, join others from leading international institutions in a splendid gathering of these powerful religious images.
While the political strength of the empire weakened, the creativity and learning of Byzantium spread farther than ever before. The exceptional works of secular and religious art produced by Late Byzantine artists were emulated and transformed by other Eastern Christian centers of power, among them Russia, Serbia, Bulgaria, and Cilician Armenia. The Islamic world adapted motifs drawn from Byzantium's imperial past, as Christian minorities in the Muslim East continued Byzantine customs. From Italy to the Lowlands, Byzantium's artistic and intellectual practices deeply influenced the development of the Renaissance, while, in turn, Byzantium's own traditions reflected the empire's connections with the Latin West. Fine examples of these interrelationships are illustrated by important panel paintings, ceramics, and illuminated manuscripts, among other objects. In 1557 the «Empire of the Romans», as its citizens knew it, which had fallen to the Ottoman Turks in 1453, was renamed Byzantium by the German scholar Hieronymus Wolf.
The cultural and historical interaction and mutual influence of these major cultures — the Latin West and the Christian and Islamic East — during this fascinating period are investigated in this publication by a renowned group of international scholars in seventeen major essays and catalogue discussions of more than 350 exhibited objects.
680 pages; more than 800 colorplates; extensive bibliography; glossary; map; index.
Published by The Metropolitan Museum of Art, New York/Yale University Press, New Haven and London
Printed in Spain
Statement by His All Holiness Bartholemew, Archbishop of Constantinople, New Rome, and Ecumenical Patriarch of the Orthodox Christian Church [VI]
Sponsors' Statements [VIII]
Director's Foreword [X]
Lenders to the Exhibition [XVII]
Contributors to the Catalogue [XIX]
Note to the Reader [XXII]
Map: Byzantium and Its Neighbors, 1261–1557 
Byzantium: Faith and Power (1261–1557). Helen C. Evans 
Revival and Decline: Voices from the Byzantine Capital. Alice-Mary Talbot 
Catalogue numbers 1–33 
Religious Settings of the Late Byzantine Sphere. Slobodan Ćurčić 
Catalogue numbers 34–48 
Sculpture and the Late Byzantine Tomb. Sarah Brooks 
Catalogue numbers 49–59 
Liturgical Implements. Anna Ballian 
Catalogue numbers 60–76 
Images: Expressions of Faith and Power. Annemarie Weyl Carr 
Catalogue numbers 77–125 
Images of Personal Devotion: Miniature Mosaic and Steatite Icons. Arne Effenberger 
Catalogue numbers 126–149 
Precious-Metal Icon Revetments. Jannic Durand 
Catalogue numbers 150–155 
Manuscript Illumination in Byzantium, 1261–1557. John Lowden 
Catalogue numbers 156–176 
Liturgical Textiles. Warren Woodfin 
Catalogue numbers 177–200 
The Icon as a Ladder of Divine Ascent in Form and Color.
His Eminence Archbishop Damianos of Sinai, Faran, and Raitha, Abbot of the Greek Orthodox Monastery of Saint Catherine, Sinai, Egypt 335
Catalogue numbers 201–242 
Byzantium and the Islamic World, 1261–1557. Scott Redford 
Catalogue numbers 243–255 
The Arts of Christian Communities in the Medieval Middle East. Thelma K. Thomas 
Catalogue numbers 256–271 
Italy, die Mendicant Orders, and the Byzantine Sphere. Anne Derbes and Amy Neff 
Catalogue numbers 272–297 
Venice and the Byzantine Sphere. Maria Georgopoulou 
Catalogue numbers 298–313 
Byzantium and the Rebirth of Art and Learning in Italy and France. Robert S. Nelson 
Catalogue numbers 314–328 
«À la façon grèce»: The Encounter of Northern Renaissance Artists with Byzantine Icons. Maryan W. Ainsworth 
Catalogue numbers 329–355 
Notes to the Essays 
Photograph Credits