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The Tudor Cistercians

Temple in 1 Kings 6), and the historical interactions between East and West as critical in the proliferation of foliate friezes in France (p. 186). An afterword cogently describes the use of real plants within churches, during Holy Week, and throughout the year. This brief outline attests to the breadth of Doquang’s project: she has taken a singular element present in some buildings and attempted to contextualise it from a number of different angles, particularly those that were as available to the medieval viewers of these friezes as they are to present-day scholars. Perhaps most ambitious of all, though, is Doquang’s effort throughout to reconceptualise the status of ornament, which has remained on the losing side of unfair matches between ‘structure’ and ‘meaning.’ She argues that such problematic dichotomies have ‘hinder[ed] rather than enable[d] the study of non-figural motifs in medieval art’ (p. 19), which have suffered largely due to the lack of associated texts that have stunted traditional iconographic analysis. Doquang’s multipronged efforts might be used as an exemplar of how to move beyond the iconographic and facilitate a more sophisticated analysis of that non-figural imagery in media which has been dismissed previously as merely ‘decorative.’ Although primarily concerned with the twelfth and thirteenth centuries, Doquang frequently draws from later medieval examples and the related literature, which sometimes seems to flatten the richness of the monuments that she centralises. However, this serves to invite further scholarship on the role of foliate decoration in medieval art and architecture more broadly. It also introduces German-language scholarship in the area to an Anglophone audience and contextualises the high medieval material. The volume is wellproduced and illustrated, though one might argue that the ‘central’ object, the Amiens frieze, deserves more photographic coverage than it receives. These critiques are minor, however. The Lithic Garden offers a fresh perspective on some of France’s most well-trodden medieval monuments, and is an inspiring art historical contribution to the so-called ‘ecological turn’ in the humanities.