FELLOWSHIPS FOR RESEARCH AND STUDY AT THE GENNADIUS LIBRARY 2023-2024, DUE 15 JANUARY 2023

FELLOWSHIPS FOR RESEARCH AND STUDY
AT THE GENNADIUS LIBRARY 2023-2024

DEADLINE: JANUARY 15, 2023

The American School of Classical Studies at Athens is pleased to announce the academic programs and fellowships for the 2023-2024 academic year at the Gennadius Library. Opened in 1926 with 26,000 volumes from diplomat and bibliophile Joannes Gennadius, the Gennadius Library now holds a richly diverse collection of over 146,000 books and rare bindings, archives, manuscripts, and works of art illuminating the Hellenic tradition and neighboring cultures. The Library is an internationally renowned center for the study of Greek history, literature, and art, from the Byzantine period to modern times.

CONSTANTINE AND GEORGE MACRICOSTAS FELLOWSHIP: For Ph.D. candidates and recent Ph.D.s (within the last 5 years), of any nationality, for work in the Gennadius Library for the full academic year. Research must focus on the role of the Eastern Orthodox church in the broader history of Hellenism. Stipend of $11,500 plus room and board at Loring Hall, and waiver of School fees.
DEADLINE: JANUARY 15, 2023.

COTSEN TRAVELING FELLOWSHIP FOR RESEARCH IN GREECE: Short-term travel award of $2,000 for senior scholars and graduate students, for work at the Gennadius Library. Open to all nationalities. At least one month of residency required. School fees are waived for a maximum of two months.

DEADLINE: JANUARY 15, 2023.

KATHRYN AND PETER YATRAKIS FELLOWSHIP: For Ph.D. candidates and recent Ph.D.s (within the last 5 years), of any nationality, for work in the Gennadius Library for the full academic year. Stipend of $11,500 plus room and board at Loring Hall, and waiver of School fees.
DEADLINE: JANUARY 15, 2023.

THE M. ALISON FRANTZ FELLOWSHIP: For Ph.D. candidates and recent Ph.D.s (within the last 5 years) from colleges or universities in the U.S. or Canada, for work in the Gennadius Library for the full academic year. Stipend of $11,500 plus room and board at Loring Hall, and waiver of School fees.

DEADLINE: JANUARY 15, 2023.

SCHWARZ FELLOWSHIP AT THE GENNADIUS LIBRARY FOR RESEARCH ON MUSIC: Career musicians, or researchers who are currently Ph.D. candidates or have received their Ph.D. within the last 5 years, of any nationality, engaged in research on music that focuses on cultural interactions in the Mediterranean world broadly defined. Stipend of $11,500 plus room and board at Loring Hall for the academic year, and waiver of School fees.

DEADLINE: JANUARY 15, 2023.

SCHWARZ FELLOWSHIP AT THE GENNADIUS LIBRARY FOR RESEARCH ON URBAN ARCHITECTURE: Practicing architects, or researchers who are currently Ph.D. candidates or recent Ph.D. holders (within the last five years), of any nationality, engaged in research on architecture, urban planning, and the history of the built environment in Greece from 1821 to the present. Stipend of $11,500 plus room and board at Loring Hall for the academic year, and waiver of School fees.

DEADLINE: JANUARY 15, 2023.

MEDIEVAL GREEK SUMMER SESSION AT THE GENNADIUS LIBRARY,

SUMMER 2023: Graduate students and university professors in any field of late antique, post-antique, Byzantine or medieval studies at any university worldwide. Month-long program in intermediate level Medieval Greek language and philology at the Gennadius Library, with site and museum trips. Up to twelve scholarships available.

DEADLINE: JANUARY 15, 2023. 

For more information: Fellowship Information Flyer

https://www.ascsa.edu.gr/research/gennadius-library/educational-programs/fellowships?utm_source=sendinblue&utm_campaign=GL%20Flyer&utm_medium=email

Timeless Treasures: 10 Manuscripts to Celebrate 10 Years in New York, Les Eluminures, Opening 3 November 2002, 6-8 PM; Exhibit 3 November - 21 December 2022

Timeless Treasures: 10 Manuscripts to Celebrate 10 Years in New York

Opening: Thursday, November 3, 6:00 to 8:00 pm (RSVP requested)

Exhibit: November 3 to December 21, 2022

Gallery Hours: Tuesday to Saturday, 9 am to 5 pm, by appointment. Same-day appointments are possible.

Les Eluminures, 23 East 73rd Street, 7th Floor, Penthouse, New York, NY 10021

In 2022, Les Enluminures celebrates its tenth year in New York with an exhibition of exceptional medieval illuminated manuscripts. The focus lies on ten manuscripts, each unique and world-class. Included are Books of Hours, romances, philosophical treatises, and fables. There are also a small number of outstanding related works from Private Collections that have passed though the New York gallery in the past ten years. Rings, miniatures, and historic jewelry complement the core exhibition.

Visitors will have the opportunity to witness a sparkling display of manuscripts of unparalleled importance. It includes new acquisitions, as well as significant works only rarely on public view. There are, for example, an illuminated copy of the Songe du Vergier (The Dream in the Orchard), a lively political allegory on the relationship between Church and State; a rare, illuminated version of a French translation of Aesop’s Fables, perhaps originating in the royal circle; and a previously unknown version of the Vaticinia, prophecies concerning the papacy, extensively illustrated with beautiful watercolors by a Venetian artist.

This exhibition offers an opportunity to look back on our achievements since 2012. The gallery is proud of its many successful exhibitions, publications, and fairs. These include our inaugural exhibition, An Intimate Art 12 Books of Hours for 2012; the Flowering of Medieval French Literature (2014); and Diamonds, the Collection of Benjamin Zucker (2019), among many others. We are of course also proud of our ongoing participation in the Winter Show, a staple of New York’s art world.

Simultaneously, we are setting the stage for 2022 and 2023 as we embark on a year of in-person programming in our New York space. Exhibitions will encompass exciting, unusual, and innovative pairings of important medieval manuscripts, miniatures, and jewelry with art ranging from antiquity to today, across a variety of different media.

We are delighted to be able to reconnect with friends of the gallery on a more regular basis going forward. We will henceforth be open on appointment all year round.

For more information: https://www.lesenluminures.com/events/54-timeless-treasures-10-manuscripts-to-celebrate-10-years/

Iconoclasm: censorship, destruction and reuse in the European Middle Ages, Exhibition Opening, Sam Fogg, Lonodn, 3 November 2022, 6-8PM GMT

Please join us at the gallery to celebrate the opening of our new exhibition

Iconoclasm: censorship, destruction and reuse in the European Middle Ages

Thursday 3 November

Sam Fogg, London

6 - 8pm GMT

Iconoclasm, which literally means “image breaking”, describes the destructive tendencies of communities who move to reject the significance we project onto images. Our new exhibition explores how we can read damage on historic objects, long after the violence of their destruction has passed, and will trace some of the many ways in which Europeans across history have sought to silence images during the centuries since their creation.

The exhibition will run from 3 November to 2 December.

For more information: https://www.samfogg.com/exhibitions/41/

DIGITAL APPROACHES TO MEDIEVAL ART HISTORY FEATURING ALEXANDER BREY AND MAEVE DOYLE, 2 MARCH 2022 12:00PM ET

DIGITAL APPROACHES TO MEDIEVAL ART HISTORY

FEATURING MAEVE DOYLE AND ALEX BREY

MARCH 2ND 2022 12:00PM ET

Please join the Digital Resources Committee for this exciting event with invited speakers, Maeve Doyle (ECSU) and Alex Brey (Wellesley College). Following their presentation, committee members, Paula Mae Carns (UIUC) and Nicholas Herman (SIMS), will lead a dialogue about digital approaches to medieval manuscript studies, with a few minutes reserved at the end for a broader discussion with the virtual audience.

A folio from NEP-27, UPenn Museum

Women readers in the margins of a thirteenth-century book of hours (Cambrai, Médiathèque municipale MS 87, fol. 113r)

GOTISCHE ELFENBEINE ZWISCHEN LUXUS UND KRISE, INTERNATIONALE TAGUNG/INTERNATIONAL CONFERENCE, 27.-28.10.22 (IN-PERSON AND ONLINE)

GOTISCHE ELFENBEINE ZWISCHEN LUXUS UND KRISE

INTERNATIONALE TAGUNG, 27.-28.10.22

27. Oktober 2022 9:30-19.45 (3:30-13:45 ET)

28. Oktober 2022 9:00-18:00 (3:00-12:00 ET)

Spiegelkapsel, Elfenbein, 14. Jh. © Victoria and Albert Museum, London.

Trotz militärischen und pandemischen Krisensituationen erleben Elfen- beinschnitzereien als Luxusgut eine Blütezeit im 13. und vor allem 14. Jahr- hundert. Diesem scheinbaren Widerspruch, der auch in der Kombination von kriegerischer und Liebesmotivik auf den Objekten sichtbar wird, geht die zweitägige Tagung nach.

Die Tagung wird in vier Sektionen unterteilt, die die historischen, sozialen, persönlichen oder wirtschaftlichen Krisen in den Fokus der Betrachtung rücken und nach den unterschiedlichen Strategien ihrer Verarbeitung fra- gen.

“The frequent contrast staged between scenes of love and war on Gothic ivories reflected certain crises faced by society: did the images on these luxury objects help members of society to cope with violent crises, or were they not perceived as related to violence at all?"

PROGRAMM FLYER

Tagungsort: Universität Bern, Hauptgebäude Kuppelsaal, Hochschulstrasse 4, 3012 Bern

Auf Anfrage kann ein Zoom-Link für die Online-Teilnahme verschickt werden (Anmeldung bei amelie.joller@unibe.ch).

THE MENORAH AND THE SEVEN-BRANCHED CANDELABRUM, INTERNATIONAL AND INTERDISCIPLINARY CONFERENCE, 10-12 NOV. 2022, IN-PERSON AND ONLINE (CET)

MENORA UND SIEBENARMIGER LEUCHTER. JÜDISCHE UND CHRISTLICHE MANIFESTATIONEN IN MITTELALTER UND FRÜHER NEUZEIT.

INTERNATIONALE UND INTERDISZIPLINÄRE TAGUNG

THE MENORAH AND THE SEVEN-BRANCHED CANDELABRUM. JEWISH AND CHRISTIAN MANIFESTATIONS IN THE MEDIEVAL AND EARLY MODERN PERIODS

INTERNATIONAL AND INTERDISCIPLINARY CONFERENCE

 

10.11.2022 BIS 12.11.2022

10.11.2022 - 9:30-20:00 CET (3:30-14:00 ET)

10.12.2022 - 9:00-20:00 CET (3:00-14:00 ET)

10.13.2022 - 9:00-12:30 CET (3:00-6:30 ET)

SFB 1391/A6 UND INSTITUT FÜR KUNSTGESCHICHTE, EBERHARD KARLS UNIVERSITÄT TÜBINGEN, 10.11.-12.11.2022
ALTE AULA (TÜBINGEN) UND ONLINE

Arch of Titus, 81 CE, plaster cast © TijsB, Wikimedia Commons

Sowohl in der jüdischen als auch in der christlichen Tradition spielt die Menora als ikonisches Artefakt eine wichtige Rolle in Kunst und Denken des Mittelalters und der Frühen Neuzeit. Als Ausstattungselement der Stiftshütte wie des Salomonischen Tempels ist ihre herausragende Bedeutung für das religiöse und nationale Leben der Israeliten in der Hebräischen Bibel belegt. Nach der Zerstörung des Tempels wurde sie zum Symbol des jüdischen Volkes schlechthin — sowohl im Land Israel als auch in der Diaspora. In christlicher Vorstellung hingegen waren Stiftshütte und Tempel Präfigurationen der Kirche, weswegen die Menora auch in der christlichen Exegese und Darstellungstradition eine wichtige Rolle spielt. Seit karolingischer Zeit wurden siebenarmige Leuchter aus Bronze oder Messing in Kirchen aufgestellt, sodass Fragen nach ihrer räumlichen Ästhetik, ihrer liturgischen und performativen Funktion sowie nach der "christlichen Menora" als Adaption oder Appropriation aufgeworfen werden.

In both Jewish and Christian traditions, the Menorah plays a prominent role as an iconic artefact in medieval and early modern art and thought. As an implement of the Tabernacle as well as of Solomon’s Temple, its outstanding importance in the religious and national life of the Israelites is evident in the Hebrew Bible. After the destruction of the Temple, it became the quintessential symbol of the Jewish people—both in the Land of Israel and throughout the Diaspora. Christians, for their part, regarded the Tabernacle and Temple as prefigurations of the Church; the Menorah thus figures prominently in Christian exegesis and iconography as well. Beginning in Carolingian times, seven-branched candelabra made of bronze or brass were placed in churches. The instal- lation of such artefacts raises questions about their spatial aesthetics and liturgical and performative func- tions as well as about the “Christian Menorah” as adaption or appropriation.

An international, interdisciplinary conference in Tübingen aims to shed light on Jewish and Christian traditions by bringing them into direct dialogue. The conference is the outcome of a research project on “Seven-branched Candelabra in Churches: Semantics – Contexts – Prac- tices” (“Siebenarmige Kandelaber in Kirchen: Semantik – Kontexte – Praktiken“) within the DFG-funded Collabo- rative Research Centre “Different Aesthetics” (SFB 1391 “Andere Ästhetik”).

Eberhard Karls Universität Tübingen Philosophische Fakultät

Keplerstraße 17∙72074 Tübingen
Telefon +49 7071 29-74230 https://uni-tuebingen.de/de/159334 https://www.facebook.com/AndereAesthetik/

International and interdisciplinary conference organized by: Andrea Worm (andrea.worm@uni-tuebingen.de)

Registration is requested (free of charge): sekretariat-khi@uni-tuebingen.de

The access information for Zoom will be sent to you after registration; it will also be announced on our website in due time. Please consult:

https://uni-tuebingen.de/fakultaeten/philosophische- fakultaet/fachbereiche/altertums-und- kunstwissenschaften/kunsthistorisches-institut/institut/

FOR MORE INFORMATION: FLYER ZUR TAGUNG

Zurück

Employment Opportunity: Tenure-track Assistant Professor Position, Program of Art History, University of Illinois at Urbana-Champaign, DUE November 4 2022

College of Fine and Applied Arts
Assistant Professor in Art History (Tenure-Track), School of Art and Design University of Illinois at Urbana-Champaign

DUE November 4th, 2022

The Art History Program in the School of Art & Design at the University of Illinois at Urbana- Champaign invites applications for a full-time, tenure-track position at the rank of Assistant Professor of Art History (Medieval and/or Early Modern) beginning August 16, 2023.

Qualifications

The qualified candidate will demonstrate research expertise in the art and visual cultures in any of the periods from the early medieval through the late seventeenth century (circa 400-1700). The geographic areas of specialization are open, with a preference for global approaches. The University of Illinois is committed to supporting research projects and teaching practices that support just, equitable, and sustainable communities. A Ph.D. in Art History or a related discipline by the start of the appointment is required.

Responsibilities

The qualified candidate will join an interdisciplinary faculty and contribute to our curriculum by developing both general and specialized undergraduate courses for majors and non-majors, as well as research-area focused seminars for graduate students. Teaching responsibilities include a 2/2 teaching load across two semesters. These typically include at least one introductory course, one advanced undergraduate seminar, and a graduate seminar. Existing courses are viewable at the following website: http://catalog.illinois.edu/courses-of-instruction/arth/.

The successful candidate will mentor students at all levels, supervise Ph.D. and M.A. dissertation/thesis work, while contributing to the overall vitality of the program, school and university through active outreach with other campus units, and participation in various committees.

The Art History Program

The Art History Program consists of six full-time tenured and tenure-track faculty members, plus lecturers and affiliated faculty. Degrees offered at the undergraduate level are the B.A. in Art History and the B.F.A. in Art and Art History. The program offers an M.A. and Ph.D. in Art History at the graduate level. Graduate courses in Art History also support graduate minors in Museum Studies and Medieval Studies. The University Library is the largest among publicly supported educational institutions in the country. There are two university museums, the Krannert Art Museum (kam.illinois.edu) and the Spurlock Museum (spurlock.illinois.edu). Faculty of the Art History Program actively collaborate with other university units such as the Illinois Global Institute. This institute houses the Center for African Studies, Center for East Asian and Pacific Studies, Center for Global Studies, Center for Latin American and Caribbean Studies, Center for South Asian and Middle East Studies, European Union Center, Lemann Institute for Brazilian Studies, the Russian, Eastern European, and Eurasian Center, among other cross-disciplinary area studies units. Faculty also engage with Gender and Woman’s Studies, the Humanities Research Institute, and the Unit for Criticism & Interpretive Theory. Additional information about the Art History Program and other faculty areas can be found at: https://art.illinois.edu/programs-and-applying/doctoral-programs/phd-art-history/ .

University of Illinois

As a part of the College of Fine and Applied Arts at Illinois, the School of Art & Design offers ready opportunity for collaborations with Krannert Art Museum and Krannert Center for Performing Arts, and with active departments of Architecture, Landscape Architecture, Dance, Theater, and Music.

The University of Illinois is strongly international, and recognized for excellence in the Sciences, Engineering, Humanities, and the Arts. Champaign-Urbana is in East Central Illinois, within short driving distance to Chicago, Indianapolis, and St. Louis. For more information, please visit: www.illinois.edu for the University, https://faa.illinois.edu for the College, and https://art.illinois.edu for the School.

Salary: Commensurate with experience.

Application Procedures

To ensure full consideration, applications must be received by November 4, 2022. Interviews may take place prior to the closing date; however, no decision will be made until after that date. Please create your candidate profile at http://jobs.illinois.edu (Job ID: 1012249). For questions regarding the application process, please contact 217-333-2137. Complete submissions must include the following:

1. A letter of application
2. Curriculum vitae
3. Scholarly writing sample
4. List of three references – online application will require names and contact information for three references.

Please clearly title all files using your last name and the contents (“lastname_curriculum_vitae” or “lastname_ltr_of_applic”)

For additional information regarding the position, please contact: Professor Oscar E. Vázquez

School of Art & Design
University of Illinois at Urbana-Champaign 408 East Peabody Drive
Champaign, IL 61820
217-333-0855
oscarv@illinois.edu

The University of Illinois System is an equal opportunity employer, including but not limited to disability and/or veteran status, and complies with all applicable state and federal employment mandates. Please visit Required Employment Notices and Posters to view our non-discrimination statement and find additional information about required background checks, sexual harassment/misconduct disclosures, COVID-19 vaccination requirement, and employment eligibility review through E-Verify.

Applicants with disabilities are encouraged to apply and may request a reasonable accommodation under the Americans with Disabilities Act (2008) to complete the application and/or interview process. Requests may be submitted through the reasonable accommodations portal, or by contacting the Accessibility & Accommodations

Job advertisement link here.

Roma medievale. Il volto perduto della città, 20 ottobre 2022 ore 18:00, Museo Di Roman Palazzo Braschi (In-Person)

Roma Medievale: Il volto perduto della città

20 ottobre 2022 ore 18:00

Museo Di Roman Palazzo Braschi, Piazza San Pantaleo, 10

A cura di Marina Righetti e Anna Maria D'Achille

Una mostra per riscoprire il volto perduto della Roma fra VI e XIV secolo e il suo ruolo cardine nell’Europa cristiana e medievale sia per i semplici pellegrini sia per regnanti e imperatori.

Il percorso espositivo, articolato in 9 sezioni, con oltre 160 opere tra mosaici, affreschi e opere mobili, provenienti prevalentemente da raccolte e collezioni pubbliche romane e da luoghi di culto, oltre che da prestigiose istituzioni museali come i Musei Vaticani, nasce con lo scopo di far conoscere aspetti poco noti del patrimonio dell’Urbe. Parte, infatti, dalla scoperta della città medievale attraverso i suoi luoghi più iconici, quali basiliche e palazzi, ma anche dal contesto ambientale, oggi profondamente modificato, come il corso del Tevere con porti e ponti dove si svolgevano vita e attività urbane. L’immersione nella realtà del Medioevo romano si approfondisce poi esaminando le ricche committenze di papi e cardinali, l’attività di artisti e botteghe, il fascino della città come imprescindibile méta di pellegrinaggio anche per re e imperatori. Ricchi apparati didattici illustreranno in mostra i molteplici volti dell’indiscussa capitale dell’Europa medievale.

Aquista online

Informazioni

Luogo

Museo di Roma

Orario

Dal 21 ottobre al 5 febbraio 2023
dal martedì alla domenica ore 10.00-19.00
24 e 31 dicembre 10.00 - 14.00
Ultimo ingresso un'ora prima della chiusura
Giorni di chiusura: lunedì, 1° gennaio

CONSULTA SEMPRE LA PAGINA AVVISI prima di programmare la tua visita al museo.

Biglietto d'ingresso

Consultare la pagina: Biglietti

Informazioni

tel. 060608 (tutti i giorni ore 9.00 - 19.00

Promossa da Roma Culture, Sovrintendenza Capitolina ai Beni Culturali

In collaborazione con Sapienza Università di Roma - Dipartimento di Storia Antropologia Religioni Arte Spettacolo

Progetto scientifico di Marina Righetti

A cura di Anna Maria D’Achille e Marina Righetti

Organizzazione Zètema Progetto Cultura

TipoMostra|Arte Tardoantica e Medievale

https://museodiroma.it/it/mostra-evento/roma-medievale-il-volto-perduto-della-citt

CFP: EIGHTEENTH BIENNIAL CONFERENCE OF THE EARLY BOOK SOCIETY, JULY 11-14 2023, ABSTRACTS DUE BY DECEMBER 1

The Eighteenth Biennial Conference of the Early Book Society, on the theme “Meaning, Memory, and the Making of Culture:  Manuscripts and Books, 1350-1550,” will be hosted by the University of Limerick, from July 11-14 2023 (with a trip out on July 15). Find CFP below (and down-loadable .pdf here).

Abstracts for papers, panels, or lighting papers due by: DECEMBER 1 (November 30, 11:59 GMT/6:59 ET)

For more information: https://earlybooksociety.org/conferences-2/

Rare Book School Scholarships: DUE NOVEMBER 1 2022

Rare Book School

RBS-Awarded Scholarships

Application Due: 1 November 2022

Two main categories of scholarships are available: those awarded by Rare Book School and those conducted through partner organizations. Applications for the next cycle of RBS-awarded scholarships are now open and are due 1 November 2022. Scholarship awards will be announced in January. Participation in the scholarship program implies acceptance of the scholarship Terms and Conditions.

There are several types of scholarships awarded by RBS each fall, all of which are conducted through a single application process. Applicants who submit a completed application by the 1 November deadline will be considered for all of the awards for which they are eligible. Scholarships are awarded without reference to admission to any particular course. Once a student is admitted to an RBS course, the scholarship award may be redeemed. Applications for first-time and returning RBS students will be read by separate committees.

Applications are due 1 November 2022. To begin the application process, please log into your myRBS account (or create a new myRBS account). On the Home screen, click the “Apply for a Scholarship or Fellowship” button on the left side of the page. If you have trouble with myRBS, see the FAQ page or email rbs_scholarships@virginia.edu. Participation in the scholarship program implies acceptance of the scholarship/fellowship Terms and Conditions. If you have questions about the scholarship application process, please email rbs_scholarships@virginia.edu.

Scholarship recipients will be announced in January or February. Scholarship recipients must claim their award within two years (e.g., scholarships awarded in January 2022 must be claimed by 31 December 2023). For more details about the scholarship program, see the Frequently Asked Questions page.

The following scholarships are awarded by RBS Scholarship Committees:

Directors’ Scholarship

• Awarded to students and professionals in all fields that intersect with RBS course content

• Preference given to applicants early in their careers who have not previously attended RBS

• Approximately 20 awards given each year

William T. Buice III Scholarship

• Awarded to returning RBS students with demonstrable financial need, including those who have received RBS scholarships in the past

• Preference given to applicants from smaller institutions and those serving underrepresented populations

• Approximately ten awards given each year

ABAA Southeast Chapter Scholarship

• Awarded to an early career bookseller doing business within the chapter's coverage area

• One award given each year

ASECS Scholarship

• Awarded to current ASECS members who have not previously attended RBS

• One award given each year

Bibliographical Society of America Scholarship

• Awarded to students and professionals working on a bibliographical project that intersects with and could be informed by RBS course content

• Preference given to applicants early in their careers

• One award given each year

Bibliographical Society of the University of Virginia (BSUVA) Scholarship

• Awarded to students and professionals in all fields that intersect with RBS course content

• Approximately five awards given each year

T. Kimball Brooker/Caxton Club Scholarship

• Awarded to an individual living in the Midwest with professional interests in bibliography, book history, or the book arts who has not previously attended RBS

• Preference given to applicants early in their careers who are ineligible for funding or financial aid through their places of employment

• One award given each year

Geiss-Hsu Foundation Scholarship

• Funds professionals whose work focuses primarily on the study or care of cultural artifacts from East Asia, as well as non-specialists who wish to develop an interest in this area

• Covers full-tuition for one of Rare Book School’s courses on Asian books

• Ten scholarships awarded in 2022

James Davis Scholarship

• Awarded to an applicant who displays an especially strong record of good citizenship and stewardship in the bibliographical community, and who has not previously attended RBS

• Two awards given each year

Jeremy Norman Scholarship

• Awarded to applicants from all fields whose work or interests focus on the study of the physical book

• One award given each year

Kenneth Karmiole Scholarship

• Awarded to applicants from all fields whose work or interests focus on the study of the physical book

• One award given each year

Kress Foundation Art of the Book in Europe Scholarship

• Awarded to applicants working in art history or museum studies, with a focus on the arts in Europe from antiquity through the early nineteenth century

• Two awards given each year, 2021–22

Claudia Skelton Scholarship

• Awarded to applicants from all fields whose work or interests focus on the study of the physical book

• One award given each year

Washington Rare Book Group Scholarship

• Awarded to an individual living in the Washington, D.C., area with interests in bibliography, book history, book arts, or other aspects of rare-book scholarship

• One award given each year

RBS Scholarship Committees

The 2022 Scholarship Committee comprises Laura Eidam (Director of Communications & Outreach, Rare Book School); Mireille Djenno (Librarian for African Studies, Herman B. Wells Library, Indiana University Bloomington); Jeannie Kenmotsu (The Arlene and Harold Schnitzer Curator of Asian Art, Portland Art Museum); Maria Lin (Assistant, Rulon-Miller Books); Kate Siebert Medicus (Special Collections Cataloger and Associate Professor, Kent State University). The members of the 2021 Buice Scholarship Committee are Rebecca Baumann (Head, Lilly Library Public Services, and Assistant Librarian, Lilly Library, Indiana University Bloomington); Julia Blakely (Special Collections Cataloger, Smithsonian Libraries); Ethan Henderson (Curator of Rare Books, Georgetown University Library); and Ruth-Ellen St. Onge (Associate Curator & Special Collections Librarian, Rare Book School).

For more information and external scholarship opportunities: https://rarebookschool.org/admissions-awards/scholarships/

EAST OF BYZANTIUM: SYRIAC CHRISTIANITY ALONG THE SILK ROAD, 18 OCTOBER 2022, 12PM ET (ONLINE LECTURE)

TUESDAY, OCTOBER 18, 2022 | 12:00 PM EDT | ZOOM
EAST OF BYZANTIUM: SYRIAC CHRISTIANITY ALONG THE SILK ROAD
LI TANG, UNIVERSITY OF SALZBURG

DETAIL OF 9TH-CENTURY SYRIAC CHRISTIAN INSCRIPTION FROM LUOYANG, CHINA.

East of Byzantium is pleased to announce the first lecture in its 2022–2023 lecture series.

In 781, Christians of Tang-China (618–907) erected a monument known as the “Nestorian Tablet” declaring that their religion, named Jingjiao, originated from Daqin, a contemporary loose term referring to the Roman East. Jingjiao Christians were adherents of the Church of the East with Syriac Christian traditions and liturgy. Its adherents in the Roman empire became victims of the 5th-century Christological controversy and were labeled as the “Nestorian” heretics or sect. The suppression of the “Heretics” including the “Nestorians” within the Byzantine empire, which was stated in the Justinian Code, forced many Christians of the Syriac churches to escape from the Byzantine Empire to the Sasanian territory where they joined the already established and independent Church of the East in Persia. In the following nine centuries, Syriac Christian missions expanded from Persia to Arabia, India, Central Asia and China and won converts from various ethnic groups such as Persians, Arabs, Indians, Sogdians, Turks, Chinese, and Mongols.

This lecture introduces the expansion of medieval Syriac Christianity covering the extent, mission strategy, and methods of the Church of the East with evidence from primary sources discovered in Central Asia and China and along the Silk Road, such as Christian manuscripts and tombstone inscriptions from the 7th to the 14th century. It discusses questions such as how the church adapted to various political, cultural, and ethno-linguistic contexts along the Silk Road and what challenges Christians encountered.

Li Tang holds a PhD in the field of Languages and Cultures of the Christian Orient from the University of Tübingen and is currently senior research scientist at the Faculty of Catholic Theology and at the Center for Eastern Christian Studies of the University of Salzburg.

Advance registration required. Register: https://eastofbyzantium.org/upcoming-events/

Contact Brandie Ratliff (mjcbac@hchc.edu), Director, Mary Jaharis Center for Byzantine Art and Culture with any questions.

An East of Byzantium lecture. EAST OF BYZANTIUM is a partnership between the Mashtots Professor of Armenian Studies at Harvard University and the Mary Jaharis Center that explores the cultures of the eastern frontier of the Byzantine empire in the late antique and medieval periods.

FOR MORE INFORMATION: https://eastofbyzantium.org/upcoming-events/east-of-byzantium-syriac-christianity-along-the-silk-road/

CFP: ‘The Wall Painting Cycle on the Sciences and Arts in the Brandenburg Cathedral Cloister in its Context: Art Production and Organization of Knowledge around 1450’, DUE 15 November 2022

Call for Papers

‘The Wall Painting Cycle on the Sciences and Arts in the Brandenburg Cathedral Cloister in its Context: Art Production and Organization of Knowledge around 1450’

Brandenburg an der Havel (29–30 March 2023)

DUE 15 November 2022

Organizers: Chair of Medieval and Early Modern Art History at the Institute of Art | Music | Textiles – Department of Art, Faculty of Arts and Humanities, Paderborn University, Prof. Dr. Ulrike Heinrichs, and Curator of the Brandenburg Cathedral Chapter, Dr. Cord-Georg Hasselmann
Project Lead: Prof. Dr. Ulrike Heinrichs

On the occasion of the completion of the art historical DFG funded project ‘The Wall Painting Cycle on the Sciences and Arts in the Brandenburg Cathedral Cloister. Art Production and Organization of Knowledge around 1450’ (project number 346774044) an interdisciplinary symposium is organized by the Chair of Medieval and Early Modern Art History at the Institute of Art | Music | Textiles – Department of Art, Faculty of Arts and Humanities, Paderborn University, Prof. Dr. Ulrike Heinrichs and the Curator of the Brandenburg Cathedral Chapter, Dr. Cord-Georg Hasselmann.

The thematic framework of the symposium is based on the recent open access project publication ‘Der Wandmalereizyklus zu den Wissenschaften und Künsten in der Brandenburger Domklausur. Kunstproduktion und Wissensorganisation um 1450` [The fragmentary wall paintings from the time of Bishop Stephan Bodeker and Provost Peter von Klitzke in the late medieval cathedral library in Brandenburg an der Havel and their inscriptions. A monumental cycle consisting of figural paintings, texts and ornaments in two library rooms] by Ulrike Heinrichs and Martina Voigt, DOI: https://doi.org/10.11588/artdok.00007730. A brief overview of the topics addressed here as well as further information on the project are available on the project homepage of the Chair of Medieval and Modern Art History at the University of Paderborn: https://kw.uni-paderborn.de/fach-kunst/mittlere-und-neuere-kunstgeschichte/projekte/der-wandmalereizyklus

For a long time, art history preserved the memory of “the very beautiful images of the seven liberal arts and the crafts, theology and medicine (…) listed in sequence in the Brandenburg Library, in the March, outside the city, where the White Canons are” (Hartmann Schedel, Bayerische Staatsbibliothek München, Clm 418) thanks to a descriptive text from the 15th century. However, the picture cycle was considered lost until the precious wall paintings in the so-called Oberer Kreuzgang (Upper Cloister) at the former Cathedral of Brandenburg an der Havel were discovered and uncovered in 2000/05 during renovation works in the north wing.

After initial publications on the new find had established connections to manuscripts from the library of the Nuremberg humanist Hartmann Schedel (1440–1514) and to the highly learned and literarily productive Bishop of Brandenburg Stephan Bodeker (tenure 1421–1459), the way was paved for the exploration of the probably oldest surviving example of a study library of the “modern” type developed in the late Middle Ages and the Renaissance, with a variety of use for collecting books, study and teaching. In the Brandenburg Cathedral Cloister it appears as a hall completely painted with murals – a monumental allegory to the canon of Sciences and Arts under the supremacy of Theology, which at the same time gives wide scope to the social and technical realities of the artes mechanicae, with opulent ornamentation and imagery as well as an extensive corpus of inscriptions resembling a learned treatise. The art historical DFG project at Paderborn University seized this great opportunity and began its work in autumn 2017 in tandem with the conservation science DFG project based at the University of Applied Sciences and Arts Hildesheim / Holzminden / Göttingen (HAWK) and in cooperation with the Brandenburg Cathedral Chapter, the Brandenburg State Office for Monument Preservation and Archaeological Museum (BLDAM) as well as the architects in charge of preservation of the building – pmp Projekt GmbH-Architekten Brandenburg an der Havel.

In the light of the latest research findings, the symposium provides a new idea of the thematic core and function of the wall paintings as well as of the original extent and shape of the Brandenburg Cathedral Library of the late Middle Ages. From this perspective, it develops an expanded spectrum of questions reaching into European cultural spaces of the Middle Ages and the Renaissance.
Conservational research of the DFG tandem project partner, the HAWK under the lead of Prof. Dr. Ursula Schädler-Saub, has proven the in situ visible wall paintings to be an authentic, albeit fragmentary ensemble of a high quality multi-layered secco painting with protean binding. Results of art historical research on the history of style identify it as an artistic ‘flagship project’ of regional origin with references to a variety of genres of painting exemplifying the transition between the International Style of the decades around 1400 and the Late Gothic Style.
The original manuscript of the descriptive text in the Codex Clm 650 at the Bayerische Staatsbibliothek München, which has previously been attributed to Hermann Schedel (1410–1483), Hartmann’s older cousin, proves to be authentic on the one hand and selective on the other when compared with sources and findings: the preserved murals show far more and, in addition to ornamental paintings of exceptional quality, also include coats of arms, by means of which Provost Peter von Klitzke (tenure 1425/26–ca. 1447) and Bishop Stephan Bodeker could be identified as commissioners and those responsible for the ambitious project. Further, epigraphically and iconographically so far unknown texts and figures could be secured, referring among other things to the treatise Lignum vitae (‘Tree of Life’) by Bonaventura di Bagnoregio (1221–1274) and the salvation-historical basis for the acquisition of knowledge and wisdom under the patronage of the Brandenburg bishopric run by Premonstratensians. As latest findings on building history reveal, the libraria Brandenburgensi[s], as mentioned in the copy of Hermann Schedel’s description by his cousin Hartmann, is to be understood not only as a large study hall, but as a library complex created by striking architectural changes to a large hall in the north wing of the cathedral cloister dating from the 13th to 14th centuries. The pronounced canonistic position and the sophisticated overview of the current educational canon with its roots in antiquity and scholasticism touch on relations with the Margrave and Elector of Brandenburg from the rising House of Hohenzollern as well as the self-conception of ecclesiastical rule in the midst of tense processes of negotiating power after the schism, under ecclesiastical reform efforts and economic consolidation pressure. Not least, they shed light on the role of the Premonstratensian Order within the development of ecclesiastical rule as well as the history of art and culture in the central and northern areas of the Circaria Saxoniae.

The questions raised are manifold and concern the artistic sources and strategies of dealing with traditions and innovations of decorative and figurative painting and calligraphy as well as with the multi-layered fields of allegoresis, performance, diagrammatics and mnemonics in areas of scientific literature and monumental painting. Possible topics range from questions related to the building and its spatiality, including specifics of style, construction technologies and functions, to questions regarding any integrated or adjacent rooms of the episcopal administration and jurisdiction or aspects of everyday life in and with the library, the safekeeping of books, the practice of study and the regulation of light.
Future perspectives to be discussed at the conference also concern methods of sustainable archiving and innovative use of project data as well as opportunities for presentation and mediation of this valuable ensemble of wall paintings within the framework of the Brandenburg Cathedral Museum. Based at the Chair of Medieval and Early Modern Art History at the University of Paderborn and supported locally by the Centre for Information and Media Technology (IMT) together with the University Library, the project database was jointly developed by the DFG project tandem and its cooperation partners using the data archiving system MonArch launched by the IFIS Institute at the University of Passau (since 2021 part of AriInfoWare GmbH). Designed for cooperation in its form and connectable to future projects, this medium aims at a building-based, interactively usable archiving of different types of documentation and visualization, and offers the opportunity to discuss comparable or alternative approaches within research on wall paintings in their architectural setting. The museological part of the conference is dedicated to the question of suitable presentation formats in museums, focusing the communicability of hybrid genres in historical spaces, including inscriptions and medieval sources as well as states of preservation that are difficult to access.

There are no thematic constraints. However, contributions to the following research areas are particularly welcome, and in any case both a regional and a European perspective are encouraged:

• Material culture, pictorial equipment and imagery of late medieval and Renaissance libraries
• Allegories and narratives of Sciences and Arts in images and texts
• The imagery of Theology, Wisdom, Jurisprudence and the wise Rule
• Representation of patrons and donors in medieval and Renaissance libraries in images, inscriptions or coats of arms
• Source tradition on antique library buildings in the Middle Ages and the Renaissance
• The architecture and topography of late medieval and Renaissance libraries, i.a. at episcopal sees and in White Canons chapters
• Book collections, educational programs and forms of use of ecclesiastical libraries, i.a. at episcopal sees and White Canons chapters
• Politics, education and visual arts in the Diocese Brandenburg and the Circaria Saxoniae in the Late Middle Ages
• Comparative studies on production, aesthetics and dissemination of secco painting
• Perspectives of data archiving: Interactive digital access to medieval and Renaissance wall paintings as subject matter of databases
• Perspectives for museum presentation: Medieval buildings featuring wall painting cycles and their image-text corpora

Proposals for a 30 minutes talk (followed by a 15 minutes discussion) should be no longer than 400-500 words (excluding bibliography and footnotes), accompanied with a short CV (max. 150 words). The bibliography should reflect the scope and methodology of the research.

Please send your proposal to irina.hegel@upb.de
Deadline: November 15, 2022
The organizers will notify you by December 15, 2022

Conference languages: English and German
A publication of the contributions is planned.

Please note that hotel and travel expenses of the lecturing participants will be covered within the framework of the applicable reimbursement guidelines (train 2nd class / economy flight).

Employment Opportunity for Manuscript Scholars: Facsimile Finder

Facsimile Finder (facsimilefinder.com), a supplier of books specializing in facsimile editions, seeks authors to create authoritative English-language descriptions of manuscript codices, many lavishly illuminated; documents; maps; and printed books. Authors are expected to have advanced training in codicology, paleography, or the history of art. For more information about the work, remuneration, and how to apply, contact Elizabeth Teviotdale at e.teviotdale@att.net .

Representative Bodies: Mass Production and the Parliamentary Manuscript in Late Medieval England, Houghton Library, Harvard; 7 November 2022 (In-Person)

Houghton Library and the Standing Committee on Medieval Studies present Sonja Drimmer on "Representative Bodies: Mass Production and the Parliamentary Manuscript in Late Medieval England"

Monday, November 7, 2022, 5:30pm - 7:00pm

Houghton Library

Open to the public, Reading/Lecture

Sonja Drimmer is Associate Professor in History of Art and Architecture at the University of Massachusetts Amherst. Her talk situates illuminated manuscripts of the Nova Statuta at the intersection of art history and the history of the book. Intricately wrought volumes containing the records of parliamentary legislation, these manuscripts show both scribal and artistic signs of manual mass production, aspects that have led to their characterization as unexciting objects. Drawing on manuscripts in Houghton Library, the Harvard Law School Library, and other collections, I will show how these books, far from exhibiting a failure of imagination, succeed in conjuring an aesthetics of representative politics, embodied in pictorial and textual standardization. And yet, close examination of anomalies in these manuscripts shows how profound challenges of representation lurk beneath the veneer of homogeneity.

Reception to follow.

Registration is encouraged but not required.

Register at: https://libcal.library.harvard.edu/event/9686378?fbclid=IwAR0Aa55eG0ngGTmWHfTSYKf73ibltOJNq_gYKkTj8vn7-EkTyokSqe6csIY

Persons with disabilities who would like to request accommodations or have questions about physical access may contact Houghton Library's Administrative Coordinator Le Huong Huynh by email or at 617-495-2443 in advance of the lecture.

EVENT ORGANIZER: John Overholt

Open Position: Assistant Professor in Art History, Rice University, Texas; DUE BY 15 November 2022

The Department of Art History at Rice University invites applications for a tenure-track Assistant Professor position in the history of medieval art and/or architecture, broadly defined. We are interested in scholars working on art from roughly 400-1400, without restriction to culture or region. Successful candidates will have a record of publication and service commensurate with their career stage and be alert to diverse methodological approaches to the study of art and/or architecture from this period.

Scholars working within transcultural frameworks are particularly encouraged to apply, as are those whose work might intersect with that being done in interdisciplinary programs and centers at Rice, including (but not limited to) those in Medical Humanities, Medieval & Early Modern Studies, Environmental Studies, African and African American Studies, and the Study of Women, Gender, and Sexuality.

The department offers programs of study leading to both the BA and PhD degrees. The new hire will teach four courses each academic year, covering a range of topics from area surveys to graduate-level courses on specialized subjects of their choice. The hire will also supervise undergraduate independent studies and honors theses, and mentor doctoral students.

Rice University is a highly selective private research university located in Houston, Texas, the nation’s fourth largest city. It is located in the heart of Houston’s dynamic museum district, where nearby museums including the Menil Collection and the Museum of Fine Arts, Houston offer ample opportunities for collaboration. Rice offers undergraduate and graduate degrees across eight schools and has a student body of approximately 4,000 undergraduate and 3,000 graduate students. It consistently ranks among the top 20 national universities and the top 10 in undergraduate teaching (US News & World Report); its endowment ranks among the top 20 of US universities.

A PhD in Art History or related field is required by the position’s start on July 1, 2023. To apply, please submit a letter of interest, CV, three letters of reference, and two samples of scholarly work online via Interfolio. For fullest consideration, application materials should be submitted by November 15, 2022.

Rice University is an Equal Opportunity Employer with commitment to diversity at all levels, and considers for employment qualified applicants without regard to race, color, religion, age, sex, sexual orientation, gender identity, national or ethnic origin, genetic information, disability or protected veteran status.

Rice University Standard of Civility Serves as a representative of the University, displaying courtesy, tact, consideration and discretion in all interactions with other members of the Rice community and with the public.

Submit to: https://apply.interfolio.com/112101

WERE FRANCISCAN CHURCHES A BETRAYAL OF ST. FRANCIS?, 18 OCTOBER 2022, (ONLINE)

In this research seminar, Erik Gustafson questions common assumptions about Franciscan architecture in the century after the saint's death.

Tue, 18 October 2022, 17:00 – 18:30 BST (12:00-13:30 ET)

Erik Gustafson's talk addresses two fundamental problems with regards to Franciscan churches: the question of poverty and architecture, and the issue of the role of dividing screens for the friars' lay constituency. Both topics hang on the problematic legacy of Francis himself in relation to the development of Franciscanism as a functioning religious order across the thirteenth and fourteenth centuries. Was the clericalization of the order a betrayal of Francis forced by the papacy or the logical development of Francis's idiosyncratic, charismatic spirituality, and how did these issues play out in the central Italian churches of the order? Such questions have potential ramifications for how painting and sculpture might have been experienced within Franciscan churches, as well as broader socio-religious connotations for the development of medieval religious spaces.

REGISTER: https://www.eventbrite.co.uk/e/were-franciscan-churches-a-betrayal-of-st-francis-online-tickets-428595890847?fbclid=IwAR0JRIzZT9vrsXyou_i0VwAWGR_OsKnmbb0qF3OouwA1Xx0ZkIOMziJyh8c

MEDIEVAL NUBIA IN A TRANSCULTURAL HORIZON: ART, ARCHITECTURE, EPIGRAPHY, 13 OCTOBER 2022 (ONLINE)

MEDIEVAL NUBIA IN A TRANSCULTURAL HORIZON: ART, ARCHITECTURE, EPIGRAPHY,

13 OCTOBER 2022, 10:30-18:00 (4:30-12:00 ET) (ONLINE)

Kingdoms of medieval Nubia were erased from memory until the discovery of the Faras Cathedral in the 1960s by a team of Polish archaeologists. Spanning the sixth through the thirteenth centuries, the remains of these Christian kingdoms in lower Egypt and Sudan demonstrate sophisticated artistic, political and religious structures and practices. Excavations in Nubia since then have revealed a lost tradition of Greek epigraphy, wall painting, and monumental architecture that feature traces of liturgical poetry, royal portraiture, and a wide array of sacred figures. Despite this rich history and its broad transcultural horizon, Nubia’s astonishing artistic, epigraphic and archaeological traditions remain largely unknown to scholars outside of Nubiology.

In this interdisciplinary workshop, experts on medieval Nubian culture will present recent research to a community of scholars working broadly on premodern art history. Topics will range from issues of display and the historiography of Nubian art to costume and depictions of sacred authority. The workshop will also focus on how novel methodological approaches will better position Nubia within histories of medieval art in the global past and present.

PROGRAM

10.30
Welcome - Gerhard Wolf (Kunsthistorisches Institut in Florenz - Max-Planck-Institut)
Opening Remarks - Ravinder Binning (Ohio State University)

INTRODUCTION

10.45-11.30 Dobrochna Zielińska (Department of Archaeology, University of Warsaw)
“Introduction to Late Antique and Medieval Nubian Art”

SESSION I: POWER AND KINGSHIP

11.30-12.15 Karel C. Innemée (Faculty of Humanities, University of Amsterdam)
“The Visual Manifestation of Power and Authority in Christian Nubia”

12.15-13.00 Magdalena Łaptaś (Faculty of History, Cardinal Stefan Wyszyński University)
“Apostles, Kings, and Archangels. Building a Royal Tradition through Painted Images in Medieval Nubia”

13.00-14.00 LUNCH FOR WORKSHOP PARTICIPANTS

SESSION II: TRANSCULTURAL CONNECTIONS

14.00-14.45 Andrea M. Achi (Assistant Curator, Department of Medieval Art and The Cloisters, The Metropolitan Museum of Art)
“Wood and Ivory Boxes in Late Antique Nubia”

14.45-15.30 Gertrud J.M. van Loon (Institute of Archaeology, University of Warsaw)
“Inspiration and Influences: Nubian Church Decoration and Its Relationship with Egypt”

15.30-15.45 COFFEE BREAK

SESSION III: ARCHAEOLOGY ANG EPIGRAPHY

15.45-16.30 Jacques van der Vliet (Universiteit Leiden / Radboud Universiteit Nijmegen / NINO Leiden)
“Text, Image and Performance in Medieval Nubia”

16.30-17.15 Adam Łajtar (Institute of Archaeology, University of Warsaw)
“The Literacy of Christian Nubia”

17.15-18.00 CLOSING REMARKS AND DISCUSSION



AVVISO
Questo evento viene documentato fotograficamente e/o attraverso riprese video. Qualora non dovesse essere d’accordo con l’utilizzo di immagini in cui potrebbe essere riconoscibile, da parte del Kunsthistorisches Institut in Florenz a scopo di documentazione degli eventi e di pubbliche relazioni (p.e. social media) la preghiamo gentilmente di comunicarcelo.

Scarica
Abstracts
(PDF, 176.56 KB)
Indietro
Luogo
Contatti
13 – 13 ottobre 2022
This event will take place in a hybrid format.

Venue
Palazzo Grifoni Budini Gattai
Via dei Servi 51
50122 Firenze, Italia

To participate in person please email sinem.casale@khi.fi.it to reserve a seat.

To participate online please register in advance via Zoom: https://zoom.us/meeting/register/tJEoceyqpzotH9A0WpUlMyi5GdLcIS5KAqmDAfter registering, you will receive a confirmation email containing information about joining the meeting.

FOR MORE INFORMATION: https://www.khi.fi.it/it/aktuelles/veranstaltungen/2022/10/medieval_nubia_copy.php

MONUMENTAL MEDIEVALISM: PUBLIC MONUMENTS & THE MIS|USE OF THE MEDIEVAL PAST, 5-6 OCTOBER 2022, ONLINE

WED, 5 OCT 2022, 12:30 – THU, 6 OCT 2022, 19:00 BST, ONLINE

In the summer of 2020, one of several dozen protests organised throughout the world in response to the murder of George Floyd in Minneapolis (USA) culminated in the statue of the slave trader Edward Colston being dumped into the water of Bristol Harbour (England). The ripples were felt across the globe. In the ensuing days, weeks and months, scores of other monuments depicting historical figures were variously defaced, toppled, removed from view, or placed under new scrutiny. Many of these had played prominent roles in the slave trade and/or in European colonialism. Some of these monuments were of medieval figures, while others were evocative—to varying degrees of credibility—of the (faux-)chivalric codes and rose-tinted regalia of the medieval past. Of course, to medievalists, the convergence of civic and civil statuary with protest and activism was nothing new. In fact—from the damnatio memoriae of later Roman Emperors to Saints Florus and Laurus smashing statues in Kosovo; Byzantine Eikonomachía; Aniconism in medieval Islam; the Huichang Persecution of Buddhist images; the Ghaznavid plundering of Mathura and Somnath; the Khmer intolerance of Jayavarman monuments in Angkor; the Strigólnik stripping of Pskov and Novgorod; and the First and Second Suppression Acts of the 1530s—many of its roots actually lie in the medieval world. What use then, or advantage, might the study of the Middle Ages hold in evaluating these modern political struggles? This workshop will address precisely this question.

The workshop has three aims. Firstly, it will explore examples of statues, monuments and related forms of public sculpture which speak to the ongoing making and unmaking of medieval figures, images and histories: what we term ‘Monumental Medievalism’. Secondly, in addition to considering the ‘when’, ‘how’ and ‘why’ of monuments’ original production, it will interrogate the varied and often contested meanings that monuments later acquired over time. Of special interest, moreover, will be papers that address not only the use but the misuse of the Middle Ages, in connection to questions of local identity, gender, sexuality, race, religion and/or marginalisation. Thirdly, it will take the measure of nostalgia for the Middle Ages in the twenty-first century, asking questions of appropriation, anachronism, authenticity, nationalism and reflecting upon the possibilities and pitfalls of conscripting medieval images to serve as contemporary cultural conduits.

**PROGRAMME**

ALL TIMES ARE IN BRITISH SUMMER TIME (UTC +1hr)

WEDNESDAY 5 OCTOBER

12:45-13:00 - Welcome

Euan McCartney Robson and Simon John

13:00-14:45 - Session 1: Monumental Medievalism in Modern Japan

Chair: Simon John (Swansea University, UK)

Sven Saaler (Sophia University, Japan): ‘The medieval roots of imperial loyalty: the cult of Kusunoki Masashige in modern Japan’

Judith Vitale (University of Zurich, Switzerland): ‘The “Movement for the Establishment of a Monument for the Mongol invasions”’

Ran Zwigenberg (Pennsylvania State University, USA): ‘Date Masamune: In (and off) the Saddle of History on Japan’s Periphery’

Oleg Benesch (University of York, UK), ‘A Japanese Monument to Global Medievalism: The Origins of the Yasukuni Shrine Yushukan Military Museum’

14:45-15:15 - BREAK

15:15-16:45 - Session 2: Encountering the Middle Ages through Monuments: approaches and debates

Chair: Euan McCartney Robson (Paul Mellon Centre, UK)

Laura S. Harrison (Independent Scholar, UK) & Andrew B.R. Elliott (University of Lincoln, UK): ‘“Set in Stone”: The Participatory Function of Medieval Statues’

Sarah Gordon (Utah State University, USA): ‘“Tear it Down”: Controversial Statues of Medieval Figures in the US (Joan of Arc and St. Louis)’

Simon John (Swansea University, UK): ‘The uses of medieval traditions, invented and otherwise: Brussels’ 1848 statue of Godfrey of Bouillon and perceptions of the (mostly) medieval past’

16:45-17:15 - BREAK

17:15-18:15 - Session 3: Monuments and the Medieval Past in Ukraine and Russia

Chair: Markian Prokopovych (Durham University, UK)

Emma Louise Leahy (Independent Scholar, Germany): ‘The Kyivan Rus’ as Origin Story in Soviet and National Historiographies: The Changing Meanings of Medieval Images in the Monumental Mosaic Art of Ukraine (1960s to 2010s)’

Anastasija Ropa (Latvian Academy of Sport Education, Latvia), Edgar Rops (Independent Scholar, Latvia), and Maria Inês Bolinhas (Catholic University of Portugal): ‘The Contested Statue of Knyaz Vladimir/Volodymyr’

THURSDAY 6 OCTOBER

12:00-13:30 - Session 4: Monuments, Medieval History and Nation-Building

Chair: Christoph Laucht (Conflict, Reconstruction and Memory research group, Swansea University)

Anna Lidor-Osprian and Romedio Schmitz-Esser (both Heidelberg University, Germany): ‘Between Medievalism and Baroque Maternalism: The Multifaceted Historical Monumentalism of nineteenth-century Austria’

Len Scales (Durham University, UK): ‘Unsettled Memories: Henry I (r. 919-936) in Quedlinburg’

Tommaso Zerbi (Bibliotheca Hertziana, Max Planck Institute for Art History, Italy): ‘A Tale of Two Monuments: Making, Remaking, and Unmaking the Myth of Amadeus VI of Savoy from the Nineteenth to the Twenty-First Century’

13:30-14:00 – BREAK

14:00-15:00 - Session 5: National Histories and the (ab)uses of the Middle Ages

Chair: Matthew Gabriele (Virginia Tech, USA)

Omer Merzić (Institute of Historical Research, UK): ‘The use and misuse of medieval monuments in Bosnia and Herzegovina’

Gethin Matthews (Swansea University, UK): ‘The use and abuse of the medieval past in Wales in the age of the Great War’

15:00-15:30 – BREAK

15:30-17:00 - Session 6: Monumental Women

Chair: Euan McCartney Robson

Julia Faiers (University of St Andrews, UK): ‘The invention and reinvention of Clémence Isaure in modern Toulouse’

Christopher Crocker (University of Manitoba, Canada): ‘Ásmundur Sveinsson’s “The First White Mother in America”: Guðríðr Þorbjarnardóttir as a (white-) feminist icon’

Caroline Bourne (University of Reading, UK): ‘The Gwenllian Monument at Kidwelly: Issues of Gender and a Contested Landscape in Commemorating Medieval Welsh History’

17:00-17:30 - BREAK

17:30-19:00 - Session 7: The Monumental Heritage of the Middle Ages

Chair: Anna Lisor-Osprian

Teresa Soley (Columbia University, USA): ‘Sculpting Portugal’s Golden Age: Tombs and the Image of the “Age of Discovery”’

Jessica Barker (The Courtauld Institute, UK): ‘Anachronic Empire: The Afterlives of the Padrões of Diogo Cão’

Ethel Sara Wolper (University of New Hampshire, USA): ‘Lessons from Mosul: ISIS, UNESCO, and the Spectacle of Definition’

19:00 - Concluding remarks

REGISTER: HTTPS://WWW.EVENTBRITE.CO.UK/E/MONUMENTAL-MEDIEVALISM-PUBLIC-MONUMENTS-THE-MISUSE-OF-THE-MEDIEVAL-PAST-TICKETS-385605214577?KEEP_TLD=1

‘Performance, Perception & Devotional Experiences in Medieval Sacred Spaces’, Universitat de Barcelona, 13-14 October 2022 (In-Person)

Conference programme

13 October 2022 (Facultat de Geografia i Història. Sala Jane Addams)

9.00am: Núria Jornet (Universitat de Barcelona), Fabio Massaccesi (Università di Bologna), Zuleika Murat (Università di Padova): Welcome and Opening of the Conference

9.20am: Olivia Robinson (University of Birmingham), Performance and Pleasure in Convent Spaces: Practice-based Research and the Medieval Convent Drama Project

Session I: Creating, Sanctifying and Experiencing Space: Architecture, Objects and Paintings
Chaired by Maria Soler Sala (Universitat de Barcelona)

10.00am: Fabio Massaccesi (Università di Bologna), Seeing and Believing: How the Triumphal Cross Shaped the Sacred Space (11th-14th century)

10.30am: Maddalena Vaccaro (Università degli Studi di Salerno), Sanctifying Spaces: Transmedial Interactions, Relics, and Apsis (9th-13th century)

Coffee break

11.00am: Cristina Guarnieri (Università di Padova), Pilgrims, Cripples, and Worshippers: Patterns of Devotion and Experience in the Shrine of St. Anthony in the Basilica del Santo

11.30am: Marta Crispí (Universitat Internacional de Catalunya), Los coros altos de los
monasterios femeninos como espacios litúrgicos y devoción: los monasterios de Sant Pere de les Puelles, Sant Antoni i Santa Clara i Santa Maria de Pedralbes de Barcelona

12.00pm: Davide Tramarin (Università di Padova), The Death of Christ in German Nunneries: Liturgical Spaces and Sensorial Dynamics

12.30pm: Discussion

Session II: Sight and the Other Senses: Interferences, Synergies, Synaesthesia
Chaired by Silvia Pérez (Universidad Pablo de Olavide)

14.30pm: Zuleika Murat (Università di Padova), Scenting the Blood of Christ: Material and Immaterial Aspects of Eucharistic Devotion in Late Medieval Venice

15.00pm: Micol Long (Università di Padova), Liturgical Combs or Liturgical Use of Combs?An Evaluation of Textual and Material Evidence 10th-13th century

Coffee break

16.30pm: Valentina Baradel (Università di Padova), Sensing the Saint, Experiencing the Resurrection: the Shrine of Saint Lazarus in Autun

17.00pm: Sara Carreño (Università di Padova), Tactile Discourse: Material Transmission of Theological Ideas in 14th Century Castile

17.30pm: Discussion

14 October 2023 (Museu Monestir de Santa Maria de Pedralbes)

9.30am: Anna Castellano (Director of Museu Monestir de Pedralbes), Welcome

Session III: Performances in a Monastic Space: Legal, Devotional and Liturgical Rituals
Chaired by Marta Sancho (Universitat de Barcelona)

10.00am: Silvia Pérez (Universidad Pablo de Olavide), Alberto Ruiz Berdejo (Universidad Pablo de Olavide), Muerte conmemorada y muerte ritualizada en las cofradías andaluzas de finales de la Edad Media

10.30pm: Jordina Sales (Universitat de Barcelona), Crimen y castigo en los primitivos cenobios hispanos (s. VI-VII): escenificaciones y performances

11.00pm: Sergi Sancho (Università di Padova), Monastic Performances, a Database. Conclusions on Perception and Categories

Coffee break

12.00 Núria Jornet-Benito (Universitat de Barcelona); Anna Castellano (Museu Monestir de Pedralbes), La ritualización de la obediencia a la abadesa: capellanes beneficiados y campesinos. Conventos de clarisas en la Barcelona de los siglos XIV y XV

12.30pm: Delfi Nieto (Queen Mary University of London), The Abbot, the Prior and the Destitute: The Washing of the Feet in Medieval Catalan Cloisters

13.00pm: Discussion and Closing Remarks

Organising Committee:

• Núria Jornet (Universitat de Barcelona)

• Fabio Massaccesi (Università di Bologna)

• Zuleika Murat (Università di Padova)

Contact Details: Núria Jornet (Universitat de Barcelona): jornet@ub.edu

Those who wish to attend online are requested to send an email to Núria Jornet to get the link to connect via Teams.

The conference is sponsored by Universitat de Barcelona – Monastic Landscape PG2018-095350-B-100; Università di Bologna; Università di Padova – ERC StG Project “The Sensuous Appeal of the Holy. Sensory Agency of Sacred Art andSomatised Spiritual Experiences in Medieval Europe (12th-15th century) – SenSArt”. This project has received funding from the European Research Council (ERC) under the European Union’s Horizon 2020 research and innovation programme (grant agreement No 950248)

LOOKING AT LANGUAGE, INDEX OF MEDIEVAL ART CONFERENCE; 12 NOVEMBER 2022 (IN-PERSON)

LOOKING AT LANGUAGE

Gold reliquary pendant/medical amulet (?), 10th–11th c, reverse. British Museum, London, inv. no. AF.354. © Trustees of the British Museum

SATURDAY, NOVEMBER 12, 2022

9:00 am to 5:30 pm with reception to follow

Julis Romo Rabinowitz A17, Princeton University

Pending any major changes in university COVID protocols, the conference will be hosted in person and also livestreamed. All registration is free.

Eight scholars in a wide range of specializations will address the many relationships between language and works of art, including the literal use and/or representation of language in creating a work; the linguistic traditions that surrounded its creation and reception, and the language now used to analyze and understand it. Speakers will include:

Ludovico V. Geymonat (Louisiana State University), “Twisted Latin in Monumental Images: Two Case Studies from 13th-Century Europe.”

Margaret S. Graves (Indiana University), “The Limits of Language.”

Ruba Kana’an (University of Toronto, Mississauga), “Words and Worlds: Iconography and Polemics in a 1526 Painting from Safavid Tabriz.”

Sean Leatherbury (University College Dublin), “Scripted Offerings: The Verbal and Visual Languages of Early Byzantine Votives.”

Sarit Shalev-Eyni (Hebrew University, Jerusalem), “Looking at Language in a Multilingual Environment: The Case of the Iberian Kaufmann Haggadah.”

Kathryn Starkey (Stanford University), “Inscribing Women: Stories within Stories in Medieval German Literature.”

Benjamin C. Tilghman (Washington College / The Material Collective), “Looking through the Gloss: Script, Style, and Historical Consciousness in Early Medieval England.”

Warren T. Woodfin (Queens College, City University of New York), “By the Book? What Mosaic Misspellings Tell Us about Iconographic Models.”

A FULL CONFERENCE SCHEDULE WILL BE POSTED SOON. TO REGISTER FOR FREE IN-PERSON ATTENDANCE, PLEASE VISIT OUR CONFERENCE REGISTRATION PAGE.

FOR MORE INFORMATION: https://ima.princeton.edu/conferences/

GRADUATE STUDENT TRAVEL GRANT

This year, the Index will offer one graduate student travel grant for a non-Princeton student who wishes to attend the conferences but lacks the financial resources to do so. Review the application process here.

ONLINE TAXONOMY WORKSHOP

In connection with the “Looking at Language” conference, on Tuesday, 8 November 2022, 12:00 – 1:00pm EDT, the Index will be holding a workshop on Zoom titled Looking at (Index) Language: A Dive into Taxonomy at the Index of Medieval Art. This workshop is open to anyone interested in learning about Index language standardization practices and preferred terms in Index cataloging. Find out more about the workshop and how to register here.