INTERNATIONAL SYMPOSIUM: THE MEDIEVAL TREASURY IN IBERIA AND BEYOND. COLLECTIONS, CONNECTIONS, AND REPRESENTATIONS, CCHS-CSIC, 28-30 NOVEMBER 2022 (IN-PERSON AND ONLINE)

INTERNATIONAL SYMPOSIUM

THE MEDIEVAL TREASURY IN IBERIA AND BEYOND

COLLECTIONS, CONNECTIONS, AND REPRESENTATIONS

28-30 November 2022 (15.30-18.45 CET) (9.30-12.45 ET)

Madrid, CCHS-CSIC

C/ Albasanz 26-28, 28037 Madrid Room: 0E18 Menéndez Pidal, and online

Treasuries offer an opportunity for reading evidence over time, weighing the sometimes contradictory conclusions from textual or visual sources against technical analysis. This project delves into the medieval objects once gathered in ecclesiastical treasuries in order to highlight long-distance and transcultural networks, shining a light on issues of broad relevance for scholarship and society today. We investigate multiple collections in the Iberian Peninsula and beyond, carrying out comparative research on medieval metalworks, ivories, hardstones, and textiles, along with their representations in miniatures and murals.

Coordination: Therese Martin (IH-CSIC)

Organized by: IH-CSIC

Research project: El tesoro medieval hispano en su contexto: colecciones, conexiones y representaciones en la península y más allá, IP Therese Martin, RTI2018-098615-B-I00, Ministerio de Ciencia e Innovación/ AEI /10.13039/501100011033/ FEDER “Una manera de hacer Europa", 2019-2022.

Link to 2020 open access volume: https://brill.com/view/title/57009

Registration form: https://docs.google.com/forms/d/e/1FAIpQLSeIaEXtErDVg8FXSkPtAs5U9keMym_4GCqARWXgqgurfapZJw/viewform?vc=0&c=0&w=1&flr=0

Zoom codes will be provided shortly before the symposium.

Contact: medievaltreasury@gmail.com

MONDAY 28 NOVEMBER 2022

Moderators: Therese Martin, CSIC, Madrid, and Alicia López Carral, UCM/CSIC, Madrid

15.30 Therese Martin, CSIC, Madrid Introduction.

16.00 María Judith Feliciano, independent scholar, New York
Reconsidering the Medieval Treasury: Absence and Transformation in Iberian Cathedrals.

16.30 Ana Cabrera Lafuente, Turespaña/Tourspain, Madrid
Unknown Pieces from Well Known Treasuries: Textiles at the Cathedrals of Ourense, Palencia, and Toledo.

17.00 Discussion

17.15 Break

17.30 Ignacio Montero, CSIC, Madrid, and Xosé Lois Armada, CSIC, Santiago de Compostela
XRF Analysis of Treasured Objects.

18.00 Mariam Rosser-Owen, Victoria and Albert Museum, and Therese Martin, CSIC, Madrid
Looking Anew at Nielloed Silverworks in 10th- to 12th- Century Iberia.

18.30 Discussion

TUESDAY 29 NOVEMBER 2022

Moderators: Verónica Abenza, CSIC, Madrid, and Teresa Martínez Martínez, University of Warwick

15.30 Laura Rodríguez Peinado, Universidad Complutense de Madrid
El Pendón de San Isidoro en contexto: el valor de los estandartes como reliquias en los tesoros medievales.

16.00 Jordi Camps, Museu Nacional d’Art de Catalunya De la mesa del altar a la imagen mural: los cálices en la Plena Edad Media.

16.30 Eduardo Manzano, CSIC, Madrid
The Qur’an Captured at the Battle of Alhandega (939).

17.00 Discussion

17.15 Break

17.30 Alicia López Carral, CSIC, Madrid and Universidad Complutense de Madrid
El otro tesoro de la Catedral de Toledo: los libros litúrgicos a través de los inventarios.

18.00 Shannon Wearing, Pontifical Institute of Mediaeval Studies, Toronto
Louis's Bible and Alfonso's Cantigas: Royal Manuscripts in Dialogue.

18.30 Discussion

Wednesday 30 November 2022

Moderators: Therese Martin, CSIC, Madrid, and Hannah Thomson, UCLA

15.30 Silvia Armando, Ministero della Cultura, Italia Treasuries of the Norman South: Gift-Giving in Apulia between Episcopal and Secular Powers.

16.00 Jitske Jasperse, Humboldt Universität zu Berlin Caskets and Croziers: Limoges in Toledo.

16.30 Julie Harris, independent scholar, Chicago
A Leap of Faith: Isaac Caro’s “Tefillin Case” and the Quest for Sephardic Material Culture.

17.00 Discussion

17.15 Break

17.30 Verónica Abenza Soria, CSIC, Madrid
Towards a Corpus of Byzantine Objects in Spain: A Tale of Travel and Reuse.

18.00 Pierre Alain Mariaux, Université de Neuchâtel, and Romain Jeanneret, Abbaye de St-Maurice Singular Object, Multiple Views, Complex Response: The Great Shrine of St. Maurice as Paradigm.

18.30 Discussion/ Conclusions

CLICK FOR PROGRAMME

For more information: http://www.cchs.csic.es/es/event/international-symposium-medieval-treasury-iberia-beyond-collections-connections

Call for Papers: Digital Medievalisms at AAH Annual Conference 2023, due 11 November 2022

Call for Papers
Digital Medievalisms
Association for Art History Annual Conference 2023
12-14 April 2023, University College London

due 11 November 2022, 11:59pm ET


Claudia Haines, Tufts University, Claudia.Haines@tufts.edu
Atineh Movsesian, University of California, Berkeley, amovsesian@berkeley.edu

This session will discuss the benefits and advantages (or disadvantages) modern technology can bring to the field of medieval studies. Digital technologies have created new methodologies for the humanities. With the help of three-dimensional scanning, for example, researchers can “visit” and study medieval monuments in virtual and augmented reality. Similarly, the increasing digitization of medieval manuscripts make these fragile and often inaccessible objects available to a wider public. With the current social and political climate—the ongoing pandemic creating restrictions for research, and wars threatening medieval monuments and objects— how can technology benefit the study of the Middle Ages? Alternatively, could the application of technology to the field of medieval studies have any disadvantages?

The field of digital humanities is rapidly growing and advancing. In addition to conservation and archival projects, new technologies bring forth new methodologies. How can these methodologies improve the understanding of the global medieval world? Can virtual and augmented realities help researchers visualize the political and social aspects of the global Middle Ages? Will new technologies expand access to monuments and objects currently hindered by political, social, or public health constraints? And finally, how can the digital humanities be applied in classrooms and museum education? This session will address these questions and more through an interrogation of the role of technology in medieval art research.

To offer a paper:

  • Please email your paper proposals directly to the session convenor(s).

  • You need to provide a title and abstract (250 words maximum) for a 20-minute paper (unless otherwise specified), your name and institutional affiliation (if any).

  • Please make sure the title is concise and reflects the contents of the paper because the title is what appears online, in social media and in the digital programme.

  • You should receive an acknowledgement of receipt of your submission within two weeks.

  • Deadline for submissions: 11 November 2022, 11:59pm ET

The Dynastic in the Monastic: King Robert of Anjou, Denva Gallant, Online and In-Person Lecture, 16 November 2022, 17:00 – 18:30 GMT (12:00-1:30 ET)

The Dynastic in the Monastic: King Robert of Anjou

Denva Gallant

The Murray Seminar Series at Birbeck

Online and In-Person Lecture

Wed, 16 November 2022, 17:00 – 18:30 GMT (12:00-1:30 ET)

Birkbeck, University of London, 43, Gordon Sq. Keynes Library London WC1H 0PD United Kingdom


The fourteenth century in western Europe witnessed a surge of monastic and lay interest in imitating the practices of the sainted desert hermits known to later generations as the Desert Fathers and Mothers. With 272 illustrations narrating the lives of desert fathers and mothers, NY, Pierpont Morgan Library, MS. M.626 represents an outstanding and rare witness to this moment of eremitic adulation. This talk argues that the manuscript was also part of a broad campaign of identity construction at the court of King Robert of Anjou (r. 1309–1343). On folio 60v of the manuscript, a crypto-portrait, a disguised representation of King Robert as Emperor Theodosius, suggests that Robert was one of the intended readers of Morgan MS. M.626. It is well known that Robert endeavoured to present himself as a pious ruler throughout his reign. The Morgan manuscript sheds light on one such way the sovereign endeavoured to do so—by embodying and performing a sacred rulership through his readings of the Lives of the Desert Fathers.

To Register to Attend Virtually: https://www.eventbrite.co.uk/e/the-dynastic-in-the-monastic-king-robert-of-anjou-livestream-tickets-444058319387

To Register to Attend In-Person: https://www.eventbrite.co.uk/e/the-dynastic-in-the-monastic-king-robert-of-anjou-tickets-444047918277

The Murray Seminars on Medieval and Renaissance Art present current research by emerging and established scholars.  Seminars are held three times a term and take place at 5.00pm in the History of Art Department (43, Gordon Sq., London WC1H 0PD) in The Keynes Library (Room 114), unless stated otherwise. 

Talks finish by 5.50pm to allow those with other commitments to leave, and are then followed by discussion and refreshments. These talks are supported by the Murray Bequest in memory of the department's founder Peter Murray, and are open to all. Please follow booking links to register online if you wish to attend. If you wish to join our mailing list, please contact Laura Jacobus.

Employment Opportunity, Assistant Curator of Manuscripts, J. Paul Getty Museum, Rolling Deadline

Assistant Curator of Manuscripts

J. Paul Getty Museum


Deadline: Rolling


Diversity, Equity, Accessibility, and Inclusion at Getty

Getty believes diversity, equity, accessibility and inclusion are essential to our excellence and to the execution of our mission. The Getty community values differences in the pursuit of inquiry and knowledge, mutual understanding, respect, trust, transparency, and cooperation. We are committed to creating a diverse and welcoming workplace that reflects the diversity of the communities we serve and includes individuals with diverse backgrounds and experiences. Individuals of color, women, LGBTQIA+, veterans and persons with disabilities are encouraged to apply.


Job Summary

Our Mission 

The J. Paul Getty Museum seeks to inspire curiosity about, and enjoyment and understanding of, the visual arts by collecting, conserving, exhibiting, and interpreting works of art of outstanding quality and historical importance and is one of four programs of the J. Paul Getty Trust.  The Museum operates two sites, the Getty Villa in Malibu, which exhibits its collection of Greek and Roman antiquities, and the Getty Center in Brentwood, which displays its collections of European art: Medieval and Renaissance illuminated manuscripts, paintings, sculpture, decorative arts, drawings to 1900, and photography to the present day (including non-European works).  The Museum mounts approximately 25 temporary exhibitions a year across its two sites; maintains an annual permanent gallery improvement program and offers wide-ranging and ambitious programming for its visitors.

 

The Opportunity

The J. Paul Getty Museum seeks an Assistant Curator of Manuscripts to become a vital member of a team working with one of the foremost collections of medieval and Renaissance (ca. 800-1550) illuminated manuscripts in the United States. The Assistant Curator will play an instrumental role in supporting the collection and its many publics through acquisitions, exhibitions, original research, and innovative interpretation. The department is currently engaged in developing programming that is engaging and meaningful to diverse, contemporary audiences. The successful candidate will bring creative ideas and fresh perspectives, key attributes for our ongoing work to increase diversity, equity, inclusion, and access, both through our internal work and our public-facing programs. Many of the duties of the Assistant Curator will revolve around the Manuscripts Department’s schedule of 3-4 exhibitions per year, the primary means by which the collection is presented to the public. The Assistant Curator will have the opportunity to conceive and develop these exhibitions and to work with other curators on larger exhibition projects that seek to advance the field through new research, engaging interpretation, and international collaboration.

 

The Assistant Curator will contribute to the ongoing work of cataloguing the collection for the museum website, including updating information and writing descriptions of individual objects. The Assistant Curator will support the department’s administrative functions, including processing loans, overseeing the study room, and supervising photography of the collection. The ideal candidate will be a highly motivated individual with exceptional organizational skills and experience managing projects in an iterative, fast-paced environment. A natural consensus-builder, the candidate understands how to collaborate successfully in a team with other curators in the department, as well as with colleagues across the campus, including Conservation, Design, Exhibition, Education, Interpretive Content, Imaging Services, Preparators, and Registrars.


Major Job Responsibilities

  • Applies advanced knowledge of art history and art education to curatorial assignments of moderate complexity

  • Performs scholarly research

  • Conceives and executes smaller exhibitions

  • Verifies value and authenticity of potential acquisitions and participates in the preparation of acquisition proposals

  • Travels and networks domestically and internationally to develop/maintain relationships with other colleagues and institutions

  • Publishes and lectures in area of specialization

  • Administers incoming and outgoing loans

  • Updates information in collection management system and writes collection entries for the website

  • Participates in photography of the collection

  • Monitors the reading room

  • Contributes to the on-line presence of the manuscripts collection

  • Supports scholarly visits and requests


Qualifications

  • Master’s degree in art history, art or art education OR 2-4 yrs of curatorial experience OR Ph.D.

  • Fluency in at least one foreign language (modern or ancient) required

  • Competent to work in most curatorial functions

Requirement

All employees must be fully-vaccinated against the COVID-19 virus as a condition of employment. Exemptions from this requirement as a reasonable accommodation due to medical contraindication, disability or sincerely held religious belief or practice will be considered.

Knowledge, Skills and Abilities

  • Excellent communication and interpersonal skills

  • Demonstrated ability to build relationships and collaborate with teams across disciplines

  • Excellent writing and proofing skills

  • Excellent organizational skills with attention to detail

  • Working knowledge of collection management databases, preferably The Museum System(TMS)

  • Demonstrated experience with art historical research and writing

  • Proven experience dealing with confidential information

  • Specialty in Italian art (ca. 1300-1500) preferred

Equal Opportunity Employer

We are proud to be an equal opportunity employer. All qualified applicants will receive consideration for employment without regard to age, ancestry, citizenship or immigration status, color, disability, ethnicity, familial status, gender identity and/or expression, genetic information, marital status, national origin, race, religion, sex, sexual orientation, veteran status, or any other protected status.

Requisition Number 2022-3991

Type Regular Full-Time

Position Status Getty Center

Program/Department Museum - 0309-Manuscripts

Category Curatorial

Salaried/Hourly Salaried

Targeted Hiring Range $66,156 - $86,015 Annually

ERRP Eligible No

Salary Commensurate with experience and internal equity

APPLICATION LINK

APPLICATION FAQS

CFP: COLLOQUIUMBURGUNDIAN SCULPTURE OF THE 15TH CENTURY (FEBRUARY 1, 2023 DEADLINE)

COLLOQUIUM
BURGUNDIAN SCULPTURE OF THE 15TH CENTURY

CFP DEADLINE FEBRURARY 1, 2013

DIJON, 11-13 DECEMBER 2023

Our knowledge about sculpture in France during the long 15th century, from the International Gothic period to the early Renaissance, is in a paradoxical situation. It has been enriched by numerous studies over the last few decades, which have focused on certain issues such as the artists and the centers or regions of production, on the most significant building sites, on the commissioners, on certain forms and iconographies, not to mention the materials and techniques. All these works have underlined, if it were necessary, the dynamism and the quality of the sculpted production of the last century of the Middle Ages in the kingdom of France and, within it, particularly in the Burgundian artistic center. The product of a dense network of artists and patrons, the sculptural production of the areas under the rule of the Valois princes of Burgundy from Philip the Bold (1347-1404) to their distant imperial heirs at the beginning of the sixteenth century has long attracted the attention of art historians, who have recognized it as a veritable "melting-pot" of late medieval French and European sculpture.

However, since the works of Louis Courajod (1841-1896), André Michel (1853-1925), Paul Vitry (1872-1941), Marcel Aubert (1884-1962) or Pierre Quarré (1909-1980), the narratives of Art History have not changed much about this production: they remain structured by the artistic personalities of the sculptors of the ducal workshop (Claus Sluter, Claus de Werve, Jean de La Huerta and Antoine Le Moiturier) and continue to relay the same clichés on the animated and generous draperies, supposed to give way to those of the Loire détente, which, itself, prepares the field for the innovations of the Renaissance. On closer inspection, however, numerous works of art as well as documentary sources come up frequently and persistently in contradiction with such narratives. These narratives born with the great syntheses of the 19th and 20th centuries, when the territories remained less well known than they are today, still weighs heavily on our views about 15th-century Burgundian sculpture.

This history, as it is told, is the product of ideological configurations rooted in a specific period. It has already been emphasized, but it has been less often noticed that it has made any real reappraisal of this production difficult. When André Chastel (1912-1990) makes of the art of the 15th century a milestone in the progressive constitution of a "French taste", of a "French manner" (put in parallel with the march towards the political unification of the kingdom, scandalized by the heroic ride of Joan of Arc until 1431 then the integration of Aquitaine in 1453, Burgundy in 1477, Anjou in 1481, Provence in 1487, Brittany in 1521 or Bourbonnais in 1531), this historiographic construction is based primarily on the study of architecture and painting in its various forms rather than on sculpture, which is only marginally used. Louis Courajod had previously called upon this sculpture, but essentially to make it the vector of a northern baptism of French art, to counteract the influences, deemed as deleterious, of southern Latinity.

It is the whole of these accounts that the present colloquium wants to put back on the workbench. A partnership between the University of Burgundy, the University of Franche- Comté, the University of Lausanne and the Louvre Museum, led to a collective reflection undertaken since 2021 on 15th century Burgundian sculpture. This research program has already given rise to a meeting, held in Lausanne in May 2022, devoted more specifically to the European influence of this sculpture, its sources as well as its receptions. The colloquium to be held in Dijon from Monday, December 11 to Wednesday, December 13, 2023, will aim to extend this discussion by addressing the various aspects raised by this remarkable heritage: its historiographical stakes for the history of Art History as a discipline; the way in which recent discoveries and works have recently contributed to reconfiguring ancient narratives; the methodological questions raised by the willing to attach specific artworks to the great documented figures; the rethought insertion of this production into the strictly sculptural, and then more broadly artistic, panorama of the kingdom in the late Middle Ages; the phenomena of coexistence, resistance and local idiosyncrasies perceptible in the territory, notably in its vernacular production, such as the paradox (and not the least) of the numerically very reduced reception of the art of Claus Sluter, who nevertheless became a tutelary figure of Burgundian sculpture; in this respect, the way in which the geographical and political singularity of the division between the lands “de par-deçà” (Burgundy and the geographically French Franche-Comté) and the territory of et “de par-delà” (the Southern Netherlands) was taken into account to understand the building up of a specific style. We hope, on the occasion of this symposium, to bring out new works, new sculpted ensembles hitherto ignored or poorly taken into consideration by critics, as we wish to benefit from the most recent works devoted to the materials and techniques of this sculpture.

This symposium is directly linked to the project of a major exhibition to be held at the Museum of Fine Arts in Dijon in 2026 and which will be devoted to Burgundian sculpture from the 15th century. As such, it will also be an opportunity to organize a collective brainstorming on the synopsis of this upcoming exhibition and the issues it could raise (a workshop will thus be devoted to this reflection at the end of these three days of the colloquium).

For this project, we therefore invite researchers to submit to the organizers proposals for papers that may concern the following aspects of this theme (non-limitative list):

Papers, therefore,...

- ... aiming to present monographic studies on artworks that have not been worked on, or have been overlooked;

- ... presenting monographic studies renewing our knowledge of well-known artworks;

- ... dealing with iconographic questions specific to 15th century Burgundian sculpture;
- ... addressing the technical and material aspects of this sculptural production;
- ... looking at the commissioners of this sculpture and the political or devotional stakes of

these commissions;
- ... considering this 15th century Burgundian sculpture in terms of its role in the

historiography of the discipline since the 19th century;
- ... using comparisons with other territories to better highlight the singularities of this

Burgundian production or its common points.

Proposals should be sent to Ms. Melissa Nieto (melissa.nieto@unil.ch) and should consist of 1) a summary of the proposed paper’s rationale, not exceeding one page; 2) a short biographical presentation of half a page. The entire proposal must be sent by February 1, 2023. Responses will be provided by March 1, 2023.

Organizing Committee:

Thomas Flum (University of Franche-Comté) Jean-Marie Guillouët (University of Burgundy) Sophie Jugie (Louvre Museum)
Michele Tomasi (University of Lausanne)

GRANT OPPORTUNITY: NEH Public Scholars Grant (November 30, 2022 Deadline)

Apply for an NEH Public Scholars Grant (November 30, 2022 Deadline)

The National Endowment for the Humanities (NEH) is accepting applications for the Public Scholars program. The program offers grants to individual authors for research, writing, travel, and other activities leading to the creation and publication of well researched nonfiction books in the humanities written for the broad public.

 The program welcomes projects in all areas of the humanities, regardless of geographic or chronological focus. The resulting books might present a narrative history, tell the stories of important individuals, analyze significant texts, provide a synthesis of ideas, revive interest in a neglected subject, or examine the latest thinking on a topic. Books supported by this program must be written in a readily accessible style, must clearly explain specialized terms and concepts, and must frame their topics to have wide appeal.

 The Public Scholars program is open to independent writers as well as applicants with an institutional affiliation. It offers a stipend of $5,000 per month for a period of six to twelve months. The maximum stipend is $60,000 for a twelve-month period. Applicants must have U.S. citizenship or residency in the U.S. for the three years preceding the application deadline. In addition, they must have previously published a book with a university or trade press or at least three articles or essays in general-interest publications reaching a large audience.

 More information (including a full statement of the eligibility requirements) is available on the NEH’s website at http://www.neh.gov/grants/research/public-scholar-program.  The application deadline for this cycle is November 30, 2022. Recipients may begin the term of the grant as early as September 1, 2023 or as late as September 1, 2024.

 An informational video, a list of previously funded projects, and nine examples of successful applications are also available on the webpage linked above. Questions may be directed to publicscholars@neh.gov.

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

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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)

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).

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