Opportunity for Graduate Students & ECRs: Inscriptions in a Digital Environment: An Introduction to EpiDoc for Byzantinists (5, 12, and 26 April 2024 - Zoom), Register By 22 March 2024

Mary Jaharis Center for Byzantine Art and Culture and the Byzantine Studies Association of North America

Opportunity for Graduate Students & ECRs

Inscriptions in a Digital Environment: An Introduction to EpiDoc for Byzantinists

Workshop by Martina Filosa (University of Cologne)

5, 12, and 26 April 2024 / 11:00 AM–3:00 PM EDT with a break from 12:30–1:00 PM - Zoom

Registrations By 22 March 2024

The Mary Jaharis Center for Byzantine Art and Culture and the Byzantine Studies Association of North America are pleased to offer a three-part EpiDoc workshop for graduate students and early career researchers in collaboration with Martina Filosa of the University of Cologne.

In this online workshop, participants will explore the use of EpiDoc, the established standard for digitally encoding ancient inscriptions, papyri, and other primary and documentary texts in TEI XML for online publication and interchange. The workshop will also introduce the participants to the EFES (EpiDoc Front-End Services) platform for viewing and publishing EpiDoc editions. The workshop will include asynchronous tutorials, real-time sessions, and guided hands-on exercises. Participants will have the opportunity to work with their own epigraphic material, broadly understood.

Registration closes Friday, March 22.

Who is eligible?
* Graduate students and early career researchers (PhD received after April 2016) in the field of Byzantine studies.
* All participants must be BSANA members. BSANA membership is free for graduate students and early-career contingent scholars who have earned their PhD within the last eight years and who do not hold a permanent or tenure-track appointment.

For a full description of the workshop and to register your interest, please visit https://maryjahariscenter.org/events/inscriptions-in-a-digital-environment.

Contact Brandie Ratliff, Director, Mary Jaharis Center for Byzantine Art and Culture, with any questions.

Mary Jaharis Center for Byzantine Art and Culture Lecture Series: Recycled Cities: Sardis and the Fortifications of Early Byzantine Anatolia, Jordan Pickett, 28 March 2024 12:00PM ET (Zoom)

Mary Jaharis Center for Byzantine Art and Culture Lecture Series

Recycled Cities: Sardis and the Fortifications of Early Byzantine Anatolia

Jordan Pickett, University of Georgia

Thursday, March 28, 2024 | 12:00 PM EDT | Zoom

Sardis Acropolis, oblique view from east. Photo: Jordan Pickett for Sardis Expedition, 2019, https://maryjahariscenter.org/events/recycled_cities

The Mary Jaharis Center for Byzantine Art and Culture is pleased to announce the final lecture in our 2023–2024 lecture series.

The largest standing architecture at the ruined city of Sardis is not its famous Temple of Artemis, the fourth largest Ionic temple of antiquity, but is instead the massive but little-published fortification that sits on its Acropolis. This paper delivers preliminary results from new study of the Byzantine fortifications on the Acropolis at Sardis, part of the larger Harvard-Cornell Exploration of Sardis ongoing since 1958. Composed entirely of thousands of architectural blocks and sculpture recycled from older Iron Age and Roman monuments of Sardis, our understanding of the Acropolis fortifications hinges on three questions considered here. How has the Acropolis, composed of extraordinarily friable loose conglomerate subject to erosion and earthquake, changed since Antiquity? When were the Acropolis fortifications constructed? Possibilities range from c. 550 during the reign of Justinian to as late as c. 850. And, how and by whom were the Acropolis fortifications constructed? Set at a remarkably steep elevation, the labor for transport and construction with reused materials was extraordinary. No minor monument of the “Dark Ages”, the fortifications on the Acropolis at Sardis stand as a remarkably well-preserved complex of defensive architecture that sheds light on the priorities and capacities of communities in Byzantine Anatolia.

Jordan Pickett is Assistant Professor in the Department of Classics at the University of Georgia and co-PI, with Benjamin Anderson (Cornell University), for Acropolis investigation for the Archaeological Exploration of Sardis, Turkey, under the direction of Nick Cahill (University of Wisconsin).

Advance registration required at https://maryjahariscenter.org/events/recycled_cities

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

Call for Sessions: Mary Jaharis Center Sponsored Panel, 50th Annual Byzantine Studies Conference, Due 3 April 2024

Call for Sessions

Mary Jaharis Center Sponsored Panel, 50th Annual Byzantine Studies Conference

Due 3 April 2024

As part of its ongoing commitment to Byzantine studies, the Mary Jaharis Center for Byzantine Art and Culture seeks proposals for Mary Jaharis Center sponsored sessions at the 50th Annual Byzantine Studies Conference to be held in New York City, October 24–27, 2024. We invite session proposals on any topic relevant to Byzantine studies.

Session proposals must be submitted through the Mary Jaharis Center website. The deadline for submission is April 3, 2024.

If the proposed session is accepted, the Mary Jaharis Center will reimburse a maximum of 5 session participants (presenters and chair) up to $800 maximum for scholars based in North America and up to $1400 maximum for those coming from outside North America. Funding is through reimbursement only; advance funding cannot be provided.

For further details and submission instructions, please visit https://maryjahariscenter.org/sponsored-sessions/50th-bsc

Contact Brandie Ratliff, Director, Mary Jaharis Center for Byzantine Art and Culture, with any questions.

Upcoming Exhibition! The Book of Marvels: Wonder and Fear in the Middle Ages, The J. Paul Getty Museum, 11 June - 25 August 2024

Upcoming Exhibition

The Book of Marvels: Wonder and Fear in the Middle Ages

June 11–August 25, 2024

The J. Paul Getty Museum, Los Angeles, California

This exhibition explores the text and images of the Book of the Marvels of the World, a manuscript made in the 1460s that weaves together tales of places both near and far. Told from the perspective of a medieval armchair traveler in northern France, the global locations are portrayed as bizarre, captivating, and sometimes dangerously different. Additional objects in the exhibition from the Getty’s permanent collection highlight how the overlapping sensations of wonder and fear helped create Western stereotypes of the “other” that still endure today. A complementary exhibition focusing on a second illuminated copy of the same text at the Morgan will open at the Morgan in the spring, and a publication will unite both exhibitions, The Book of Marvels: A Medieval Guide to the Globe.

For more information: https://www.getty.edu/visit/exhibitions/future.html

GCMS Hybrid PGR Conference 2024: Saints & Angels, University of Reading, 14 March 2024 (In-Person & Online)

GCMS Hybrid PGR Conference 2024

Saints & Angels

The Graduate Centre for Medieval Studies, University of Reading

14 March 2024 (In-Person & Online)

In an early ninth century English prayerbook believers were encouraged to pray to Cherubim and Seraphim for strength and health. Late antique and early medieval Christians were advised both to approach angels in prayer and to follow their example as role models in leading virtuous lives.

Meanwhile assistance could also be sought from the saints, who were perhaps easier to identify with as fellow human beings, and the High Middle Ages saw the rise of the cult of the saints. Litanies listed the many saints and a number of named angels, along with the whole heavenly host, in supplication.

Despite their very different origins, both saints and angels played an important role in the psyche of medieval people. The focus of this conference will be on the lived experience of believers and how saints and angels were encountered in medieval life, and how they influenced beliefs and actions. The ways in which different members of the company of heaven were sought for intercession and protection will be explored. Taking an interdisciplinary approach, we hope to shed new light on the roles of both saints and angels.

To book online tickets, click here.

To book in-person tickets, click here.

PROGRAMME

9:15-9:30AM GMT/5:15-5:30AM ET Registration

9:30-9:45AM GMT/ 5:30-5:45AM ET Welcome - Prof. R. Rist, University of Reading

9:45-11:00AM GMT/5:45-7:00AM ET Session 1 Angels - their roles.

Verity Bruce, University of Exeter, The Great Prince? St. Michael Archangel's Masculinity and Saintly Gender Performance

Tracy Silvester, University of Reading, Guardian of the Faithful and the Perfect Christian Champion: St. Michael’s Crucial Role in the Individual’s Fight Against Sin

Christopher Simonson, University of Missouri-Columbia, Angels and AI: The Genesis of Artificial Intelligence and Its Parallels with the Designs of the Divine

11:00-11:30AM GMT/ 7:00-7:30AM ET Break

11:30AM-12:45PM GMT/7:30-8:45AM ET Session 2 Angels - their representation.

Natasha Coombes, UWTSD Lampeter, Everyday Angels

Emily Metcalf-Corrison, University of Aberdeen, The Hours of the Guradian Angel and the Bridgettines

Dr. Hana Buer & Dr. Bettina Ebert, Museum of Archaeology, University of Stavanger, Norway, From Heaven S(c)ent. Revealing Angels on the Ceiling on St. Swithun’s Cathedral.

12:45-1:45PM GMT/ 8:45-9:45AM ET Lunch

1:45-3:05PM GMT/9:45-11:05AM ET Session 3 Saints - their roles and relics

Stephen Evans, University of Reading, St. Christopher: An exemplar as well as a Protector?

Dr. Frances Cook, University of Reading, Encountering St. Margaret in Antioch in Parish Churches in the Middle Ages

Luiz Octávio Lima de Mello, Universidade Federal Fluminense (UFF-Brasil), ‘Con piedoso latrocinio Io sacó’ - an analysis of the Ibrerian Furta-Sacra

3:05-3:20PM GMT/11:05-11:20AM GMT Break

3:20-4:30PM GMT/11:20AM-12:30PM GMT Session 4 Saints and the natural world

Scott Royle, Concordia University, Montreal, The Inheritance of Wind Miracles by bede from the Irish hagiographer Adomnán

Caroline Bourne, University of Reading, Seeking Intercession for Love: Holy Wells and Female Agency

4:30PM GMT/12:30PM ET Close

Call for Papers for Panel: CARVING COLLECTIVE PRACTICE: WORKING AGAINST MONOLITHIC SCHOLARSHIP ON STONE, IONA Conference (26-28 June 2024, London), Due 5 April 2024

Call for Papers for Panel

CARVING COLLECTIVE PRACTICE: WORKING AGAINST MONOLITHIC SCHOLARSHIP ON STONE

IONA: Islands of the North Atlantic Conference (King's College London, 26-28 June 2024)

Run by Meg Boulton, Meg Bernstein, Jill Hamilton Clements & Carolyn

Due Friday, 5 April 2024

We are seeking participants for Thinking with Stone, an interdisciplinary, experimental roundtable exploring collaborative methods and conversational approaches to studying stone in the medieval period. We welcome five- to ten-minute presentations on ideas for a work in progress on a stone object or structure, a particular methodological approach to stone, or new pedagogical ideas for engagement with stone. The session provides a forum for collaborative development of these projects in a way that looks outside traditional modes of single-authored expertise. Send your CV, project title, and short abstract (200 words) describing your project to the Google form linked (click here).

Thinking with Stone is Session III of a three-part series at IONA 2024 on Carving Collective Practice, which all are welcome to attend. Session I: Viewing Stone is a site visit and discursive workshop on early medieval stone sculpture, introducing questions about these multivalent and polyvocal monuments that will be further explored in Sessions II and III. Session II: Handling Stone is an immersive and interactive lab on the haptic qualities of stone. Used as we are to thinking about stone monuments as things not touched or moved, this hands-on lab focuses on the physical, material, and tactile properties of stone as a worked substance that was handled, carved, and subject to changes from weather and use.

Questions may be sent to jelements@uab.edu.

For more about IONA, click here.

Interdisciplinary Seminar on Medievalism: Drawing Medievalism: Dialogue with the Past through Comics, Patrick Murphy, 20 March 2024, 5:30-7:00PM GMT/1:30-3:00PM ET (Online - Teams)

Interdisciplinary Seminar on Medievalism

Drawing Medievalism: Dialogue with the Past through Comics

Patrick Murphy (Miami University)

Institute of Historical Research, School of Advanced Study, University of London

20 March 2024, 5:30PM - 7:00PM GMT/1:30PM - 3:00PMET

Online - Microsoft Teams

Charles Hatfield has characterized comics as an "art of tensions": text in conversation with image, layout in conversation with sequence, and images in sequential conversation with each other. Any comics maker works with such "tensions" (among others), but those creating within nonfiction historical genres—whether personal memoir, graphic history, or scholarly sequential art—confront another tension: that between perspectives of the present and an uncaricatured image of the past. Such a tension is central to the field of medievalism studies, which often highlights the blurred lines between imaginative creativity and detached scholarly study in the ongoing invention/discovery of the medieval past. Indeed, Richard Utz has called for medievalist scholars to embrace, rather than deny, our “own investigating subjects’ role in the long history [of medieval reception],” and comics seems to offer an ideal medium for doing just that. To consider this possibility, this presentation draws on examples from my own in-progress work of graphic nonfiction, A Comics History of the English Language, which features a cartoonized stand-in for myself, interacting with both students and subject matter. In the process of writing and illustrating this book, I have come to find such conversational possibilities of the comics medium to be at least as important as its graphic and illustrative resources—particularly in navigating a subject of such richness and risk.

Patrick J. Murphy is Professor of English at Miami University in Oxford, Ohio. He is the author of Unriddling the Exeter Riddles (2011) and Medieval Studies and the Ghost Stories of M.R. James (2017), both published by Penn State University Press. His current project is a work of graphic nonfiction, A Comics History of the English Language, which he is in the process of both writing and illustrating.

All welcome-this seminar is free to attend, but booking in advance is required.

Contact: ihr.events@sas.ac.uk

For more information about the event, click here.

Call for Papers: The Jeweled Materiality of Late Antique/Early Medieval Objects and Texts, Brno (11-12 Nov. 2024), Due By 30 Apr. 2024

Call for Papers

The Jeweled Materiality of Late Antique/Early Medieval Objects and Texts: From Cloisonné to Stained Glass to Experimental Poetry (4th–9th Centuries)

International conference, November 1112, 2024

Center for Early Medieval Studies, Masaryk University, Brno, Czech Republic

Abstracts Due by 30 April 2024

The interface among the material, visual, and literary cultures of the long late antiquity and beyond has become a topic of scholarly interest ever since the publication of the seminal 1989 book The Jeweled Style by Michael Roberts. The visual–verbal dialectics of this period of geopolitical and cultural transformation, as manifested in various instances of spoliation, patterns of fragmentation, and a preoccupation with (exquisite) detail in different cultural media, were subsequently studied especially by Jaś Elsner and Jesús Hernández Lobato. The topical relevance of Roberts’ original concept more than 30 years after its invention is clear from, among other scholarly endeavors, the recent edited volume A Late Antique Poetics? The Jeweled Style Revisited (2023), which offers numerous insightful contributions on the topic across different genres, regions, and temporal contexts.

Following this fruitful line of scholarly discourse, we wish to expand and collectively rethink the “cumulative aesthetics” of the long late antiquity ranging from the 4th to the 9th century by examining material artefacts and literary texts which are, in one way or another, rooted in what came to be called the “jeweled style”. The aim of the conference is to offer a shared interdisciplinary platform to study late antique aesthetic developments across different media and territories (esp. late Roman and Merovingian Gaul, the British Isles, the Italian peninsula, Hispania, West Asia, and Northern Africa). By bringing together specialists from different disciplines, including, but not limited to, art history, aesthetics, classical philology, and archaeology, we would like to consider complementary methodological perspectives on the phenomenon of jeweled aesthetics in late antique art and beyond with a particular focus on the following topics:

  • the birth of so-called mosaic windows composed of fragmented quarries of colored glass, a direct ancestor of medieval stained-glass windows;

  • the image-fragmentation processes at work in parietal mosaics and opus sectile;

  • the development and diffusion of objects made in the cloisonné style featuring precious gems, glass, and enamels;

  • the tradition of illuminated manuscripts featuring letters formed from animal figures, human forms, or “aniconic” motifs, typical of Merovingian and Insular book painting but also existing in other contexts;

  • the “material” work with language (incl. stylistic features, genre mixing, etc.) in late antique authors such as Optatian, Ausonius, Sidonius Apollinaris, Venantius Fortunatus, Aldhelm of Malmesbury, Hrabanus Maurus, and Sedulius Scotus;

  • the phenomena of (not only) so-called Hisperic aesthetics, such as multi-mediality, conceptual ambiguity, and meta-textual/meta-visual self-referentiality, across different spheres of late antique/early medieval cultural production;

  • the applicability of the concept of the “jeweled style” and fragmented aesthetics to the artistic cultures of West Asia (from late Sasanian to early Islamic) and the respective material production (e.g. silverware, mosaics, textiles, architectural decoration).

The conference will be held under the auspices of the project “Fragmented Images. Exploring the Origins of Stained-Glass Art” (GA23-05243S) funded by the Czech Science Foundation. Conference participants will have their travel expenses and accommodation costs fully or partially reimbursed.

Submit paper abstracts of about 300 words by 30 April 2024 to alberto.virdis@mail.muni.cz and marie.okacova@mail.muni.cz. Acceptance notification will be sent by 15 May 2024.

For a PDF of the call for papers, click here.

Conference papers will be considered for publication in the Convivium Supplementum series, indexed in WoS and Scopus and published jointly by Masaryk University and Brepols. The deadline for submitting complete papers is 31 March 2025, and the issue will be published by the end of 2025.

Organizers: Alberto Virdis, Marie Okáčová

CALL FOR PAPERS: Scaling Conques – The Frames of Reference in Understanding an 'Abbey in a Shell, Rome (10 October 2024), Abstracts & CVs Due 31 March 2024

CALL FOR PAPERS

Scaling Conques – The Frames of Reference in Understanding an 'Abbey in a Shell'

10 October 2024, Bibliotheca Hertziana – Max Planck Institute for Art History, Rome

Abstracts and CV Due 31 March 2024

This conclusive conference of the project “Conques in the Global World. Transferring Knowledge: From Material to Immaterial Heritage” aims at reviewing the question implicit in the projects main title: How is the knowledge we generate about Conques conditioned by the frames of references we apply and what is the right scale of observation to answer our research questions? How does the choice of scale predetermine the results? Locating medieval Conques within a network of abbeys characterized by administrative, political or artistic relations; understanding Conques’ treasury as a means to manifest claims connecting the abbey to the major centers of Christianity; studying the long durée of Conques’ heritage within the broader framework of 19th century national heritage building as well as that of the 20th century tourism industry; analyzing the architecture of the abbey as a complex organism whose transformations are conditioned by the period eye of each historical phase – these are just four examples of “Scaling Conques”.
In continuity with the last conference highlighting interdisciplinary perspectives we would like to invite participants to reflect on the design of their individual research in order to understand what it means to position Conques in the Global World as well as in a timeframe ranging from the central middle ages until today. The call for papers is directed at researchers both from within the project as well as beyond, in order to present research results and to reflect on this outcome in dialogue with the broader scientific community working on Conques.
The conference will be held at the Bibliotheca Hertziana – Max Planck Institute for Art History, Rome on 10 October 2024. The project will cover the costs of accommodation, and part of the travel expenses. The conference languages are English, French and Italian.
Researchers wishing to contribute are invited to upload a proposal including a title, an abstract (ca. 300 words) and a short CV (max. 2 pages) as a single PDF on the following platform until March 31, 2024: https://recruitment.biblhertz.it/position/13565974
Organized by Tanja Michalsky and Adrian Bremenkamp.
This conference is organized as a part of the project "Conques in the Global World. Transferring Knowledge: From Material to Immaterial Heritage" (H2020_ MSCA-RISE 101007770) https://conques.eu/

New Video! The ICMA Annual Lecture At the Courtauld: tannczen, helsen, kussen, vnd rawmen: Of Dancing and Dalliance in the Late Middle Ages, Nina Rowe, 7 February 2024

New Video!

The ICMA Annual Lecture At the Courtauld

tannczen, helsen, kussen, vnd rawmen: Of Dancing and Dalliance in the Late Middle Ages

Nina Rowe

Vernon Square Campus, Lecture Theatre 2, London

Wednesday 7 February 2024, 17:30 - 19:00

Nikolaus Türing, Relief with Morris Dancers, detail of the Goldenes Dachl, Innsbruck, ca. 1496-1500. (Photo: Stadtarchiv Innsbruck / Museum Goldenes Dachl)

For the link to watch the video, go the Courtauld Lecture section of the Lectures tab on the ICMA website.

In the German realm in the late Middle Ages, dancing was cause for both celebration and concern. Poets crafted animated accounts of boisterous roundelays welcoming winter and summer, municipal leaders designated festival days when citizens were permitted to whirl and shuffle in city squares, and churchmen admonished Christian youths to beware the seductions of frivolous young ladies on the dance floor. In short, literary and administrative texts evoke the appeal and hazards of dance, both as pastime and performance, in the southern part of the Holy Roman Empire, circa 1450 to 1500. Scholars of medieval art, however, have seldom probed the array of images showing couples spinning, performers leaping, and folks on the sidelines being enticed into the joyful fray. This lecture examines illuminations, wall paintings, prints, and sculptures that capture a variety of attitudes toward dancing in the regions of Bavaria and Austria in the second half of the fifteenth century. Clerics may have condemned dancing as a tool of the devil that irresistibly leads to unchastity and thereby damnation, but artistic evidence indicates that laypeople were willing to take their chances. In public images and small-scale works targeted to wealthy urban audiences, viewers could learn about the risks of dance, but also find encouragement to step out and join the party.

Nina Rowe is a Professor of Medieval Art History at Fordham University in New York City. Her books include The Jew, the Cathedral, and the Medieval City: Synagoga and Ecclesia in the Thirteenth Century (Cambridge UP, 2011) and The Illuminated World Chronicle: Tales from the Late Medieval City (Yale UP, 2020), as well as edited volumes, most recently: Whose Middle Ages?: Teachable Moments for an Ill-Used Past (Fordham UP, 2019). She has held fellowships from The Metropolitan Museum of Art, the National Endowment for the Humanities, and the American Council of Learned Societies, and she served as President of the International Center of Medieval Art (ICMA), 2020-2023.

Organised by Dr Tom Nickson (The Courtauld) and Dr Jessica Barker (The Courtauld). 

This event was kindly supported by the International Center of Medieval Art (ICMA). Series made possible through the generosity of William M. Voelkle.

The SAHGB Annual Lecture: Architecture and Affect in the Middle Ages, Paul Binski, 14 March 2024, 18:30-20:20GMT/14:30-16:20ET, London (In-Person & Online)

The SAHGB Annual Lecture

Architecture and Affect in the Middle Ages

Professor Paul Binski

Thursday, 14 March 2024, 18:30-20:20GMT/14:30-16:20ET (In-Person & Online)

Church House, Great Smith Street, London, England, SW1 United Kingdom

Much has been said in recent years about the emotional power of medieval religious art and its capacity to move audiences: think of the Pietà, the Crucifixion, the Virgin and Child.

But why has this interest not included the power of the buildings that sheltered and framed that art? There is no shortage of modern beliefs about the emotional power of architecture.  The great religious structures of the Romanesque and Gothic eras, along with their counterparts in the Byzantine and Islamic worlds, are for many among the most self- evidently moving creations of their, or any, age.  ‘Like a Bach fugue, a Gothic cathedral demands all our emotional and intellectual powers’, said Nikolaus Pevsner rather dauntingly in his widely-read An Outline of European Architecture.  Yet as objects of historical enquiry into the emotional power of architecture, such structures are neglected to a striking extent. 

Our speaker, Professor Paul Binski, promises an evening that will sharpen the focus on this neglected area, with skilled reflection and eloquence. Of his lecture, he gives a taste of what we can expect:

“My aim in delving into this relationship is not to promote the rights and wrongs of particular emotional responses to buildings, or to pretend that a study of such responses exhausts our critical understanding of architecture.  It is simply to propose a way of exploring the capacity that built structures had to move their beholders, and particularly the way that those experiences were communicated by what those people actually said.”

This will be a hybrid event. We warmly invite you to register for a place in person or as part of a remote audience. Please note that the lecture will be recorded and may be shared with SAHGB members.

There will be a reception after the lecture for those who join us at Church House, a historic Westminster site newly emerging from refurbishment following an extensive project. This provides an opportunity to meet the speaker and other guests over a drink before concluding the evening.

Paul Binski is Emeritus Professor of the History of Medieval Art at Cambridge University.  He is a Fellow of the British Academy and a Corresponding Fellow of the Medieval Academy of America, and was Slade Professor, Oxford University, 2006-7.   His publications include Westminster Abbey and the Plantagenets (1995), Becket’s Crown. Art and Imagination in Gothic England 1170-1300 (2004), Gothic Wonder: Art, Artifice and the Decorated Style 1290-1350 (2014) and most recently Gothic Sculpture (2019).  He now writes widely on general issues of aesthetics, rhetoric and the visual arts in the Middle Ages.

Remote Zoom places will be bookable until 3pm on the day of the event, but all should have registered in advance, as we will not be able to sell tickets on the door. The Annual Lecture is often one of the key annual events so we recommend booking early if you can.

Registration Form: LAST FEW PLACES NOW BOOKING

Giusto di Gand Reconsidered. An International Symposium Presenting New Research on his Attributed Oeuvre, In-Person (Rome & Urbino) & Online (05/13-15/2024), Registration Closes 03/31/2024

Giusto di Gand Reconsidered. An International Symposium Presenting New Research on his Attributed Oeuvre

Rome and Urbino as well as Streamed Online, 13-15 May 2024

Registration Closes 31 March 2024

On the occasion of the 550th anniversary of the Communion of the Apostles (Urbino, Palazzo Ducale), scholars from all over the world will convene in Rome and Urbino to reconsider the oeuvre attributed to its enigmatic Flemish painter, recorded as Giusto di Gand in Urbino and likely synonymous with the Ghent painter Joos van Wassenhove. Over the course of history the number of paintings attributed to this master has grown, to include works such as the magnificent Triptych of the Calvary (Ghent, Cathedral) and the Adoration of the Magi (New York, Metropolitan Museum). Recent research has offered new insights on their context of creation, dating and attribution. There is no better place to discuss new thoughts and theories about this painter than Urbino, the home of the painter’s principal work of reference made in 1473-1474. The attributed works will be studied in depth and discussed within the broader context of panel and manuscript painting in Ghent and of the arts at the ducal court Federico da Montefeltro in Urbino.

For more information and to register, click here. Places are limited.

Questions? giustodigand@gmail.com

Online Event: Index of Medieval Art Database Training Session, 19 March 2024, 10-11am EST (Zoom)

Online Event

Index of Medieval Art Database Training Session

19 March 2024, 10-11am EST (Zoom)

The bishop Ambrose of Milan writing in his study, Evangelarium of Santa Giustina (ca. 1523–1525), Dublin, Chester Beatty Library, MS. W 107, fol. 26v (Index system no. 205445)

We are pleased to announce that the Index will be holding a new online training session for anyone interested in learning more about the database! It will take place via Zoom on Tuesday, March 19, 2024 from 10:00 – 11:00 am EST.

This session, led by Index specialists Maria Alessia Rossi and Jessica Savage, will demonstrate how the database can be used with advanced search options, filters, and browse tools to locate works of medieval art. There will be a Q&A period at the end of the session, so please bring any questions you might have about your research!

Further information and registration can be found here: https://ima.princeton.edu/index_training/

Call for Papers: Unruly Iconographies? Examining the Unexpected in Medieval Art, Princeton University (9 November 2024), Due By 1 April 2024

Call for Papers

Unruly Iconographies? Examining the Unexpected in Medieval Art

Princeton University, New Jersey, 9 November 2024

Abstracts and Biography Due by 1 April 2024

Modern study of medieval iconography inevitably entails grappling with exceptions and the rupture of expectations. No sooner might scholars settle on an expected visual formula—Cain killing Abel with his farmer’s hoe, Saint George riding his snowy steed—than we’re pulled up by an image that flouts those rules. In the fifteenth-century Alba Bible, Cain sinks his teeth directly into his brother’s neck, arguably in reference to Jewish exegesis, while in some Byzantine and post-Byzantine icons of St. George, a small boy carrying a cup rides with the saint, inspiring a semi-serious modern tradition concerning George’s love of coffee. Other iconographic traditions seem to emerge out of the blue, as did the distinctive type known as the Virgin of Humility, which flowered suddenly in Mediterranean cities in the 1340s. Such unruly iconographies both intrigue and disappoint us: they engage yet disobey our expectations, and we are left to wonder why.

The culprit in such cases is less often a rogue medieval work of art than the rigidity of modern scholarship. Despite ample evidence to the contrary, the assumption that medieval iconographic norms were formulaic, authoritative, and above all universally obeyed still shapes the way modern scholars analyze the imagery they study. Even after the poststructuralist turn, art historians have continued to wrestle with expectations deeply embedded in the discipline: that medieval artists preferred to copy or turn to text rather than to innovate; that unprecedented iconography must be based on a lost original; that patrons or learned advisors must have directed artists’ work; that traditions translated smoothly across media, formats, and contexts; that all viewers read and understood the images they saw in the same way. Underlying many of these assumptions has been a wider one: that the ideas of greatest value must be tracked to artists rooted in cosmopolitan centers, rather than to artists and works of art that circulated freely throughout their peripheries.

The conference “Unruly Iconographies? Examining the Unexpected in Medieval Art” aims to open a new conversation about medieval images that don’t follow the rules. We call for papers, drawn from any area of the medieval world broadly defined, that ask both speakers and audience to rethink the unspoken paradigms that have decided which iconographic motifs are canonical and which are “singular,” “exceptional,” or even “mistakes.” At the broadest level, we seek to problematize the binaries on which these paradigms were founded: tradition versus invention, canon versus exception, and center versus periphery. At a more specific one, we invite deeply researched case studies whose particularities can lead scholars to a more effective, contextually sensitive, and historically informed approach to the study of images and image-making in the Middle Ages.

“Unruly Iconographies?” will take place on November 9, 2024 at the Index of Medieval Art at Princeton University, following the Weitzmann Lecture by Dr. Brigitte Buettner, held on November 8 and hosted by Princeton’s Department of Art & Archaeology. It also will constitute the first of two internationally linked events, the second of which will be a site-based seminar at the Center for the Art and Architectural History of Port Cities “La Capraia” in Naples in June 2025. Whereas the Index conference will consider broadly disciplinary questions about methodology, theory, and models, the Naples conference, hoped to be the first of several site-based conferences of this kind, takes southern Italy as a laboratory for exploring the relationships between iconography and place within a geographically expanded Middle Ages, focusing on the potentials and limits of the study of iconography in southern Italy. Details about this conference will be available in Summer 2024.

Submissions for the Princeton-based conference are invited by April 1, 2024. They should include a one-page abstract and c.v. and be sent to fionab@princeton.edu. Travel and hotel costs for the eight selected speakers will be covered by the Index. Speakers will be informed of their selection no later than May 1, 2024.

For more information, https://ima.princeton.edu/2024/02/15/call-for-papers-unruly-iconographies-examining-the-unexpected-in-medieval-art/

Exhibition Closing: Zoom on van Eyck: Masterpieces in Detail, Staatliche Museen du Berlin, Ends 03 Mar. 2024

Exhibition Closing

Zoom on van Eyck: Masterpieces in Detail


Gemäldegalerie, Staatliche Museen du Berlin, Germany

20 October 2023 to 03 March 2024

Jan van Eyck, Die Madonna in der Kirche, um 1437/40, Detail © Staatliche Museen zu Berlin, Gemäldegalerie / Christoph Schmidt https://www.smb.museum/en/exhibitions/detail/zoom-on-van-eyck/

No other painter in the history of European art was able to convey the details of the visible world with the same level of brilliance and precision as the founder of early Netherlandish painting, Jan van Eyck (ca. 1390/1400–1441). Now, an interactive digital projection at Berlin’s Gemäldegalerie makes it possible to delve into the most minute aspects of his masterpieces. The exhibition also presents original works by van Eyck from the Gemäldegalerie’s own holdings, shedding light on the technological investigation and restoration work carried out on some of his paintings. 

An Interactive Projection

The exhibition in the central hall of the Gemäldegalerie revolves around a number of digital projections of the works of Jan van Eyck that were developed by Bozar – Centre for Fine Arts and the Royal Institute for Cultural Heritage (KIK-IRPA) in Brussels. The projection allows visitors to interactively “zoom in” from the overall view of the paintings onto the smallest details, choosing which sections to focus in on. The wall-sized enlargements reveal minute details of the works in high resolution. Details such as eyes, mouths or hands can be compared with one another, allowing audiences to follow intricate aspects in the paintings, from the tiny hairs or pupils of the figures through to the brushstrokes of the master. 

The projections are generated from the extremely high-resolution photographs of the 33 preserved paintings by van Eyck and by his immediate successors, which were produced as part of the project Van Eyck Research in OpeN Access (VERONA), which was carried out by the KIK-IRPA between 2014 and 2020. Twenty of these works, which are considered to have been made by van Eyck himself, were included in this interactive presentation.

The Berlin Collection of Originals by van Eyck

Alongside this display, the Gemäldegalerie is showing its collection of paintings by Jan van Eyck and his circle. With three undisputed panel paintings made by the hand of the master, two paintings that at least originate from van Eyck’s studio, and four early copies, the Gemäldegalerie is home to an unusually rich collection of works by Jan van Eyck. The interplay of the high-resolution projections with the original paintings generates a new kind of fascination with his brilliant paintings and their impressive wealth of detail.

The Restoration of the Berlin Paintings

A third section of the exhibition sheds light on the technological investigations and restoration work carried out on three of the van Eycks at the Gemäldegalerie. The systematic technological investigations of the works commenced in 2015 as part of the production of a scholarly catalogue of the Gemäldegalerie’s collection of Flemish and French painting of the 15th century. This catalogue, which provides comprehensive access to Berlin’s outstanding collection of early paintings by van Eyck for the very first time, was compiled by art historians and paintings conservators as part of an interdisciplinary collaboration. The publication date is slated for late 2023 or early 2024.

The conservation work carried out on paintings by van Eyck in recent years was concentrated on a panel painting depicting the crucifixion of Christ from the studio of the master as well as two major works from the collection of the Gemäldegalerie: the portrait of Badouin de Lannoy and that of a young man in a red chaperon, presumed to depict Giovanni Arnolfini. This work involved removing heavily discoloured finishes and sections of overpainting that had been applied over the years. With this work, the paintings have regained much of their original colour and vibrancy.

Curatorial Team

Zoom on Van Eyck: Masterpieces in Detail is curated by Stephan Kemperdick, curator for pre-1600 German, Dutch and French painting, and Sandra Stelzig, a conservator at the Gemäldegalerie.

The interactive installation Facing Van Eyck. The Miracle of Detail has been curated by Bart Fransen (KIK-IRPA). It was conceived in 2020 by Bozar-Centre for Fine Arts Brussels and KIK-IRPA, in collaboration with Hovertone.

A special exhibition of the Gemäldegalerie – Staatliche Museen zu Berlin

For more information, https://www.smb.museum/en/exhibitions/detail/zoom-on-van-eyck/

Call for Papers: “What Lies Beneath”, The Southern African Society for Medieval and Renaissance Studies Conference 2023, STELLENBOSCH, SOUTH AFRICA, Due By 29 Feb. 2024 (Extended Deadline)

Call for Papers

The Southern African Society for Medieval and Renaissance Studies (SASMARS) Conference 2024

What Lies Beneath”

Mont Fleur Conference Venue, Stellenbosch, South Africa, 1-4 August 2024

Extended Deadline: Due By 29 February 2024

We are pleased to announce that the 26th Biennial SASMARS Conference will be held from 1 to 4 August 2024 at the Mont Fleur Conference Venue in Stellenbosch, South Africa.

Papers may cover any time period within the Middle Ages and Renaissance, and deal with any area of interest or discipline that could be relevant to the topic “What Lies Beneath”.

IDEAS TO CONSIDER COULD INCLUDE, BUT NEED NOT BE LIMITED TO:

  • Beneath the heavens

  • Beneath the earth

  • Beneath the waves

  • Beneath the skin

  • Beneath the belt

  • Beneath the story

  • Beneath the language

  • Beneath perceptions and emotions

  • Underworlds and Otherworlds

  • Invisible worlds

We are delighted to have as plenary speaker Prof. Andrew Breeze of the University of Navarra, Spain.

PROPOSALS:

Proposals should consist of a title and abstract of up to 250 words, as well as the author’s name, affiliation, contact details, and a biography of no more than 100 words. Papers should be no longer than 20 minutes when read and will be followed by Q and A.

DEADLINE:

Please submit proposals to Carin Marais (marais.carin@gmail.com) by 29 February 2024. Any enquiries can be sent to the same email address.

Please note that the conference will be held in person and that conference fees include accommodation at Mont Fleur for three nights, all main meals and mid-morning and mid-afternoon tea. A shuttle service will be available for transport between Cape Town International Airport and Mont Fleur at a small fee.

For more information, https://sasmars.wordpress.com/sasmars-conference-2024/

Call for Papers: Byzantium within its margins: Centres, Peripheries and Outlines, Paris (4-5 Oct. 2024), Due By 31 Mar. 2024

Call for Papers

XVe Rencontres internationales des jeunes byzantinistes

Byzance en ses marges : centres, périphéries, contours

Byzantium within its margins: Centres, Peripheries and Outlines

Paris 4-5 October 2024

Abstracts Due By 31 March 2024

La montagne, la croix, les bourreaux : tout, dans la célèbre miniature du Psautier Khludov, nous transporte “au-dehors”. Aux portes de la ville, à la lisière de la société, la Crucifixion évoque encore, au souvenir des iconoclastes, les contours mouvants du dogme chrétien. De cette remarquable mise en abyme où l’image, depuis les marges auxquelles elle semble reléguée, surplombe le texte pour en mieux tempérer l’ascendant, émane pourtant une vague confusion : lequel, de l’écrit ou de l’enluminure, se tient au centre de la page – s’il en est un ?

Des marges du psautier à celles de Byzance, il n’y a qu’un pas. Microcosme par excellence, le livre illustré nous invite à étendre, à l’échelle d’un monde, cette notion ambivalente.  À l’image du tracé mouvant des frontières, la tension qui se noue entre le texte et la miniature affleure, sous de multiples aspects, à travers la carte : entre la capitale et les provinces, l’empire et ses vassaux, le prince chrétien et ses voisins.

Telles régions limitrophes s’affirment, avec le temps, comme des centres incontestables du pouvoir – la Serbie et la Bulgarie, l’Épire et Trébizonde : et voici Byzance devenue marge. Telles autres, plus éloignées de Constantinople – culturellement, spirituellement –, maintiennent avec elle des liens ténus pour mieux se définir : ainsi de l’Arménie, de la Sicile, de la Rus’ de Kiev et même de l’Éthiopie, autant d’autres Byzance(s) en-dehors de Byzance.

En réduisant à l’espace urbain les enjeux territoriaux de l’empire, en les transposant aussi à l’espace ecclésial, le même paradigme nous incite à en déceler les axes et les seuils. Les murs de la ville et ses édifices, l’architecture et le décor des églises, les lieux de pèlerinage et les nécropoles élaborent et refondent, constamment, la notion de liminalité.

Le Christ supplicié, de même que l’iconoclaste sacrilège, esquisse la norme sociale : l’hérésie, comme le calvaire, retranche, exclut, marginalise. Mais les franges de la société byzantine, qui dépassent de loin les projections modernes, façonnent une mosaïque nuancée dont bien des composantes, souvent négligées – femmes, criminels, ascètes –, nous engagent à repenser la cohérence.

Moines et monastères revendiquent leur marginalité autant qu’ils l’idéalisent : tant leur implantation, aux abords ou en plein cœur de la ville, que la reconnaissance sociale dont ils jouissent, semblent contredire la réclusion à laquelle ils prétendent. L’exil lui-même, souvent amer, maintient plus que jamais son objet au centre des égards : éloigné, on le surveille ; il écrit, revient parfois.

Penser Byzance, enfin, exige la distance et le décentrement du regard étranger. Chroniqueurs arméniens, latins et syriaques, émissaires arabes et mongols ont porté sur l’empire, sa culture et ses rites, un œil attentif, parfois acéré, que les historiens ne sauraient mésestimer. Notre discipline elle-même n’y échappe en rien : ultime soubresaut du monde gréco-romain, interminable Bas-Empire ou prélude à la Turquie ottomane, l’histoire byzantine fut, elle aussi, longtemps perçue comme marginale – l’une de ces inévitables transitions indispensables à la chronologie.

Les centres, les normes, les limites : tout restait alors à définir à qui voulait que la culture byzantine devînt enfin l’objet d’une étude autonome. Aujourd’hui, la délicate tension entre le centre du monde et les marges de l’empire témoigne des avancées de la recherche comme des écueils auxquels elle est confrontée. Telle est l’ambition des XVe Rencontres internationales des étudiants du monde byzantin : aborder Byzance en ses marges, depuis ses marges, en tant que marge.

Les communications pourront s’inscrire dans les thématiques suivantes :

– marges territoriales, frontières et espaces de transition
– peuplement des marges et déplacements de populations
– place des femmes, des enfants, des esclaves, des individus en dehors des normes de genre
– maladies, infirmités, handicaps, mort
– controverses religieuses, hérésies, excommunications et anathèmes
– institutions monastiques
– manifestations de la marginalité : costume, pratiques alimentaires
– Byzance vue de l’extérieur

Les interventions, d’une durée de vingt minutes, pourront être données en français ou en anglais. Les propositions de communications (250 à 300 mots), ainsi qu’une brève biographie incluant l’institution de rattachement, le niveau d’études actuel (master, doctorat, post-doctorat) et le sujet de recherche, devront être envoyées à l’adresse aemb.paris@gmail.com, au plus tard le 31 mars 2024.

Les Rencontres se tiendront en présentiel, à Paris, les 4 et 5 octobre 2024. La prise en charge des frais de transports par l’AEMB est envisageable pour les candidates et candidats ne pouvant obtenir de financement de la part de leur institution d’origine. Les candidates et candidats retenu.es devront adhérer à l’AEMB.

Pour plus d'informations: http://www.aembyzantin.com/xve-edition-4-5-octobre-2024/


A mountain, a cross, an executioner: everything in the well-known miniature of the Chludov Psalter carries us “outside”. At the gates of the city and on the margins of society, the Crucifixion also recalls, through the memory of Iconoclasm, the shifting outlines of Christian dogma. From the margin where it is seemingly relegated, the image overlooks the text to better mitigate its authority. Yet, in this remarkable mise en abyme, a sense of confusion remains: which of the written word or the image holds centre stage – if there is any?

There is but one step from the margins of the psalter to those of Byzantium. As a quintessential microcosm, the illuminated manuscript invites us to extend this ambivalent notion to the scale of a world. Like the shifting lines of a border, the tension emerging between the text and the miniature likewise surfaces in varied ways across the map: between the capital and its provinces, the Empire and its vassals, the Christian prince and his neighbours.

Thus, some borderlands emerge over time as centres of power in their own right – Serbia and Bulgaria, Epirus and Trebizond – occasionally turning Byzantium itself into a margin. Others, further removed from Constantinople geographically, culturally or spiritually – nevertheless maintain subtle ties with it to better define their own identity, such as Armenia, Sicily, Rus’ and even Ethiopia – all in a way Byzantium(s) beyond Byzantium.

By scaling down the territorial questions of the Empire to urban space, or transposing them onto the space of the church, the same paradigm invites us to retrace their axes and thresholds. City walls and structures, church architecture and decoration, pilgrimage sites and necropoleis constantly reshape and redefine the notion of liminality.

Both the Torture of Christ and the sacrilege of iconoclasm suggest a social norm: heresy, like Calvary, excludes, cuts off and marginalises. Yet the fringes of Byzantine society, which go far beyond contemporary projections, compose a nuanced mosaic whose many elements, often overshadowed – women, criminals, ascetics –, call upon us to rethink the cohesion of the whole.

Monks and monasteries proclaim their marginal status as much as they idealise it: both their location, on the fringes if not within the heart of the city, as well as the social recognition they receive seemingly contradict the reclusion they claim to seek. Exile itself, though bitter, keeps its object surely within the line of sight: the exile is watched when far away, writes back and sometimes returns.

To consider Byzantium, lastly, requires the distant and decentred gaze of foreign eyes. Armenian, Latin and Syriac chroniclers, Arab and Mongol emissaries turned a careful, sometimes cruel eye on the Empire, its culture and rites, which historians would be wrong to ignore. The discipline of Byzantine history itself has long been relegated to the margins of the field, as a necessary but uninteresting transition, with Byzantium variously held as the last jolt of the Greco Roman world, the exhaustingly long final breath of the Late Roman Empire or the prelude to Ottoman Turkey.

Centres, norms, limits: everything remained to be done for the partisans of an autonomous study of Byzantine culture. Today, the delicate tension between the centre of the world and the margins of the Empire reflects both the advances and the pitfalls faced by academic inquiry. Such are the aims of the XVth Rencontres : to consider Byzantium within its margins, from its margins and as a margin.

Papers may concern the following themes:
• Territorial margins, borders and spaces of transition
• Settlement of margins and population transfers
• The situation of women, children and slaves
• Definitions and transgressions of gender norms
• Disease, disability, infirmity and death
• Religious controversies, heresy, excommunication and anathema
• Monastic communities
• Visible forms of marginality such as dress and foodways
• Byzantium as a margin

Papers, with an expected duration of 20 minutes, may be presented in French or English. Proposals for presentations (250-300 words), as well as a brief biography including the candidate’s affiliation, their current level of study (master, doctoral, post-doctoral) and their area of study should be sent to aemb.paris@gmail.com by March 31, 2024, at the latest.

The conference will be held in-person in Paris on October 4-5, 2024. Participants’ travel costs may be covered by the association if they are unable to receive funding from their institutions. Selected candidates will be asked to register as members of the association.

For more information: http://www.aembyzantin.com/xve-edition-4-5-octobre-2024/

CALL FOR PAPERS: Thinking the "other" from the Historical Perspective, Interdisciplinary Graduate Workshop for Ph.D. Students and Early Career Researchers, Prague (2-3 Sept. 2024), Due 16 Mar. 2024

CALL FOR PAPERS

Interdisciplinary Graduate Workshop for Ph.D. Students and Early Career Researchers

Thinking the "other" from the Historical Perspective

Charles University, Faculty of Humanities, Prague, Czech Republic

2-3 September 2024

Abstracts Due 16 March 2024

The act of conceptualizing and delineating the notion of "the other" assumes a central role in the intricate process of constructing individual and collective identities. This process which encompasses various dimensions such as culture, religion, and ethnicity, establishes the demarcations that define the boundaries of "the self." Consequently, comprehending the cognitive frameworks employed in the perception of 'the other(s)' becomes indispensable for elucidating the intricate fabric of interactions that occur among individuals, groups, societies, and civilizations, in different historical epochs. This thematic inquiry holds enduring pertinence within the purview of history and related fields, and its application contributes significantly to the interpretation of a wide array of social and historical phenomena. While the abstracts can explore topics from the list below, they are not constrained to these choices:

  • The opposition "Barbarism" vs. "Civilization" in History

  • Religious minorities in the Middle Ages and Modernity

  • History of slavery

  • Representation of women and LGBTIQ+ in History

  • History of madness, illness, and prisoners

  • Migrants in Europe during the 20th century

  • Law and otherness from a historical perspective

  • Identity construction in historical discourse

  • Transformation of the "other" in contentious politics

  • Creation of the nation-state and otherness

  • Approaching the "other" in education and pedagogy

  • Representing the "other" and the self in literary texts

To facilitate a broad and inclusive participation, the organizing committee openly issues a call for papers. This conference aims to bring together Ph.D. students and early career researchers from Charles University as well as from the international scientific community to explore the concept of "the other" from a historical and multidisciplinary perspective. Besides history, this exploration will encompass fields such as anthropology, sociology, psychology, philosophy, law, etc. The main goals of the workshop are to have productive discussions and conversations about this main topic, as well as to build strong academic connections that may result in future collaborations. It is important to note that the workshop will be in person and conducted in English,

The submission deadline for abstracts (300 words) and one-page CV is set for March 16, 2024.

Subsequently, the submitted abstracts will be diligently assessed, and within one month, the authors will be duly notified of the acceptance or rejection of their proposals. Each participant will have 20 minutes for their presentation and at the end of the presentation there will be a space for questions and answers. Additionally, the event could feature academic experts in the field serving as keynote speakers. The event will take place at Charles University, nonetheless, neither the organizing committee nor the hosting institution will be responsible for covering the financial obligations, such as travel, accommodation, and other related expenses.

The organizers plan to publish selected papers in either the conference proceedings or a themed section of an open-access scholarly journal. The authors of the chosen papers will be informed via email after the selection process, providing them with more details about deadlines, the journal's style, and so on.

ORGANIZING COMMITTEE: Alper Cakir and David De Pablo

CONTACT: workshophistorycu@gmail.com

Postgraduate colloquium: Authority and Identity in the Middle Ages, The Courtauld, London, 15 Mar. 2024, 10:00-16:30

Postgraduate colloquium

Authority and Identity in the Middle Ages

Vernon Square Campus, Lecture Theatre 2, The Courtauld Institute of Art, London

15 March 2024, 10:00-16:30 GMT

Mosaic detail of Roger II receiving the crown from Christ, Church of Santa Maria dell’Ammiraglio, Palermo, Sicily, 12th century. Image: Matthias Süßen, CC BY-SA 4.0 , via Wikimedia Commons

Studies of medieval art have often focused on works of art featuring, or patronised by, those in positions of authority.  More recently scholars have moved towards a wider understanding of the ways in which works of art established a sense of authority and impacted the identity of the communities who viewed and used them.  However, concepts of ‘authority’ and ‘identity’, and their complex interrelationship, are rarely interrogated in a holistic way.

The two concepts are often inextricably linked.  Identities were shaped by those in positions of authority; images endowed with ‘authority’ could influence how those interacting with them self- identified; patrons claimed authority through images, often forging their public identity as charitable, pious figures.  But what does it mean to claim authority in the Middle Ages?  And what exactly did it mean to have an identity?  Even today, these concepts are complex and multi-faceted – most notably one self-identification can differ dramatically from that imposed by others.

In this colloquium, we want to address these topics afresh, exploring how art and material culture reflect and produce concepts of identity and authority.  We will also consider how alternative perspectives could reinforce or subvert ideas of an authoritative voice or image.

Programme

The colloquium begins at 10am at The Courtauld Institute of Art in Vernon Square.

Session 1 – Power of Popes and the Shaping of Monastic Identity 
Chaired by Sam Truman, Courtauld PhD student.

Emma Iadanza, Courtauld PhD student, ‘A New Reconstruction of Leo X’s Liturgical Manuscripts’.
Vittoria Magnoler, PhD student, University of Genoa, ‘Stating the Authority of Aquinas. The Triumph by Bonaiuti as an Identity Manifesto of the Dominicans of Santa Maria Novella’.
Blanche Lagrange, PhD Student, University of Poitiers (CESCM), ‘The reform at Saint-Bertin during the 10th century: new institutional authority and identity in Boulogne-sur-Mer, BM, MS. 107’.

12.15 – 13.15: Break

Session 2 – Religion and Shaping of Individual Identity 
Chaired by Sophia Dumoulin, Courtauld PhD student.

Sophia Adams, Courtauld PhD student, ‘“Þat tyme þis schrowyll I dyd wryte”: Canon Percival of Coverham’s Prayer Roll, Morgan Library and Museum, Glazier MS 39’.
Natalia Muñoz-Rojas, Courtauld PhD candidate, ‘ “We first settlers”: The altarpieces of San Bartolomé and Virgen de la Antigua in the Parish Church of San José in Granada’.
Lucy Splarn, PhD student in the Centre for Medieval and Early Modern Studies at the University of Kent, ‘The identity of pilgrims through the art of souvenirs’.

14.45 – 15.15: Break

Session 3 – Church Architecture and Shaping of Community Identity
Chaired by Helen Dejean.

Florence Eccleston, Courtauld PhD student, ‘Moral and Political Identity in Late Medieval English Wall Paintings of Sin’.
Klaudia Sniezek, PhD student, Jagiellonian University in Cracow, ‘Unveiling Identities in Stone: Burial in the Portico of Czerwinsk Abbey’.
Isabelle Chisholm, MPhil student, University of Cambridge, ‘The “Afterlife” of The Rajhrad Dormition of the Virgin (1375-1380): defining Czech Nationaism Across Transcultural Impulses’.

16.45: Drinks Reception

Organised by Courtauld PhD students Jane Stewart, Laura Feigen, Irakli Tezelashvili and Florence Eccleston. 

For more information and to book tickets, https://courtauld.ac.uk/whats-on/authority-and-identity-in-the-middle-ages/

Call for Papers: VELUM TEMPLI. VEILING AND HIDING THE SACRED, 2nd Colloquium on Art and Liturgy Cádiz, Spain (17-19 October 2024), Due by 1 April 2024

Call for Papers

VELUM TEMPLI. VEILING AND HIDING THE SACRED

2nd Colloquium on Art and Liturgy Cádiz

Facultad de Filosofía y Letras. University of Cádiz, Spain, 17-19 October 2024

Abstracts Due By 1 April 2024

The veiling or hiding of the sacred has been a constant feature of Christian worship since its late Antique origins. With powerful precedents in the temple of Jerusalem, as well as in paganism, it is a characteristic that tends to be associated with Eastern Christianity and its iconostasis. However, it was also practised by the Latin church, in whose early Christian basilica the vision of the altar of the Eucharistic sacrifice was already limited and dosed. This ritual attitude, which continued throughout the Middle Ages and even beyond, took the form of veils and curtains suspended from the pergolas or beams that divided the presbytery from the rest of the nave, or using the tetravela that ran along the rails of the baldachins that covered the altars.

Guillaume Durand, in the 13th century, describes in detail the practices that were established at that time, including the great velum templi of Gallican origin, a piece that would be kept for centuries during Lent as a living vestige of this liturgical practice. Several examples of notable antiquity have survived, as does the memory of its use.

Closely related to this, the veneration of sacred images was also marked by a desire for safe preservation, as can be inferred from the design of medieval tabernacles and winged altarpieces. Both took part in the wish to protect physically the paintings and sculptures and a desire for gradualness in the vision of the mystery of the sacred that the images themselves embody. In Spain, the extraordinary development of the altarpiece required bold, eyecatching solutions for its concealment, such as the enormous doors of some Aragonese examples or the woven twills which, when unfolded, are a sort of trompe l'oeil of the work they conceal.

Relics, sacred vessels and even the consecrated Host itself have also been the object of ritually regulated display and concealment, depending on the feasts of the liturgical year or the specific moment of the sacred ceremony taking place in the church. To satisfy this need for visual preservation, reliquary cabinets, the curtains of expositors and tabernacles or chalice veils were created during the Middle Ages, among other pieces of furniture that have also undergone formal and ornamental reformulations during the Renaissance, the Baroque and later.

Through the diachronic and transhistorical study of the phenomenon of display and concealment, this 2nd International Meeting on Art and Liturgy of the University of Cadiz aims to recover for the History of Art the memory of these singular works within the context of the cultic functionality with which they were conceived, where they also acted as vectors of ephemeral transformation in the visual appearance of the temples. For this purpose, renowned specialists such as Eduardo Carrero Santamaría, Fernando Gutiérrez Baños, Josefina Planas Bádenas, Antonio Sántos Márquez and Héctor Ruiz Soto, among others, will take part.

CALL FOR PAPERS

We invite the academic community to submit abstracts in Spanish, English, Italian and French consisting of a 500-700 word summary highlighting the innovative nature of the paper together with the chosen session and a brief curriculum vitae before 1 April 2024 to the following address: arteyliturgia@uca.es The organising committee shall acknowledge receipt of submissions and select those considered most closely aligned with the meeting objectives, responding before 15 May 2024. Following peer review, these will be published in a monograph. Texts should be sent by 15 November 2024.

PAPERS AND COMMUNICATIONS WILL BE DELIVERED IN FOUR SESSIONS

Session I. Ritual occultation in liturgical, literary and graphic sources.

Testimonies of synods and councils, rubrics in missals, references in customary books, testimonies in travel books. Graphic sources: paintings, drawings, engravings, manuscript illumination and historical photography.

Session II. Veils and altar curtains in the context of Latin Christianity.

Velum templi, Velum quadragesimal, lateral curtains, etc. Origins, typological evolution and local particularities.

Session III. The veiling of crosses, images, relics and sacred vessels.

Liturgical, devotional and conservation aspects. Reliquary cabinets, display ceremonies.

Session IV. From the medieval open tabernacle to the great Baroque altarpieces.

Functional principles and devotional implications.

SPEAKERS REGISTRATION

Speakers: 40 €

Speakers members of CEHA: 20 €

In both cases, the registration includes a copy of the book with the proceedings of the Meeting. After acceptance, speakers will have until 15 June 2024 to pay the registration fee via bank transfer to the University of Cádiz account (Banco de Santander: IBAN ES48 0049 4870 8529 1609 2739; SWIFT: BSCHESMM).

IMPORTANT: The concept of the transfer should be ARTEYLITURGIA followed by the speaker’s SURNAME and NAME. The speaker should send a copy of the bank transfer receipt via email to arteyliturgia@uca.es

For more information: https://arteyliturgia-uca.weebly.com/

For a PDF of the Call for Papers which contains more information: https://arteyliturgia-uca.weebly.com/uploads/1/4/0/5/140580493/cfp_ingl%C3%A9s.pdf