Registration is now open for both online and in-person participation in the Index-hosted conference “Fragments, Art, and Meaning in the Middle Ages” on November 6, 2021. Navigate to our events page for current details about speakers and schedule.
In accordance with campus health and safety guidelines, on-site attendance in Rabinowitz A17 will be limited to those with building access approval from Princeton University, up to a maximum of 50 occupants. Face coverings will be required. All other participants are cordially invited to join the conference online.
Please use the links below for free registration. We look forward to seeing you there!
Use this link for in-person registration
Use this link for Zoom webinar registration
Studies in Iconography 42 (2021)
The Index of Medieval Art is pleased to announce that volume 42 of Studies in Iconography, a peer-reviewed scholarly journal hosted by Princeton University and published by Medieval Institute Publications, has appeared both in print and online this year. While physical volumes will continue to be sent to print subscribers on an annual basis, from 2021 onward digital volumes will also be available through Scholarworks, the journal’s new online platform. Past volumes of the journal published from 1993 to five years prior to the current volume will continue to be available via JStor Complete. The current volume includes eight new book reviews and features the following articles:
“A Reconsideration of the Communion of the Apostles in Byzantine Art“
“Artists and Autonomy: Written Instructions and Preliminary Drawings for the Illuminator in the Huntington Library Legenda aurea (HM 3027)“
‘A Lanterne of Lyght to the People’: English Narrative Alabaster Images of John the Baptist in Their Visual, Religious, and Social Contexts?
Kathryn A. Smith
“Metapainting in Fourteenth-Century Byzantium and Italy: Performing Devotion Through Time and Space“
Giulia Puma and Maria Alessia Rossi
“Frame for a Sultan“
Rossitza B. Schroeder
“The Implicating Gaze in Bronzino’s Cosimo I de’ Medici as Orpheus and the Intellectual Culture of the Accademia Fiorentina“
Journal editors Diliana Angelova and Pamela Patton welcome the submission of original, innovative scholarship on the meaning of images from the medieval world broadly construed, between the fourth century and the year 1600. Editorial guidelines and submission tools are all found on the Scholarworks site.
Attending the 56th International Congress on Medieval Studies this year? Please join us for the two IMA-sponsored sessions on Wednesday, May 12th
190 Wednesday, May 12, 11:00 a.m. EDT: Location, Location, Location: In-Situ Iconography within the Medieval Built Environment I: Topography and Threshold
Location, Performance, History: The West Façade of Wells Cathedral Reconsidered
Matthew M. Reeve, Queen’s University
Of Columns and Column Saints: Architectural Appropriation at Qal’at Sim’an
Laura H. Hollengreen, University of Arizona
“Bearing Witness Then as Now”: Iconography and Epigraphy in the Latin Church of the Holy Sepulcher
Megan Boomer, Columbia University
The Lives of Cats, Eels, and Monks on an Irish High Cross
Dorothy Verkerk, University of North Carolina–Chapel Hill
200 Wednesday, May 12, 1:00 p.m. EDT: Location, Location, Location: In-Situ Iconography within the Medieval Built Environment II: The Interior Space
“Feet of Clay”: The Significance of Media and Iconography in Thirteenth-Century English Architectural Interiors
Amanda R. Luyster, College of the Holy Cross
Transfiguring Frescoes: Framing Panel Paintings in Italian Medieval Mural Decoration
Alexis Wang, Columbia University
Folding and Archiving Monumental Images: Bertha’s Tablecloth for the Cathedral in Lyon (Ninth Century)
Vincent Debiais, École des hautes études en sciences sociales, Paris
As of April 1, 2021, the Index-hosted journal Studies in Iconography has shifted to an online submission process, beginning with submissions for volume 43 (2022). Prospective authors may submit their manuscripts on our new Scholarworks site and will find further information both there and in the editorial policies and guidelines section of the IMA website. In addition, beginning with vol. 42 the journal’s annual volumes will be published both in print and online through Scholarworks, a shift that is hoped will increase their reach and accessibility.
Studies in Iconography is an annual journal hosted by the Index of Medieval Art and published in partnership with Medieval Institute Publications. Co-edited by Pamela A. Patton and Diliana Angelova, it presents innovative work on the meaning of images from the medieval world broadly construed, between the fourth century to the year 1600. Past and current articles have addressed subjects as diverse as Byzantine fresco programs, Carolingian architectural diagrams, Gothic rent books, Jewish ritual images, Islamicate stucco ornament, and early modern portraiture. We especially encourage article submissions that offer interdisciplinary, theoretical, or critical perspectives, and works of both established and emerging scholars are welcome. Reviews of selected books on iconography and art history are included in every volume.
Inquiries about matters outside the online submission process may be directed to Fiona Barrett, firstname.lastname@example.org.
For information about pricing, subscriptions, or back issues, please consult https://wmich.edu/medievalpublications/journals/iconography.
The Index of Medieval Art has completed a systemwide update aimed at making the database both more user-friendly and fully compliant with current accessibility standards. Launched April 1, the update includes the following improvements:
We might consider baseball as American as apple pie. Popular legend ascribes its invention to Abner Doubleday in 1839 in Cooperstown, New York, while historians of the sport point out that a similar game was played in North America as early as the late eighteenth century. Some, however, have hypothesized that the game had earlier roots in two early modern English games, rounders and cricket.
Yet there is evidence to suggest that baseball has far deeper historical roots, reaching back to the Middle Ages. The marginal decoration of a fourteenth-century French manuscript now in Oxford’s Bodleian Library (MS. 264) includes what may be the earliest conclusive illustrations of the game, played here by a group of nuns and monks. The nun at left has caught the ball just after the monk at bat has swung and missed. The monk turns to argue the count as two monks and two nuns in the infield raise their hands, ready to field, in a classic example of what Otto Pächt has called “simultaneous narrative.” The absence of outfielders in the scene was surely the result of artistic economy, given the limited space afforded by the gilded floral and foliate border, a decorative form that perhaps inspired the much later planting of ivy on the outfield wall at Wrigley Field, where players still contend with limited space.
The representation of the game’s players as cloistered religious figures offers a note of accuracy, as French nuns are in fact the earliest recorded players of the game that they called le base-bal. As early as the twelfth century, the nuns of the Abbey of Fontevraud in particular had established a reputation for their high on-base percentage and daring in run-downs; a certain Wilgefortis is lauded in conventual records for her lusty swing and reliability in the clutch. Barnstorming throughout the Loire valley, the Fontevraud nuns found the women of other convents eager to meet them between the lines, although the same could not be said of the monks and canons they challenged, most of whom refused to play, claiming the women “couldn’t throw.” The mixed-gender matchup depicted in the fourteenth-century Bodleian manuscript reflects a later era, when the dominance of the Fontevraud lineup had faded into distant memory and monks became more willing to test their skills against their slugging sorores.
Conventual baseball faded in Europe in the sixteenth century as reformers like Martin Luther turned popular opinion against the “devil’s game,” describing it as a gateway to luxury and vice and also complaining that the action was “too slow.” Today, it is only pictorial traces like that in Bodleian 264 that preserve the vibrant medieval traditions that gave us “America’s pastime.”
We are pleased to announce the publication of the first book in the new series “Signa: Papers of the Index of Medieval Art at Princeton University,” co-published with Penn State University Press. The new volume, The Lives and Afterlives of Medieval Iconography, is co-edited by Pamela A. Patton and Henry D. Schilb and includes contributions from Kirk Ambrose, Charles Barber, Catherine Fernandez, Elina Gertsman, Jacqueline E. Jung, Dale Kinney, and D. Fairchild Ruggles. Congratulations and thank you to all our authors!
The second volume in the series, Beyond the Crossroads: Image, Meaning, and Method in Medieval Art, is currently in production.
The year 2020, with its global pandemic, successive environmental crises, and sharp social and political divisions, has tested the patience, faith, and/or equilibrium of many people. As we approach the winter holidays, some will find solace in practicing gratitude—for challenges overcome, for crises averted, or simply for the love and support of those around them. It was not so different in the Middle Ages, when people in difficult circumstances also sought opportunities to consider or express gratitude, sometimes by pondering longstanding exemplars and sometimes by offering thanks of their own. Many of these left traces in medieval visual culture.
The most widely known medieval images of thanks-giving are those directed to the divine and holy figures to whom the faithful turned in troubled times. An example is the offering made by Noah after surviving the Great Flood, as described in Genesis 8:20 and represented in such works as the sixth-century Vienna Genesis . In this purple-dyed luxury manuscript, the offering scene appears below a short parade of humans and animals, including elephants, lions, and camels, that issues from the ark onto dry land. Noah hunches gently over a sacrificial lamb he has placed on an altar as a thank-offering for humanity’s second chance.
A more creative expression of thanks appears in the Golden Haggadah , a fourteenth-century Passover manuscript in which Aaron’s sister Miriam leads the women of the Israelites in music-making and dance to thank the Lord for bringing them safely out of Egypt (Ex. 15:20–21).
Medieval Christians often gave visual thanks to the saints on behalf of those whom they were thought to have healed or rescued from danger. A thirteenth-century stained glass window in Canterbury cathedral records a number of miraculous cures performed by the relics of Saint Thomas Beckett, depicting the relieved victims of an arrow wound, malaria, madness, and even a nosebleed kneeling before the saint’s altar, their hands joined in thanks .
In the later Middle Ages, the Virgin Mary, thought to be the intercessor closest to God, earned special gratitude for her protection of the faithful: in the Cantigas de Santa María, the devotees who thank her for her miracles on behalf of the ill, the injured, and the unfortunate include the owner of an ailing silkworm colony, the recovery of which she celebrates by producing a beautiful silk textile that is presented to the Virgin by the king .
At times it was the work of art itself that embodied thanks offered to a holy helper. An intriguing example is a mid-sixth-century silver processional cross from Divirigi, now in the Archaeological Museum of Istanbul, which bears an inscription in Armenian that has been translated “In gratitude … [missing text] … offers to their intercessor St. George (of) Caginkom” . Although the name of the patron is now lost and the reason for their offering remains unstated, the economic value of this substantial silver object suggests the depth of the unknown donor’s gratitude.
Creators and patrons sometimes added their thanks for the successful completion of a work of art. In an eleventh-century French manuscript of the poetic collection De sobrietate (Leiden, Universiteitsbib. BBL 190, fol. 16v), the poet Milo of Saint-Amand kneels before a church from which the hand of God issues in blessing; an inscription above reads “POETA GRA(TIA)S AGIT DEO PRO EXPLETO OPERE SUO” (The poet thanks God for the completion of his works) .
In the Great Mosque of Córdoba, the mihrab added to the structure in the 960s is framed by blue and gold mosaic inscriptions in Arabic that thank God for the successful expansion of the building to accommodate the faithful .
The belief that all good things come from God threads strongly through medieval visual culture. Nonetheless, some works record expressions of thanks between mortals—even if often these are legendary. An early sixteenth century tapestry from the Netherlands, now in the Cleveland Museum of Art, depicts the story of Perseus and Andromeda in a series of scenes reading right to left . While the climax of the narrative is Perseus’ slaying of the dragon that threatened the princess and her land, the sequence ends with the marriage of Andromeda to Perseus in thanks for his heroic deed, an arrangement for which the young couple appears to be, well, grateful.
The staff of the Index hope that the season finds our readers safe, in good health, and with something to give thanks for.
Like many individuals and institutions, we at the Index of Medieval Art have been saddened and angered by the tragic and unjust deaths of George Floyd in Minneapolis, Ahmaud Arbery in Georgia, and Breonna Taylor in Kentucky, which highlight the persistent patterns of racist violence, harassment, and injustice that mark our nation’s history. As historians, we see the long roots of inequity and prejudice that gave rise to this legacy; as individuals, we commit to eradicating them.
We stand with Princeton University’s president, Christopher Eisgruber, in acknowledging our responsibility to oppose racism and to work to dismantle the systemic structures that allow it to survive. We join him in pursuing the commitment to diversity, inclusivity, and human rights that stands at the core of the university’s mission.
For the Index, this will include continuing to grapple with our own collection’s Eurocentric and colonialist past, as well as our responsibility to present the visual culture of the Middle Ages in a way that is expansive, inclusive, and respectful of the wide diversity of human artistic expression. It also means making it clear that the Index doors are open to all who wish to work and learn with us; inviting and amplifying new voices and perspectives in the work that we do; and creating opportunities that support academic, professional, and individual development for all.
We took modest steps toward these goals in the renaming of the Index in 2017, in updating and beginning to rethink its century-old taxonomy and cataloguing parameters, and through efforts to choose Index conference themes and speakers that are more widely representative of our field’s true diversity. However, we know that there is much more and harder work still to come. We commit to the self-reflection and dialogue that this work entails and look forward to making our values clear in deeds as well as words.
The Svetlana Tomeković Database of Byzantine Art is now live on the Index Digital Collections page. Users can once again browse this rich and extensive archive of photographs of Byzantine monumental art and architecture collected by Dr. Tomeković. There are nearly 4,000 images, many of them from little-studied buildings or sites that are hard to access. Reflecting the interests and specialization of Dr. Tomeković—who published extensively on wall paintings, iconography, and hagiography—the database includes photographs of sites ranging from Eastern Europe to the Mediterranean, including monuments in Greece, Serbia, the Republic of North Macedonia, Kosovo, Croatia, Bosnia and Herzegovina, Russia, Italy, Turkey, Georgia, the Republic of Cyprus, and Israel.
The new application created to display this digital image collection allows researchers to browse the entirety of the Svetlana Tomeković Database with thumbnails or to explore the collection by location. Other Digital Image Collections hosted by the Index of Medieval Art are under construction and will be accessible in the coming months. The Svetlana Tomekovic Database of Byzantine Art can be found among the Digital Image Collections listed in the Resources menu on our web site. We hope you’ll explore this collection of images, and let us know what you think!
As always, for copyright and permission queries about images in the Tomeković Database, please contact Catherine Jolivet-Lévy at the Sorbonne in Paris (email@example.com).