Index of Medieval Art

Studies in Iconography

Studies in Iconography is an annual journal hosted by the Index of Medieval Art and published in partnership with Medieval Institute Publications. It presents innovative work on the meaning of images from the medieval world broadly construed, between the fourth century to the year 1600. Past articles have addressed subjects as diverse as Byzantine fresco programs, Carolingian architectural diagrams, Gothic rent books, Jewish ritual images, and Islamicate stucco ornament. We encourage article submissions that offer interdisciplinary, theoretical, or critical perspectives. Works of both established and emerging scholars are welcome. Reviews of selected books on iconography and art history are included in every volume.

Contents of the Most Recent Journal: Volume 41 (2020)


Margaret Goehring. “Signs of the City: Seigniorial Power and Vernacular Visual Culture in Two Northern French Rent-Books”

Mati Meyer. “The Rhetoric of Aphrodite in the Byzantine Illuminated Book”

Justin Willson. “Reading with the Evangelists: Portrait, Gesture, and Interpretation in the Byzantine Gospel Book”

David M. Freidenreich and Véronique Plesch. “‘What is That to Us?’: The Eucharistic Liturgy and the Enemies of Christ in the Beam of the Passion”

Renana Bartal. “Text, Textile, Blood: Mary under the Cross in an Illuminated Meditationes Vitae Christi (Oxford, Corpus Christi College, MS 410)”

Louise Marshall. St. Roch and the Angel in Renaissance Art


Sherry C. M. Lindquist and Asa Simon Mittman. Medieval Monsters: Terrors, Aliens, Wonders. By Thomas E. A. Dale

Diane J. Reilly. The Cistercian Reform and the Art of the Book in Twelfth-Century France. 216 By James D’Emilio

Denise Borlée and Laurence Terrier Aliferis, eds. Les modèles dans l’art du Moyen Âge (XIIe–XVe siècles). Actes du colloque. Modèles supposés, modèles repérés: leurs usages dans l’art gothique, Université de Genève (3–5 November 2016) = Models in the Art of the Middle Ages (12th–15th Centuries). Conference Proceedings. Supposed Models, Identified Models: Their Uses in Gothic Art, University of Geneva (3–5 November 2016). By Sonja Drimmer

Philippe Despoix and Jillian Tomm, eds. Raymond Klibansky and the Warburg Library Network: Intellectual Peregrinations from Hamburg to London and Montreal. By Karen Lang

Rachel Moss, Felicity O’Mahony and Jane Maxwell, eds. An Insular Odyssey: Manuscript Culture in Early Christian Ireland and Beyond. By Carol Neuman de Vegvar

Renana Bartal. Gender, Piety, and Production in Fourteenth-Century English Apocalypse Manuscripts; and Richard K. Emmerson. Apocalypse Illuminated: The Visual Exegesis of Revelation in Medieval Illustrated Manuscripts. By Alexa Sand

Jeffrey F. Hamburger, Robert Suckale, and Gude Suckale-Redlefsen, eds. Painting the Page in the Age of Print. By Larry Silver and Debra Cashion

Alessia Bauer, Elise Kleivane, and Terje Spurkland, eds. Epigraphy in an Intermedial Context. By Nancy L. Wicker

Studies in Iconography Board


Diliana Angelova, University of California at Berkeley

Pamela A. Patton, Princeton University


Kirk Ambrose, University of Colorado, Boulder


Annemarie Weyl Carr, Southern Methodist University (2021)

Mark Cruse, Arizona State University (2021)

Blake de Maria, Santa Clara University (2022)

María Judith Feliciano, Independent Scholar and Director, Medieval Textiles in Iberia and the Mediterranean (2023)

Elina Gertsman, Case Western Reserve University (2021)

Beatrice Kitzinger, Princeton University (2023)

Eva Hoffman, Tufts University (2021)

Katrin Kogman-Appel, Westfälische Wilhelms-Universität, Münster (2021)

Debra Higgs Strickland, University of Glasgow (2022)

Thelma Thomas, Institute of Fine Arts, New York University (2023)


For information about pricing, subscriptions, or back issues please consult


As of April 1, 2021, new submissions for Studies in Iconography should be made online at the Studies in Iconography Scholarworks site. Inquiries about matters outside the online submission process may be directed to Fiona Barrett,

Learn more about our editorial policies and guidelines.