54th International Congress on Medieval Studies, Kalamazoo, MI, May 9 to 12, 2019
Sponsored by the Index of Medieval Art, Princeton University
Encountering Medieval Iconography in the Twenty-First Century: Scholarship, Social Media, and Digital Methods
Organizers: M. Alessia Rossi and Jessica Savage (Index of Medieval Art, Princeton University)
Stemming from the launch of the new database and enhancements of search technology and social media at the Index of Medieval Art, this roundtable addresses the many ways we encounter medieval iconography in the twenty-first century. We invite proposals from emerging scholars and a variety of professionals who are teaching with, blogging about, and cataloguing medieval iconography. This discussion will touch on the different ways we consume and create information with our research, shed light on original approaches, and discover common goals.
Participants in this roundtable will give short introductions (5-7 minutes) on issues relevant to their area of specialization and participate in a discussion on how they use online resources, such as image databases, to incorporate the study of medieval iconography into their teaching, research, and public outreach. Possible questions include: What makes an online collection “teaching-friendly” and accessible for student discovery? How does social media, including Twitter, Facebook, and blogging, make medieval image collections more visible? How do these platforms broaden interest in iconography and connect users to works of art? What are the aims and impact of organizations such as, the Index, the Getty, the INHA, the Warburg, and ICONCLASS, who are working with large stores of medieval art and architecture information? How can we envisage a wider network and discussion of professional practice within this specialized area?
Matthew’s Gospel tells us that, at the moment Christ died, darkness swept over the land for three hours (Matthew 27:45). The foreboding skies at Christ’s crucifixion were also recorded in Luke 23:44-45 and Mark 15:33. Mark’s account, thought to have been written around the year 70 CE, was likely the earliest. Some scholars have reasoned that this midday phenomenon was an actual eclipse, because the passage in Luke reports that darkness fell over the land when “the sun was eclipsed” (“τοῦ ἡλίου ἐκλιπόντος”) (Luke 23:45). However, the passage is usually translated “the sun was darkened.” The verb is in the passive voice, as is the verb “ἐσκοτίσθη” used in other versions of the Greek text, and both words can mean “was darkened” or “was obscured.” No matter how we may interpret the words relating the phenomenon, and no matter whether it is possible to attribute the darkness thus described to a real astronomical event, scriptural hours of daytime darkness over Golgotha presented an iconographic opportunity to medieval artists depicting the Crucifixion.
In manuscripts and painted works of art that aimed to depict the event, color was frequently exploited to illustrate darkness and to create a dramatic setting. Across media, the celestial bodies of the sun and the moon were incorporated into the skies above the crucifixion, not only to signal darkness at daytime but also to imbue the scenes with a rich cosmological significance.
An especially early example appears in the Syriac Rabbula Gospels from the late sixth century. In this manuscript, the Crucifixion includes a partly eclipsed Sun and a Moon with a face against a remarkably light sky; a sliver of shaded pigment at the top suggests darkness (Figure 1). From antiquity, the sun and moon were associated with power. In early medieval crucifixion scenes they represented God’s cosmic anger at the death of Christ. Throughout the Middle Ages, personifications of the Sun and Moon became regular characters at the Crucifixion, positioned as sorrowful figures mourning Christ’s death. The placement of the Sun and Moon respectively at the right and left arms of the cross came to be read typologically as the Old and New Testaments. After about 850, they could also be seen as allegorical representations of Church and Synagogue.
The Ottonian Sacramentary of Henry II sets the Crucifixion scene against a deep purple background, a striking hue used to set a somber mood and suggest darkness (Figure 2). Busts of the personifications Sun and Moon sit on the arms of the cross. The Sun, labeled SOL and sporting a rayed headpiece, and the veiled Moon, labeled LUNA, both turn away from the scene and weep into their draped hands. The strong background color effectively conveys the darkness of this scene emphasized by the dramatic gestures of the Sun and Moon.
Medieval artists sometimes set the same iconographic features within a flattened space of gold or patterned backgrounds. A leaf from the Potocki Psalter, made in Paris in the mid-13th century, sets the Crucifixion against a gold background (Figure 3). Christ is flanked above by the sun and moon and below by the Virgin Mary and the Evangelist John. Within this composition, the three main figures hover between time and space, darkness suggested only by the presence of the partly obscured sun and the crescent moon.
Similarly, in a Crucifixion scene painted around 1400 to 1410 in a Register of Coiners and Minters from Avignon, a richly patterned background of gold scrolls avoids any illusion of a dim sky (Figure 4). The red sun and the moon’s countenance in the upper corners of the miniature are the only clues that the ornamental ground is actually simulated “darkness.” In both miniatures, decorative and luminous backgrounds highlight the central features of the scene so that the Crucifixion image becomes a place of mediation, the background “darkness” metaphorically positioned between an earthly space and a shift in the cosmos at the moment of Christ’s death.
Images of darkness at the Crucifixion can be found in the Index database by any of several possible search strategies. One method is to perform an advanced search using the keyword “Crucifixion” while filtering with the subject “Sun and Moon.” This search returns over 380 results. Executing the search again with the subject “Personification: Sun and Moon” returns around 220 examples in a variety of media, including ivory plaques, glyptics, and frescoes. “Personification: Sun and Moon” is the subject used by the Index for records concerning works on which both celestial bodies have facial features. Using words like “stars” or “starry,” background elements that can also suggest a dark sky may be recorded in the Index’s descriptions of such works.
With the advent of the Index of Medieval Art’s new database, thumbnail images are now visible with search results, allowing the researcher to review works of art at a glance. Thus, a researcher looking into images of the Crucifixion will be able to notice the gradual change in the later medieval period in the West, when images of the Crucifixion began to represent the three-hour darkness as a true night sky. In a Book of Hours made in Paris about 1490, a soft pattern of gold stars with the sun and moon dot a dark blue sky to create the illusion of evening (Figure 5). Other Crucifixion scenes that a researcher may notice while thumbnail browsing show cloudy, dark, and emotive skies that convey darkness without the sun or moon. These atmospheric scenes offer a remarkable and naturalistic, if not peaceful, departure from the earlier ones with their grief-stricken personifications of the Sun and Moon.
The starry night sky casts a familiar source of light over a recognizable scene, and these astronomical bodies inspired fascination in medieval minds still forming theories about what those bodies might actually be. Nevertheless, the symbols of the Sun and Moon, while signaling darkness and the passage of time, also imparted emotional weight, persisting in iconography not only to adhere to scriptural tradition, but also to emphasize the significance of Christ’s death.
Hautecoeur, Louis. “Soleil et la lune dans les crucifixions.” Revue archéologique, ser. 5, XIV (1921): 13-32
Schiller, Gertrude. “The Crucifixion.” In vol. 2 of Iconography of Christian Art, 88–164. London: Lund Humphries, 1972.
Nickel, Helmut. “The Sun, the Moon, and an Eclipse: Observations on The Crucifixion with the Virgin and Saint John, by Hendrick Ter Brugghen.” Metropolitan Museum Journal 42 (2007): 121–24.
 The Gospels report three other supernatural events that occurred during the Crucifixion: the temple veil was split in two; various earthquakes shook the land; and the souls of the dead rose from their graves. See related subjects in the Index of Medieval Art: Christ: Crucifixion, Earthquake; Christ: Crucifixion, Resurrection of Dead, and Veil of Temple: rending.
 Bible Translation. “David Robert Palmer trans., The Gospel of Luke: Part of The Holy Bible.” Accessed 30 March 2018. Bibletranslation.ws/trans/lukewgrk.pdf. See especially p. 116, n. 307.
 Gertrude Schiller, Iconography of Christian Art, trans. Janet Seligman (London: Lund Humphries, 1972), 2:94.
 This interpretation was promoted by St. Augustine (354–430 CE). Schiller, 109.
Throughout the Middle Ages, the feast of the Presentation of Christ was observed on February 2nd, where it gradually absorbed the rites of the Purification of the Virgin. Incorporating blessed candles and certain songs, the feast came to be known as Candlemas. The only gospel writer to describe the Presentation of Christ in the Temple was Luke in the second chapter of his Gospel account (Luke 2:22–39). Luke writes that, in accordance with Jewish tradition, parents were required to bring an acceptable offering in exchange for the priest’s redemptive blessing on their child. Luke notes that “a pair of turtledoves, or two young pigeons” would fulfill the sacrifice (Luke 2:24). In Presentation scenes, the gathered doves, usually held by Joseph, signal Christ’s restoration under Mosaic Law. Over time, lit candles at this same ritual came to mark the Virgin’s cleansing and reentry into the temple. In a stained-glass window in Canterbury Cathedral, we find Joseph holding both implements at the far left, a visual sign of the combined purpose of their visit (Figure 1).
When the Holy Family approaches the altar, Luke records two mystical occurrences that concern key witnesses in the temple. First, Simeon, the named priest from Jerusalem, prophesies the divinity of the Christ Child. Another prophetic utterance comes from the lips of an unlikely source, the temple’s aged widow, Anna the prophetess. Luke tells us that Anna fasted and prayed there without ceasing. Anna is the New Testament’s only prophetess, and her privileged glimpse of the important ritual uniquely connects her to the childhood of Christ.
The Presentation is Anna’s one shining moment in the Gospels. In the Index of Medieval Art there are over 960 examples of the subject Christ: Presentation, and at least 330 include Anna as a secondary figure in the scene. We discover varied depictions of Anna in these medieval images. She is depicted as a scroll-bearing prophetess; as proxy to the presentation ritual, handling the different ritual items; or she may be simply shown among the other women surrounding the Virgin Mary. Despite her prominent role at the Presentation of Christ, Anna’s portrayal in medieval images can be perplexing. It seems medieval artists, who knew about her visionary role at the Presentation, could choose to emphasize or de-emphasize Anna as a prophetess based on tradition, context, or perhaps even their own interpretations of her significance. Several Presentation scenes also include a woman near the altar, and Indexers have often identified her as a female attendant, questioning her identity as the prophetess in iconographic descriptions. Thus was born the usual Index reading of this female figure: “probably Anna.”
Because of the inconsistency of representations of the Presentation, it is not always easy to identify Anna in medieval images. Moreover, Luke’s account offers few details about her, other than that she is:
the daughter of Phanuel of the tribe of Aser
“far advanced in years”
long widowed (for over 84 years)
found in the temple, both day and night, fasting and praying
one of the first testifiers of the divinity of Christ and declares it during the presentation (not elaborated further)
Analysis of Presentation scenes does reveal a few key details consistently associated with Anna: the presence of a halo; her scroll, which expounds her part in the prophecy; her interaction with presentation/purification implements, including the doves and candles; and her advanced age, sometimes suggested by her modest wimple. One or more of these details could be enough for a positive ID of our prophetess. Another sign is her speaking gesture, as in the Presentation miniature in the Romanesque Mont-Saint-Michel Sacramentary, in which Anna’s hands are shown outstretched in a wide statement of praise (Figure 2). This miniature also exemplifies an iconographic conundrum that sometimes accompanies Anna: a second nimbed and veiled female figure stands just behind Joseph, and she is carrying two doves in draped hands. Is this a second Anna? Or is this simply a sanctified female attendant? This female assistant is doing what many later Annas do in bearing the sacrificial birds, so the context with which we identify Anna becomes increasingly important.
Anna is one of the first people, even the first woman, to reveal Christ’s destiny, but her exact words are omitted from Luke’s account. We know that she “spoke of him to all that looked for the redemption of Israel” (Luke 2:38). However, since Anna’s actual words are not recorded, her scrolls present a number of different inscriptions. An Index search reveals some of the most intriguing ones. In the fifth-century sanctuary apse mosaic at Santa Maria Maggiore in Rome, Anna’s scroll is inscribed BEATVS VENTER QVI TE PORTAVIT (Luke 11:27), meaning “Blessed is the womb that bore thee.” In a late twelfth-century mosaic in the Cathedral of Monreale, Anna holds a scroll inscribed POSIT(US) EST HIC I(N) RVINA(M) (Luke 2:34), repeating the words first said by Simeon, “This child is set for the fall.” In a fifteenth-century panel by the artist known as the “Byzantine Painter,” Anna holds a scroll inscribed (in Greek) “This child created Heaven and Earth” (Figure 3). And in one emotive declaration in a ca. 1240 Psalter from Hildesheim, Anna’s scroll is inscribed in Latin, EXULTATUIT COR MEUM (I Samuel, 02:01, also known as the Canticle of Anna), meaning “My heart hath rejoiced” (Stuttgart, Landesbibliothek, Cod. Don. 309, fol. 37r).
Anna’s scroll has even been used to identify her by name, as in the presentation scene on the ca. 1365 Florentine Ashmolean Predella, from a private collection in Tuscany, with a scroll inscribed “ANNA PROFETESSA DEO GRATIAS AMEN” (“Prophetess Anna, Thanks be to God”). In this case, Anna’s index finger is elegantly lifted upward to indicate from whom her proselytizing originates. In other examples, Anna’s scroll can be completely blank, or filled with a pseudo-inscription. In the Armenian T’oros Roslin Gospels, the scroll expands into neat folds revealing simple red rulings (Figure 4).
The new advanced filter options offered by the Index database can reveal interesting trends within the Anna images recorded by the Index. I performed a keyword search for “Anna,” filtering by the subject Christ: Presentation, and restricted the search to fifteenth century examples (setting the date slider at 1400 to 1499). I limited these examples further with the Work of Art Type filter set to “Manuscript.” This way, I found over 60 records of interest describing fifteenth century illuminations that include this scene.
I narrowed these results further by adding a second subject filter with one of the Index’s grouped terms, Candle: held by Prophetess Anna. I found that, with each refinement, I was able to reconstruct Anna’s changing representation in medieval iconography. Curiously, in several of these late medieval examples, Anna is holding both a candle and a dove, and she is directly behind the Virgin Mary (not Simeon), displacing Joseph completely. These three-character scenes of the Presentation make up a good portion of later examples, and they underscore Anna’s union with the Holy Family’s first official appearance. In one such image, a fifteenth-century Book of Hours made in Paris, Anna is holding a candle in her right hand while playfully balancing a basket of birds on her head. A talented multitasker, Anna has, in a sense, usurped Joseph’s gift-bearing role (Figure 5).
No matter how she appears—as a wise widow bearing her scroll, or as a female witness bearing the implements of the impending ritual—the prophetess Anna is an exemplary New Testament woman. Through her time-honored vows of chastity, piety, and obedience to God, virtuous qualities brought out in her varied iconography, she presents a model of behavior for the young mother.
Shorr, Dorothy C. “The Iconographic Development of the Presentation in the Temple.” The Art Bulletin 28, no. 1 (1946): 17–32.
Schiller, Gertrud. Iconography of Christian Art, vol. 2, The Presentation of Christ in the Temple, trans. Janet Seligman (Greenwich, Conn.: New York Graphic Society, 1972): 90–94.
Elliott, J. K. “Anna’s Age (Luke 2:36–37).” Novum Testamentum, 30, Fasc. 2 (Apr., 1988), 100–102.
Hammond, Joseph. “Tintoretto and the ‘Presentation of Christ’: The Altar of the Purification in Santa Maria Dei Carmini, Venice.” Artibus Et Historiae 34, no. 68 (2013): 203–217.
“Presentation of the Christ Child in the Temple.” In The Oxford Dictionary of Christian Art & Architecture, edited by Murray, Peter, Linda Murray, and Tom Devonshire Jones: Oxford University Press, 2013.
 From at least the fourth century this ritual was celebrated as a post-purification feast, known as Hypapante, which Justinian set 40 days after the feast of the Epiphany, or on February 14.
 For the best study of the development of this iconography, see Dorothy C. Shorr, “The Iconographic Development of the Presentation in the Temple,” Art Bulletin 28 (1946): 20–46.
 Simeon holds the infant in his arms and instantly says to the Virgin Mary, “Behold this child is set for the fall, and for the resurrection of many in Israel…,” and representations of Simeon are associated with the text Nunc Dimittis, also known as the Canticle of Simeon (Luke 2:34–35).
 Shorr notes that, in most northern medieval examples after the thirteenth-century, Anna’s place was taken over by a young handmaiden (Shorr, 1946, p. 27).
The personification of Wisdom in medieval art is usually grouped with other virtues, such as Justice, Hope, Prudence, Chastity, Poverty, Courage and Fortitude. While she works in communion with these sisters, she also performs her own distinct role. As the story goes, Wisdom was created by God before the world existed and is therefore in the position to offer humanity knowledge that will lead to its salvation. When Wisdom speaks in the Book of Proverbs, it is often to highlight her own importance and power. She calls herself a font of knowledge and a righteous helper who will reward those who follow her instructions. Wisdom says,
“By me kings reign and lawgivers decree just things. By me princes rule and the mighty decree justice. I love them that love me, and they that in the morning early watch for me shall find me. With me are riches and glory, glorious riches and justice….” [Proverbs 8.15–18 (Douay-Rheims Bible)]
This reward of Wisdom manifests in two ways: not only does she assist in saving the souls of those who heed her message, but she also has the authority to grant earthly power to individual rulers. The Index of Medieval Art records several scenes in biblical and secular narratives in which the virtue of Wisdom is a central character. Some relevant subjects in the Index include Christ: praising God’s Wisdom; Personification: Holy Wisdom; Personification: Celestial Beatitudes; and Holy Ghost: Gifts; and in narratives, Pèlerinage: Scene, Wisdom with Aristotle; Confessio Amantis: Scene, Darius, Sultan of Persia, seeking Wisdom, and De Consolatione Philosophiae: Scene, Wisdom showing Boethius Vision of Heaven.
In some Semitic languages, the word we translate as wisdom literally meant to restrain oneself from evil, suggesting a conscious desire to avoid sin. Thus, a sinful individual cannot approach Wisdom, as illustrated in a Romanesque miniature on folio 11r in the Stammheim Missal made in Hildesheim [Los Angeles, J. Paul Getty Museum, Ms. 64 (97.MG.21)]. Flanked by David and Abraham, a crowned Wisdom (Sapientia) is positioned beneath the half figure of Christ. Here she is in direct contact with the divine as she supports with raised hands the arc of heaven, the traditional separator of realms. In a sense, she has become a gatekeeper and mediator for Christ. Surrounded by earthly men, including Zechariah and Patriarch Jacob, Wisdom can also be seen as a kind of “ladder” to heaven, since her upright body forms an important link to the promise of salvation.
Wisdom’s spiritual authority is exemplified by a scene on folio 239v of the De consolatione philosophiae of Boethius, which shows her leading the Roman philosopher to God’s throne (New York, Morgan Library, M.396). They enter through a side door of the throne room, positioning Wisdom once again as the route to the divine.
However, Wisdom also bore earthly authority, mentoring influential individuals such as Solomon, the Old Testament king of Israel and the traditional author of the biblical Book of Wisdom. This relationship is illustrated within an initial P (New York, Morgan Library, M.791). Against an ethereal gold burnished background, a veiled Wisdom crowns Solomon as a sign that she is at the root of his authority. By Wisdom—and by way of Wisdom—Solomon enacts what is so eloquently echoed in the verse of Proverbs: he will enjoy elevated status owing to the receipt of spiritual gifts; his reign is received in righteousness; and his rule is just.
This guest blog post was written by Rachel Dutaud, a summer student assistant at the Index of Medieval Art and a recent graduate in Art History and Ancient History from the University of St. Andrews. Over the 2017-18 academic year, Rachel will be working toward her MA degree in Archives & Records Management at University College Dublin. Her interests are medieval art history, iconography of female rulers, classicism, and archives.
One of the little thrills those us who do academic research get to enjoy — whether we specialize in the arts and humanities or engineering and sciences — is when our favorite topics come up in films or on television. Imagine the excitement for anyone who studies Andalusian architecture when the quasi-medieval show “Game of Thrones” received rare permission to film inside the beautiful Alhambra Palace in Granada, Spain.
Now perhaps it will come as no surprise that several of us here at the Index of Medieval Art are looking forward to the next series of “Doctor Who” — and the premiere of the first female Doctor (to be played by Jodie Whittaker)! — when the Doctor’s complicated history with historical accuracy resumes. For those of you regrettably unfamiliar with “Doctor Who,” it is a long-running BBC show about a long-lived, possibly immortal, time-traveling alien, and history nerds are among the most avid Whovians. To understand why, just watch the episode in which Pompeii was destroyed because aliens were building a spaceship in Vesuvius! In another episode, we learned that William Shakespeare’s plays include secret spells that open portals to other parts of the universe!
In the most recent series, the episode “The Eaters of Light” took place in Scotland in the second century AD. The Ninth Roman Legion, charged with the task of defeating the “barbarians” living in ancient Scotland, disappeared without a trace. When the Doctor and his companions investigate, things get a little strange. In the second century, the Roman Empire was trying desperately to maintain control of the lands of the “Picts” who lived north of what would very soon be the site of Hadrian’s Wall. The Picts are so called because these “painted people” (Picti) are mentioned in very early medieval texts. We know almost nothing about them, other than that they were fierce warriors, they painted their bodies before battle, and they left behind large stone monuments decorated with pictographic writing.
The Index of Medieval Art has almost 250 entries for “Pictish” artwork, most of which are large stones, either stelai or crosses. The stones usually appear in pairs, and the symbols carved on them depict inanimate objects like mirrors and combs, or crescents, and other geometrical shapes, as well as animals such as horses, dogs, birds and the enigmatic “Pictish beast.” It was this Pictish beast, a creature something like a hybrid of dolphin, horse, and dragon, or even (as some have argued), the Loch Ness Monster, that was the focus of “The Eaters of Light.” The episode proposed that it was a species of lizard-like alien monster that traveled through a great stone chamber-tomb in northern Scotland. Released in order to defeat the invading imperial army, it continued eating, threatening to consume all the light in our universe. Of course!
While this episode provides a fanciful interpretation of the Pictish stone carvings, it does actually highlight a point that art historians and archaeologists have been puzzling over for more than a century — just what do these symbols mean?
The stones were classified in the early twentieth century into three types, based upon their iconography and the level of detail in their carving. Class I stones, which date roughly to the fifth to seventh centuries, are relatively plain, and have only Pictish symbols inscribed upon them. Class II stones are slightly more ornate, with more effort obviously spent on not only carving the imagery but also on decorating the shape of the stone itself. They have not only Pictish symbols, but also Christian iconography such as very simple cruciform carvings. These are thought to date to the period of the seventh to ninth centuries, when conversion to Christianity was becoming more common in the region we now know as Scotland. Finally, Class III stones, which date to the later eighth and ninth centuries, are the most ornate. Their edges are highly decorated, the shape itself has been clearly hewn from the rock rather than simply incised upon it, and they have intricate carvings of knot-work and lace-work. Apparently used not only as upright markers or crosses but also as grave slabs, all of these Class III stones have explicitly Christian imagery, with many carved in the shape of crosses. None of them bear Pictish symbols, so these stones are interpreted as a last step in the Christianization of Scotland.
There are, however, two main difficulties in interpreting these Pictish symbol stones, though there are many theories as to what they represent. First, we are not entirely sure what they were for. Scholars have debated the issue for the last half century, arguing that they were monuments marking important meeting places or boundaries, or that they were memorials to particular individuals, families, events, or even that they might have been political statements opposing the spread of Christianity in early medieval Britain. Inscriptions are not helpful for interpretation either. While ogham writing in Ireland and Wales is found on stones that include Latin inscriptions, so that each stone is like a Rosetta Stone (with the Latin inscription in each case serving as a key to interpreting the ogham text), we do not currently have such a direct method of interpreting Pictish ideograms.
The second problem is the dating. Surviving Pictish stones suggest a development from the simple, presumably pagan, Pictish animals and shapes of Class I stones to the elaborate crosses in Class III. Like much archaeological evidence from the post-Roman fifth and early-sixth centuries in Britain, this dating is often based upon our expectations affected by early medieval texts like Bede’s Ecclesiastical History or Gildas’s On the Ruin of Britain, none of which were written in Britain in the period they describe. Unlike human or plant remains, stones cannot be radiocarbon dated. Even if we wanted to make the attempt at dating, for example, organic elements of the soil beneath the stones, only a few of the stones are actually still in situ. So the dating of the Pictish stones depends on parallels in manuscripts such as the Book of Durrow, and upon what we currently think about the history of the arrival of Christianity in Scotland. Even if we were able to determine with absolute certainty when exactly these stones were first inscribed and placed in the landscape, that account would still not consider the many succeeding generations and their many possible uses for these stones.
The Pictish stones in the Index of Medieval Art, especially the Class I stones, are part of a wider discussion of very early medieval society in Scotland. The Picts are the people that sixth-century and later texts blame for the beginning of the end of Roman Britain. Their raids along coasts to the south created defensive problems at a time when the Roman military presence in Britain was declining. Over the last fifty years or so, archaeological excavations of cemeteries in Scotland have increased our understanding of the monumental commemorations of death among the people who raised these decorated stones and crosses. The iconography on the stones that these people left behind is one of the few sources that modern scholars can work with to learn about the Picts and their world — and it also turns out to be a great source of inspiration for science fiction television.
This guest blog post was written by Janet Kay, a CLSA-Cotsen postdoctoral fellow at the Princeton Society of Fellows. She studies the history of fifth-century Britain, looking at burial practices to study a period for which there are no surviving texts. Janet uses material culture and funerary rites as primary sources to explore how fifth-century communities understood themselves and their newly-arrived neighbors from the continent and how invested they were in maintaining connections with their Roman past.