Imagining the Virgin in the Byzantine Night

In the early Byzantine period, the Virgin Mary rose to prominence among Christians – especially in the capital city of Constantinople.

Beard Pulling in Medieval Christian Art: Various Interpretations of a Scene

Christian iconography contains a lot of subjects with unclear interpretation. More difficult are the cases where unclear subjects could have several possible interpretations. That is the case of the scene where one man is pulling out the beard of another one.

Imagining the Virgin: The Intersection of Space, Monumentality and Marian Iconography in Late Antique and Early Medieval Egypt

This lecture contextualizes the iconography of the Virgin Mary within the framework of Late-Antique and Early Medieval Egyptian Christianity.

Mindmapping: Diagrams in the Middle Ages – and Beyond

If we think of diagrams as techniques of visualisation that give order to knowledge and perception, then the Middle Ages have a special claim on our attention, because much of its art is diagramatic.

‘Warrior-women’ in Viking Age Scandinavia? A preliminary archaeological study

This paper seeks to provide a new contribution to the debates on Viking Age women by focusing on a rather controversial notion of ‘female warriors’. The core of the article comprises a preliminary survey of archaeological evidence for female graves with weapons (axes, spears, swords and arrowheads) from Viking Age Scandinavia.

Call for Papers: Moving Women, Moving Objects (300-1500) (ICMA CAA 2015)

CFP: Moving Women, Moving Objects (300-1500) (ICMA CAA 2015)

The Military Use of the Icon of the Theotokos and its Moral Logic in the Historians of the Ninth-Twelfth Centuries

Starting at least by the late tenth century, Byzantine emperors took icons of the Mother of God with them on campaign. This article examines the appearance of such icons in the narratives of historical texts.

The Man of Sorrows and the King of Glory in Italy, c. 1250 – c. 1350

The Man of Sorrows – an iconographic type of Jesus Christ following his Crucifixion – has received extensive analytical treatment in the art-historical literature.

Depicting the Medieval Alchemical Cosmos: George Ripley’s Wheel of Inferior Astronomy

Alchemical writing often develops the idea of a physical or analogical correspondence between heaven and earth: a relationship most fre- quently and conveniently expressed by the use of the seven planetary symbols (Sol, Luna, Mercury, Venus, Mars, Jupiter and Saturn) to denote the seven metals (usually gold, silver, quicksilver, copper, iron, tin and lead respectively).

The Charlemagne Window at Chartres Cathedral: New Considerations on Text and Image

The Charlemagne Window, justly considered one of the most beautiful of the history windows of Chartres Cathedral, is located in the northeastern intermediate radial chapel and can probably be dated to about 1225.

The Cult of Saint Louis and Capetian Interests in the Hours of Jeanne d’Evreux

Throughout the Middle Ages the Capetians labeled themselves as the ‘Most Christian of Kings,’ and to have a saint in the family legitimated their claim.

Picturing Gregory: The Evolving Imagery of Canon Law

This paper surveys images created for the opening of the Liber extra between around 1240 and 1350, from a variety of standpoints: iconography, page layout, patrons and readers – and also suggests possible ideological agendas that might be embedded in the illustrations.

Church Wall Paintings and Mosaics: Principles of their arrangement and relationship to church architecture

The history of Orthodox church wall-painting and mosaics, East and West, is a very rich one. On the one hand it reveals tremendous creativity in the Church’s response to architectural and pastoral changes. On the other hand it shows how consistently it has been faithful to unchanging spiritual principles.

Fools, Devils, and Alchemy: Secular Images in the Monastery

The fool is one of the most popular and stable character types throughout cultures and times. This is especially true of medieval Europe. The fool, sometimes a jester, sometimes a clown or a trickster, is always recognizable through his abnormal appearance.

The myth of Jewish male menses

Several scholars have asserted that medieval Christians believed that Jewish men menstruated. Their arguments, made in support of a grander claim that Jews as a collectivity were gendered feminine in Christian thought, rest on numerous misreadings.

Hot Holiday Reads!

Put down those turkey left-overs and check out some of these hot holiday reads!

Iconography of the Unicorn from India to the Italian Middle Ages

The earliest unicorn figure discovered in Iran dates to the proto-Iranian cultureof Amlash (9th-8th century B.C.). This consists of a small bronze statue representinga goat with a frontal horn. The unicorn measures four centimeters in height and sixand a half centimeters in length and was part of some grave goods

Worlds writ small: four studies on miniature architectural forms in the medieval Middle East

While academic discussion of ornament within medieval Islamic art has laboured much over the codification and meaning of certain forms, there has been relatively little research to date on the visual and iconographic function of architecture as ornament in this context…This thesis proposes, first and foremost, that there is significant cultural meaning inherent in the use of architecture as an inspiration for the non-essential formal qualities of portable objects from the medieval Islamic world.

medievalverse magazine
WordPress Security