Elements of Christian visual culture appeared in
various media in monumental and applied art during the late
antique period, from painted decoration in the catacombs,
through funerary monuments, to utilitarian objects such as
jewellery and lamps. The paper analyses the symbolic meaning
of fish and maritime motifs in the context of the late…[Read more]

The multimedia aspects of one of the most beautifully illuminated charters is in the focus of this paper.

Th is essay deals with the relevance of medieval grants of arms in art history, focusing on the aspects of innovation and quality. Th e fi rst part discusses the origins of innovative prototypes that did not yet match the quality of later grants of arms. Th e second part presents a selection of qualitative landmarks in the history of grants of…[Read more]

Der Beitrag untersucht das Verhältnis des Bildprogramms zur Weltchronik des Rudolf von Ems zu anderen Bildprogrammen von volkssprachlichen Weltchroniken.
Es gibt keinen für Rudolf von Ems typischen Illustrationsmodus. Weder Rudolf noch irgendeine andere Weltchronik hat eine derart individuell ausgeprägte und von der biblischen Grundlage sich ab…[Read more]

Die Quellensammlung zum Waldrapp (Geronticus eremita – Northern Bald Ibis) versammelt Knochenfunde (ab dem Miozän), Bildquellen aus dem Mittleren Osten, dem Alten Ägypten, der Antike, dem Mittelalter und bis ins 17. Jahrhundert und Textquellen, die bis in die Antike zurückreichen und einen eindeutigen Höhepunkt im 16. Jahrhundert (Conrad Ges…[Read more]

Das Stadtbuch der niederösterreichischen Stadt Waidhofen an der Thaya aus der Mitte des 15. Jahrhunderts beginnt mit einer bemerkenswerten Initiale. Diese kombiniert Motive, die aus Notarssigneten stammen mit einem Vogel, der seit 1971 mit dem Waldrapp (Geronticus eremita) identifiziert wurde.

Paintings are usually not animated. But: Painters want to tell stories and therefore have cre-ated methods to induce a performance within the viewer’s imagination. An especially apt media for such approaches is book illumination because it is possible to sequence a story into many separate scenes. This happened from Late Antiquity onwards.
I p…[Read more]

Few studies in medieval and Renaissance cartography focus on race, in part owing to the genealogical issues discussed above, and in part owing to the racist origins and practices of the disciple of art history that normalizes seeing whiteness as both default norm an universal ideal. Johann Joachim Winckelmann, the founder who gave the discipline…[Read more]

The Vercelli Map, one of the largest maps to survive from the Middle Ages, has not received the attention it merits (Plate IV). This is likely the result of its very poor state of preservation, which has been a constant theme in what little has been published on it.’ There are several studies that make brief mention of the map, and a few studies…[Read more]

This is the Vol – 2, SPECIAL ISSUE 4: VOL – 1, MARCH 2020 issue.

“The Other Close at Hand: Gerald of Wales and the ‘Marvels of the West,’” in The Monstrous Middle Ages, eds. Robert Mills and Bettina Bildhauer (Cardiff: University of Wales Press, 2003), 97-112

“Inconceivable Beasts: The Wonders of the East in the Beowulf Manuscript,” with Susan Kim, in Dark Reflections, Monstrous Reflections: Essays on the Monster in Culture, ed. Sorcha Ní Fhlainn (Oxford: Inter-Disciplinary Press E-Book, 2008)

“The Exposed Body and the Gendered Blemmye: Reading the Wonders of the East,” with Susan Kim, Fundamentals of Medieval and Early Modern Culture, v. 3, The History of Sexuality in the Middle Ages and the Renaissance, ed. by Albrecht Classen and Marilyn Sandidge (Berlin: Walter de Gruyter, 2008)

“Digital Mappaemundi: Changing the Way We Work with Medieval World Maps,” Peregrinations: The Official Publication of the International Society for the Study of Pilgrimage Art, with Martin Foys, vol. 2:3 (Summer 2009)

The dominant literate culture of early medieval England – male, European, and Christian – often represented itself through comparison to exotic beings and monsters, in traditions developed from native mythologies, and Classical and Biblical sources. So pervasive was this reflexive identification that the language of the monstrous occurs not onl…[Read more]

“Ungefraegelicu deor: Monsters and Truth in the Wonders of the East,” Different Visions: A Journal of New Perspectives on Medieval Art, vol. 2 (2009), with Susan Kim

“Anglo-Saxon Frames of Reference: Spatial Relations on the Page and in the World,” Different Visions: A Journal of New Perspectives on Medieval Art, vol. 2 (2009), with Susan Kim

The dominant literate culture of early medieval England – male, European, and Christian – often represented itself through comparison to exotic beings and mon- sters, in traditions developed from native mythologies, and Classical and Biblical sources. So pervasive was this reflexive identification that the language of the mon- strous occurs not…[Read more]

The dominant literate culture of early medieval England – male, European, and Christian – often represented itself through comparison to exotic beings and monsters, in traditions developed from native mythologies, and Classical and Biblical sources. So pervasive was this reflexive identification that the language of the monstrous occurs not onl…[Read more]