British Archaeological Association Research Awards, deadline 1 June 2024

The British Archaeological Association invites applications for research awards of up to £1,500. These are designed to assist those who might otherwise have difficulty in funding or completing a research project, and are therefore not open to students registered on degree courses, or those in full-time employment for whom research is an expectation written into their employment contract. The awards cover research with a defined outcome, such as publication, mounting of an exhibition, scientific analysis (in the case of scientific and/or technical analysis, we require the results of the analysis to be publicly available). Research proposals for which some funding has already been obtained are eligible, though it should be shown that the additional funds for which you are applying to the BAA are sufficient to complete the research. Proposals contingent on additional future funding will not be supported. The deadline for applications is 1 June, 2024.

Applicants are required to provide one reference, along with an anticipated research schedule and budget. The research proposal must fall within the Association’s fields of interest (as defined below). Applicants should either be ordinarily resident in the UK, or work on material from, in, or directly related to the art, architecture or archaeology of the British Isles.

Download the application form below. Once completed, it should be sent as an email attachment to the Hon. Secretary at secretary@thebaa.org. Funds are limited, so the awards are competitive.

BAA Statement of Interest

The Association’s interests are defined as the study of archaeology, art and architecture from the Roman period to the present day, principally within Europe and the Mediterranean basin. The BAA’s core interests run from the Roman era to the 16th century and embrace the study of these periods (historiographical, antiquarian, conservationist).

baa-research-awards-notes-to-applicants-rp Download

Online Lecture: ‘Designing Chartres Cathedral: A Geometrical Perspective’, with Robert Bork and Ellen Shortell, 14 May 2024, 7.30pm (EST)

The Millenium Celebrations of Chartres Cathedral continue with The Friends of Chartres Online-Lecture Series. In collaboration with the University of Iowa and Villa Albertine, they invite you to delve into the mysteries of medieval architecture with Professor Robert Bork, an expert in Gothic architecture and a distinguished fellow of the Medieval Academy of America, and Professor Emeritus Ellen Shortell of the Corpus Vitrearum.

This month, please join them online for a free lecture on: ‘Designing Chartres Cathedral: A Geometrical Perspective’

How did medieval builders in Chartres use geometry to design their remarkable cathedral? Taking advantage of laser-scanned survey data and modern design software, Robert Bork sheds new light on this fundamental question, demonstrating both remarkable continuity in the builders’ methods and previously unrecognized revisions to the cathedral’s design in the years around 1200. In this zoom presentation, Robert Bork will share these results in dialogue with Ellen Shortell, with time at the end for Q&A with the audience.

📅 Date: May 14th
⏰ Time: 7:30pm EST / 6:30pm CST, 4:30pm PT.

Click here to register: https://www.eventbrite.com/e/designing-chartres-cathedral-a-geometrical-perspective-tickets-894576009927

About the Speakers

Robert Bork is professor of art history at the University of Iowa, and Fellow of the Medieval Academy of America. His research concerns Gothic architecture, with particular emphases on geometry and design practice. His publications include the books Great Spires (2003), The Geometry of Creation (2011), and Late Gothic Architecture (2018). His current book project, in which Chartres Cathedral figures prominently, considers the history of French Gothic architectural design between 1130 and 1280.

Ellen Shortell is a historian of medieval and early modern art, with a focus on Gothic architecture and stained glass. She is Professor of Art History, Emeritus, at the Massachusetts College of Art and Design, and holds a Master’s degree from Tufts and a PhD from Columbia University. She is currently Vice President of the international board of the Corpus Vitrearum, and past chair of the editorial committee of AVISTA (Association Villard de Honnecourt for the Interdisciplinary Study of Medieval Technology, Science, and Art).

CFP: Defend sacred spaces: Fortified churches and monasteries in the medieval Mediterranean (9th-14th centuries), deadline 16 June 2024

Starting from the end of the 9th century, important events including the disintegration of the Carolingian empire and the advance of populations from northern and eastern Europe and the Arab world triggered a phase of insecurity and political instability. The Mediterranean, a place of meetings and exchanges between culturally and geographically distant populations, was particularly affected by these events. In a climate full of tension, threatened by internal conflicts and the advance of non-Christian populations, it became essential to defend the “home of God”. This concept translated architecturally into the adoption of design solutions inherited from military architecture. Throughout the eastern and western Mediterranean, numerous monasteries, abbeys, and churches acquired the appearance of fortresses, marked by high defensive towers and wall-walks, often integrated with the walls and defensive structures of the cities. Architectural innovations, useful for the defense of a single monument or entire villages and cities, spread quickly across the Mediterranean and its areas of influence, acquiring territorial specificities.

Considering the historical context between the 9th and 14th centuries, the II International “Mm3a” Conference in Lipari proposes the development of a framework on fortified religious architecture through: the analysis of the relationships between the regional architectural solutions and the socio-economic contexts, the studies of exchange methodologies and models dissemination and their adjustments according to local building traditions.

To this end, the study topics on fortified religious complexes are:

the formation of the architectural phenomenon in relation to the respective regional, cultural, and religious contexts;
the main players: commissioner, creators, users;
the diffusion of architectural models and construction techniques;
the contributions of the ecclesiastical and knightly religious orders in the architectural field;
restoration as a tool for knowledge;
historical sources, ecclesiological doctrines, and monastic culture.
art, iconography, and forms of representation

The Conference will include papers and a poster session. Proposals for participation relating to reports or posters must include:

the title;
adhesion to one of the thematic areas;
an abstract of a maximum of 2000 characters;
five key words;
a curriculum vitae of the proposer (not exceeding 500 characters); and must be sent by June 16th to the address: mediterraneomedievale@gmail.com

Papers of a maximum of 20 minutes are expected. The Scientific Committee will evaluate the proposals sent by June 30th and will communicate their possible acceptance, as a report or as a poster, inserting them in the Conference session deemed most suitable. The Conference includes the publication of the contributions in a monographic volume within the “Architettura Medievale” series (directed by Silvia Beltramo and Carlo Tosco), published by “All’insegna del Giglio”. Adequate space in the publication will also be reserved for posters admitted to the specific session.

The languages of the Conference are the following: Italian, English, French and Spanish.

The organization of the conference will offer lunches on 4 and 5 October, dinners on 3 and 4 October and coffee breaks for all participants.

Important dates

Deadline for submission of proposals: 16 June 2024.
Notification of acceptance of proposals: 30 June 2024.
Conference date: 3-4-5 October 2024.

The Scientific Committee of the Conference is composed:

Coordinator: Rosario Vilardo.
Members: Xavier Barral i Altet, Tancredi Bella, Giovanni Coppola, Lamia Hadda, Andreas Hartmann-Virnich, Vinni Lucherini, Andrea Pala, Alessandro Taddei, Carlo Tosco, Guglielmo Villa.

Scientific secretariat

Fabio Linguanti
Organizational secretariat and information
Fabio Linguanti
Arianna Carannante

Murray Seminars on Medieval and Renaissance Art at Birkbeck: ‘Signatures and Artistic Authorship in Lorenzetti and Attavante’, with Christopher Platts (Tue 21 May 2024, 5pm-6.30pm BST)

‘Signatures and Artistic Authorship in Lorenzetti and Attavante’, Dr Christopher Platts

The Sienese painter Pietro Lorenzetti and Florentine illuminator Attavante signed about a dozen surviving artworks. In Lorenzetti’s case, the painter apparently autographed more works than any other European artist, working in any medium, until the late fourteenth century. Such a tendency to inscribe one’s own identity into an artwork, and to do so creatively, foreshadowed the practices of Jan van Eyck and Albrecht Dürer a century or two later. In Attavante’s case, the illuminator’s inscriptions were either monumental in visual effect, if miniature in scale, or they were hastily scribbled onto the blank flyleaves of deluxe manuscripts. This paper examines two unusual cases, a unique “double-signature” by Lorenzetti and a newly discovered signature by Attavante, exploring how these self-inscriptions are different from each artist’s other autographs. By analyzing subtle relationships between text and image in each artwork—a monumental altarpiece on one hand, and a choir psalter on the other—this paper proposes that both artists were especially concerned with recording their own authorship, either publicly for multiple audiences or privately for themselves. Moreover, each painter, by choosing how and where he signed his work within the overall composition, emphasized that art-making was not only a devotional act but a holy one akin to the generative acts of God, the saints, or the prophets.

This London-based seminar is livestreamed and bookable via the link given. Attendance in person is very much welcome at Birkbeck’s School of Historical Studies, 43, Gordon Square, London N4 4EL. No booking is required.

If you would like to join the lecture online, register using Eventbrite.

About the Speaker

Dr Christopher Platts is an assistant professor of art history at the University of Cincinnati. His research focuses on the style, form, and function of late medieval and early modern Italian art, especially Sienese and Venetian painting of the fourteenth and fifteenth centuries. He is currently working on a book about Paolo Veneziano and the patronage and reception of Venetian Gothic painting in Europe and the Mediterranean during the trecento. Chris is also active as a curator at public and university art museums and libraries. His latest exhibition, which is currently up at the University of Cincinnati Art Library, is “Rediscovering Catharina van Hemessen’s Scourging of Christ: Women Artists, Patrons, and Rulers in Renaissance Europe.”

Project Manager Job: ‘The reception of ancient Greece in pre-modern French literature and illustrations of manuscripts and printed books (1320-1550)’ Project, deadline 12 May 2024

The ERC Advanced grant project AGRELITA “The reception of ancient Greece in pre-modern French literature and illustrations of manuscripts and printed books (1320-1550): how invented memories shaped the identity of European communities”, newly awarded (2021), led by Prof. Catherine Gaullier-Bougassas, is now accepting applications for a project manager position. Find out more information about the project here.

Until now the reception history of ancient Greece in Pre-modern Western Europe has focussed almost exclusively on the transmission of Ancient Greek texts. Yet, well before the revival of Greek teaching, numerous vernacular works, often illustrated, contained elaborate representations of ancient Greece. AGRELITA studies a large corpus of French-language literary works produced from the 1320s to the 1550s in France and Europe, as well as the images offered by their manuscripts and printed books.

Project Manager Role

The project manager supports the Principal Investigator in the implementation of the project:

To organise the scientific activities of the project and help prepare publications
To contribute to the scientific monitoring of the project
To be in charge of the project’s communication
To assist with the administrative and budgetary follow-up of the project.
He/She will be in communication with many scientific, administrative and financial interlocutors, the project members and the visiting researchers, the University of Caen and the ERC, the editors, the translators, the librarians.

The most important missions of the project manager will be:

Logistical organization of the scientific activities of the project:

To program the activities, travels in connection with the Principal Investigator and the post-docs
To organize the logistics of the scientific activities of the project – meetings, seminars, workshops, conferences (face-to-face and remote): manage the missions of the team members and invited researchers in connection with the services of the University of Caen (accommodation, transportation…)
To organize the travels of the Principal Investigator and the post-docs.
To organize access to the services needed for the project: documentation, reproductions, translations, links with publishers
To help welcome visiting researchers

Contribution to the scientific follow-up of the project:

To participate in the writing of the activity reports
To participate in monitoring AGRELITA’s publications: contributing to the material preparation of publications, reading and ensuring the typographical conformity of texts (publishers’ presentation rules), monitoring relations with publishers and translators, etc.
To contribute to monitoring the data management plan

Project communication:

To develop and implement strategies to ensure effective and visible communication and dissemination of the project. He/She will manage the carnet Hypothèses Agrelita (https://agrelita.hypotheses.org/) and the content of its different sections related to the Principal Investigator. He/She will manage the project’s social media accounts. He/She will announce on specialized scientific websites and social networks the activities of the project.
He/She will develop other communication strategies, in particular in collaboration with the University of Caen’s Communication Department.

Administrative, budgetary and financial follow-up of the project:

To ensure links with the administrative and financial services of the University of Caen and the ERC.
In relation with the research center Craham (Centre Michel de Boüard · UMR 6273, https://www.craham.cnrs.fr/), the UFR Humanités et sciences sociales (https://ufr- hss.unicaen.fr/) and the general research management of the University of Caen, to actively contribute to the following tasks:
To monitor the consumption of project’s funds, ensuring the proper application of the budgetary and administrative rules of the University of Caen and of the European Commission
To prepare administrative and financial reports according to the schedule set out in the grant agreement, responses to surveys, audits and evaluations, particularly those relating to the organization and budget of the project
To ensure the archiving of documents, especially financial, invoices, orders and mission reports, in coordination with the internal services of the University
To ensure the follow-up of the time sheets of the team members

Qualifications And Required Skills

Master’s degree or PhD
Experience in conducting scientific research projects.
Previous experience of managing EU projects and budgets would be an advantage.
An affinity for European projects and research in the humanities.
Very good command of French, ability to proofread texts and knowledge of the rules of scientific writing
Good command of English, for oral and written communication with English- speaking researchers, translation of calls for papers, etc.
Rigor, reliability
Sense of organization
Autonomy, sense of initiative and responsibility, reactive and flexible attitude, ability to handle different situations and resolve difficulties
Team spirit and ability to work in a network, with interlocutors with multiple concerns, ability to listen and adapt.
Very good interpersonal skills, confidentiality
Proficiency in office automation tools
Experience of basic web editing appreciated (training possible)

Professional Environment

The Project Manager will be placed under the direct responsibility of the Principal Investigator of AGRELITA, Prof. Catherine Gaullier-Bougassas, and will work in close collaboration with her. He/She will be in constant contact with the post-doctoral fellows and with the other members of the project. He/She will be expected to work as part of a team and also independently, towards their own deadlines and long-term planning schedules.

Conditions

Location: University of Caen Normandy, research center Craham: Centre Michel de Boüard · UMR 6273, https://www.craham.cnrs.fr/ The Project Manager will have an office in the Craham.
Employer: University of Caen Normandy
Type of contract: fixed-term contract
Duration of the contract: 12 mois
Working time: 100%
Estimated starting date of the contract: 01/09/2024
Remuneration: from €2134 gross per month, negotiable depending on profile and experience
Advantageous holiday arrangements
Contact: catherine.gaullier-bougassas@unicaen.fr

Recruitment Procedure

Application file to be sent in digital format (pdf) by 12 May 2024 at the latest to the following address
catherine.gaullier-bougassas@unicaen.fr
The file should include
A Curriculum Vitae
A letter of motivation
Any referees to be contacted, their names and contact details, at the end of the CV file.
The selected candidates will be auditioned at the end of May/start of June 2024.
Response during June.

Postdoctoral fellowships: ‘The reception of ancient Greece in pre-modern French literature and illustrations of manuscripts and printed books (1320-1550)’ Project, deadline 12 May 2024

The ERC Advanced grant project AGRELITA “The reception of ancient Greece in pre-modern French literature and illustrations of manuscripts and printed books (1320-1550): how invented memories shaped the identity of European communities”, newly awarded (2021), led by Prof. Catherine Gaullier-Bougassas, is now accepting applications for 3 postdoctoral positions (100 %), starting on 10th October 2024. Find out more information about the project here.

AGRELITA is based at the University of Caen Normandy and is scheduled to conclude on 30th September 2027.

Three postdoctoral positions

Contract duration: 12 months, renewable.

Postdoctoral Role:

The three postdoctoral researchers will analyse the texts and images of AGRELITA’s corpus. They will work with the Principal Investigator, the project manager, associate researchers and guest researchers.

Main Tasks:

The analysis of an already identified corpus of texts from the 14th, 16th and 16th centuries and the identification of new texts that contain representations of ancient Greece (texts available in the form of modern editions or from manuscripts and prints from the 14th – 16th centuries, whether digitised or not)
The collection of data and the drafting of notes on the texts, authors, artists, manuscripts, prints, and Greek data present
The scientific analysis of textual and visual representations of ancient Greece, of the links between texts and images
The production of original scientific articles, which will be published in the collective volumes of AGRELITA and in specialised journals, in French
Representing the AGRELITA project at external conferences and study days in France and abroad, and publishing the papers
Contributing to an anthology of texts and images (in collaboration with the whole team)
Participating in all AGRELITA activities: weekly team meetings in Caen, monthly seminars, workshops, conferences
Contributing to the scientific organisation of these seminars, study days, colloquia; identifying colleagues to be invited, making contacts
Contributing to the reception of invited researchers
Contributing to the editing of the planned collective volumes (proofreading, correction, formatting of manuscripts sent to publishers)
Contributing to the website and the blog
Contributing to the reflection on the implementation and development of AGRELITA

Required Skills

PhD in French literature of the Middle Ages and/or the Renaissance, in the history of art of the Middle Ages and/or the Renaissance (manuscripts and illuminations, early prints, paintings and engravings), in ancient literature or in cultural history of the 14th-16th centuries.
The candidate must have completed his/her thesis less than three years before the start date of the contract.
Excellent analytical skills of texts and images, as well as the relationship between texts and images
Excellent command of modern French, both written and spoken
Proficiency in scientific writing
Good knowledge of Middle French and Renaissance French
Palaeographic skills for reading and transcribing manuscript and printed texts (14th-16th C)
Knowledge of Latin and some knowledge of Ancient Greek
Ability to master a large corpus and to conduct comparative studies Ability and taste for interdisciplinary studies
Experience and/or willingness to work in a team,
Rigor, reliability, confidentiality
Sense of initiative
Proficiency in scientific writing in French and also in English (with possible support for English revision).
Ability to maintain a website and blog

Professional Environment

Each post-doc will report directly to the Principal Investigator of the AGRELITA project, Prof. Catherine Gaullier-Bougassas. They will also work in a team with the other postdocs and the project manager.

Working Conditions And Modalities

Location: The University of Caen Normandy, research center Craham: Centre Michel de Boüard, UMR 6273, https://www.craham.cnrs.fr/ The post-docs will have an office in the Craham.
Employer: University of Caen Normandy
Type of contract: fixed-term contract
Duration of the contract: 12 mois
Working time: 100%
Estimated starting date of the contract : 01/10/2024
Remuneration: Approximately €2800 gross/month
Contact: catherine.gaullier-bougassas@unicaen.fr

Application Process

Application file to be sent in digital format (pdf) by 12 May 2024 at the latest to the following address catherine.gaullier-bougassas@unicaen.fr

The file should include:

A Curriculum Vitae (Education, Experience, Publications)
A letter of motivation, which explains and presents the interest for the reception of Antiquity
A pdf of the thesis and a pdf of the thesis report (if applicable for the thesis report)
A proposal for an original article (approximately one page) on an aspect of the reception of Ancient Greece (before Alexander the Great) in pre-modern French literature (texts or/and images).

Job: The American University of Paris seeks Temporary Art History Instructors

The American University of Paris is excited to announce openings for temporary Art History instructors for the academic year 2024-2025.

Opportunities for Fall 2024 and Spring 2025

Fall 2024:

They are looking for an instructor to teach three sections of “Intro to Global Art Through Paris Museums” (AH1091 x3). This role is perfect for someone who can engage students with a survey of world art spanning various time periods. The ideal candidate will be dynamic and comfortable conducting classes directly in Paris’s famed museums.

Spring 2025:

The spring semester offers opportunities to teach two non-Western topics classes at the mid and upper levels (AH2091 and AH3091). These open-topic classes provide a platform for an instructor to explore areas of personal expertise and interest within non-Western art history.

Contract Details:

A one-year contract is available for those interested in teaching all five courses. Alternatively, they are open to hiring individuals for specific classes based on their expertise and availability.

Application Process:

If you live in Paris, have connections in the area, and are interested in exploring a teaching opportunity with The American University of Paris, please send your CV directly to Dr Anna Russakoff at annadrussakoff [@] gmail.com. Your application will be forwarded to the Program Coordinator for further consideration.

Support the Preservation of The Rose Window: A Stained Glass Legacy

The Rose Window, a revered online resource created by Painton Cowen, has been a beacon for students, scholars, and enthusiasts of medieval stained glass. With over 44,000 photographs documenting pre-1800 stained glass at more than 600 locations, this website has been an indispensable tool for educational and research purposes. As it stands, this digital archive receives about 5,000 visits daily from people worldwide.

As Painton approaches retirement, the future of The Rose Window hangs in the balance. Despite extensive efforts and consultations over the past two years, an institution that can take over and sustain the website has yet to be found.

However, a glimmer of hope shines through the collaboration with the International Corpus Vitrearum (ICVMA), which, under the guidance of digital chair Sarah Pittroff, has agreed to house and maintain Painton’s invaluable materials.

Urgent Financial Assistance Needed

The Rose Window urgently needs help to settle outstanding loans amounting to €35,000 by August 1st, 2024. A GoFundMe campaign has been launched to secure the necessary funds to preserve this cultural treasure.

How You Can Help

We’re calling on the global community, art lovers, historians, educators, and anyone who cherishes cultural heritage to come together and contribute to saving The Rose Window. Your donation can ensure that this free resource continues to enlighten and inspire future generations. Contributions of any size make a difference and will be recognised in a special ‘Amici Vitrearum’ (Friends of Glass) list.

Should The Rose Window exceed its fundraising goal, the additional funds will be directed towards humanitarian efforts, aiding in the reconstruction of Ukraine and Gaza.

To contribute, please visit the GoFundMe page.

Your support can make a real difference in preserving this unique repository of stained glass art. Let’s ensure that The Rose Window continues to shine brightly as a source of learning and inspiration.

For more information about The Rose Window and to explore its vast collection, please visit the website and find out more about the appeal here.

New Publication ‘Les Saintes-Chapelles du XIIIe au XVIIIe siècle: Arts – Politique – Religion’, edited by Etienne Anheim and David Fiala

De la Sainte-Chapelle de Paris, fondée par saint Louis au milieu du XIIIe siècle et supprimée en 1787, aux Saintes-Chapelles constituant, de Bourges à Dijon ou Chambéry, un réseau de sacralité des princes de la maison de France, ce livre retrace l’histoire politique, religieuse et artistique d’une institution imaginaire essentielle pour le royaume de France.

Si la fondation de la Sainte-Chapelle de Paris par Louis IX pour accueillir la couronne d’épines au milieu du XIIIe siècle est bien connue et si l’on sait qu’à l’imitation du saint roi, plusieurs princes de France fondèrent des chapelles dites « saintes » entre la fin du Moyen Âge et le début de la Renaissance, l’histoire longue et complexe de ces chapelles est encore mal connue et mal comprise. Il ne s’agit pas de nier la possibilité de construire un idéal-type de « la » Sainte-Chapelle, mais plutôt de s’interroger sur l’écart entre ce que les documents du passé appellent « Sainte-Chapelle », sans préjuger d’un sens stable et univoque à travers le temps, et ce que les périodes postérieures et la recherche actuelle peuvent désigner sous ce nom. Une Sainte-Chapelle, des Saintes-Chapelles ? Ces contributions cherchent à répondre à cette question en s’interrogeant sur la définition de la notion, sa circulation, ses transformations dans le temps et dans l’espace. En comparant les différentes « Saintes-Chapelles », ce volume veut défendre l’idée que les Saintes-Chapelles sont des objets historiques particulièrement révélateurs parce qu’elles ont été des rouages discrets mais fondamentaux : leur statut hybride, entre cour et Église, de même que leur histoire longue, de la couronne d’épines à la Révolution, en font un observatoire idéal pour mieux comprendre et expliquer les évolutions à l’œuvre dans l’exercice du pouvoir et la célébration de Dieu par la monarchie capétienne entre le Moyen Âge et les Lumières.

From the Sainte-Chapelle in Paris, founded by Saint Louis in the mid-13th century and abolished in 1787, to the Sainte-Chapelles ranging from Bourges to Dijon or Chambéry, forming a network of sacredness for the princes of the House of France, this book traces the political, religious, and artistic history of a crucial imaginary institution for the Kingdom of France.

While the foundation of the Sainte-Chapelle in Paris by Louis IX to house the Crown of Thorns in the mid-13th century is well-known, and it is recognised that following the holy king’s example, several French princes established chapels known as “sainte” between the end of the Middle Ages and the start of the Renaissance, the long and complex history of these chapels remains poorly understood. The aim is not to deny the possibility of constructing an ideal type of “the” Sainte-Chapelle, but rather to question the discrepancy between what historical documents call “Sainte-Chapelle,” without assuming a stable and univocal meaning over time, and what later periods and current research might denote by this name. A Sainte-Chapelle, or Sainte-Chapelles? These contributions seek to address this question by examining the definition of the concept, its circulation, and its transformations over time and space. By comparing the various “Sainte-Chapelles,” this volume argues that the Sainte-Chapelles are particularly revealing historical objects because they were discreet but fundamental cogs: their hybrid status, between court and Church, as well as their lengthy history, from the Crown of Thorns to the Revolution, make them an ideal observatory for better understanding and explaining the changes in the exercise of power and the celebration of God by the Capetian monarchy from the Middle Ages to the Enlightenment.

Étienne Anheim et David Fiala,“Introduction” : “A la recherche des Saintes-Chapelles”.

Elizabeth A.R. Brown, “La Sainte-Chapelle de Paris, ses appelations et son renom aux XIIIe et XIVe siècles”.

Anne Massoni, “Les Saintes-Chapelles, des chapitres collégiaux comme les autres ?”.

Murielle Gaude-Ferragu, “Les cérémonies extraordinaires à la Sainte-Chapelle de Paris (XIVe-XVe s.)”.

Christophe Boucheron, “Jean Mortis et le ‘Cartulaire de la Sainte-Chapelle de Paris’ de 1457”.

Meredith Cohen, “What Saint Louis Saw. The Sainte-Chapelle and the Palais de la Cité in the Thirteenth-Century”.

Étienne Hamon, “La montée de la Sainte-Chapelle de Paris : fonctions, symboles et formes”.

Étienne Anheim, “La maîtrise d’enfants de la Sainte-Chapelle de Paris (XIIIe-XVIIIe s.). Institution et discipline entre la cour et l’Eglise”.

Xavier Bisaro, “Le vitrail et l’image : la Sainte-Chapelle de Paris dans les sources cérémonielles du XVIIe siècle”.

Dany Sandron, “Notre-Dame et la Sainte-Chapelle au XIIIe siècle”.

Paul Binski, “Perspectives anglaises sur la Sainte-Chapelle”.

Jean-Bernard de Vaivre et Laurent Vissière, “Dévotions aristocratiques à la Sainte-Chapelle de Dijon”.

Olivier Mattéoni, “Géographie sacrale et Saintes-Chapelles dans les territoires des Bourbons à la fin du Moyen Âge”.

Jean-Vincent Jourd’heuil, “La fondation de la Sainte-Chapelle de Bourges (1392-1405) : une fondation princière durant le Grand Schisme”.

Yves Pauwels, “Le porche de la Sainte-Chapelle de Champigny-sur-Veude : un manifeste de modernité architecturale”.

Julien Noblet, “La Sainte-Chapelle de Chambéry et le projet d’Amédée VIII : nouvelles observations archéologiques”.

Laura Gaffuri et Paolo Cozzo, “De Chambéry à Turin. La Sainte-Chapelle et la Chapelle Royale de la Cour de Savoie (XVe-XVIIIe s.).

Bernard Dompnier, “Les calendriers festifs des Saintes-Chapelles aux XVIIe et XVIIIe siècles”.

Étienne Anheim et David Fiala, “Conclusion” : “Les Saintes-Chapelles, des institutions imaginaires”.

Editors

Étienne Anheim est historien. Il est directeur des Éditions et directeur d’études à l’École des Hautes Études en Sciences Sociales (Paris), où il enseigne la sociologie historique de la culture en Europe du XIIe au XVIe siècle.

David Fiala est maître de conférences en musicologie au Centre d’études supérieures de la Renaissance (Université de Tours/CNRS). Ses travaux portent sur la musique, les musiciens et les institutions musicales de la fin du Moyen Âge et de la Renaissance, ainsi que les humanités numériques.

Find out more about this book over on the Brepols website.

Lecture Series: ‘Material Migrations’, online, 29 April – 9 Sep 2024

The “Material Migrations” lecture series centers issues of object mobility, transcultural dynamics, and notions of connectivity and resistance with case studies from the Middle Ages until today. Connected to the international collaborative research project “Material Migrations: Mamluk Metalwork across Afro-Eurasia”, funded by the Gerda Henkel Foundation and directed by Gertrude Aba Mansah Eyifa-Dzidzienyo and Vera-Simone Schulz, the online lecture series sheds new light on the lives and afterlives of objects, but also counterbalances an object-centered with a people-centered approach. Interdisciplinary in nature, the series brings together researchers and cultural practitioners from different institutions across the globe, fostering nuanced analyses that transcend traditional disciplinary boundaries. Through engagement with art history, history, archaeology, anthropology, literary studies, and contemporary art, the lectures offer innovative perspectives on questions of canonization and the overcoming of canons, on visual and material culture, critical museology, critical heritage studies, preservation, conservation, and questions of care. The first round of talks and conversations this year will focus on Afro-Eurasian and global dynamics, on Durbi Takusheyi as a hub for people and objects crisscrossing the African continent, on objects and materials in relation to sites and the environment, on the present and future of heritage sites and museums, on contemporary approaches to Black presence in the Uffizi galleries, and on present pasts in the medium of film. Illuminating the interconnectedness of human experiences and material artifacts, “Material Migrations” highlights their enduring significance in contemporary contexts.

The ongoing lecture series is free, online and open to the public. Everyone is welcome to register and attend. A follow-up program will be published in the coming months.

For more information on the “Material Migrations” project, please visit our website.

Lecture Series Program

Monday, April 29, 5pm CET

Albrecht Fuess (Philipps-Universität Marburg): A Clash between Muslim Empires: The Struggle between Ottomans, Mamluks and Safavids in the Years 1470-1520

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Monday, May 20, 5pm CET

Akanni Olusegun Opadeji (MOWAA): New Light on Durbi Takusheyi and the Katsina Excavations

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Monday, May 27, 5pm CET

Mark Seyram Amenyo-Xa (University of Ghana): The Forts and Castles of Ghana: 4+ Decades of World Heritage Status
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Monday, June 24, 5pm CET

Musa Oluwaseyi Hambolu (University of Jos, former Director of Research, NCMM Nigeria): The Present and Future of Museums in Nigeria
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Monday, July 1, 5pm CET

Jenny Bulstrode (University College London): The Cogs and the Wheels in the Webs of Resistance
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Monday, July 15, 5pm CET

Justin Randolph Thompson (The Recovery Plan): The Limitations of Presence: Contested Framings of Access
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Monday, September 9, 5pm CET

Elizabeth Lambourn (De Montfort University): Metals and Models: The Exchange of Technologies between Aden and the Malabar Coast as Recorded in Geniza Documents
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This first round of the online series will also include a virtual screening of:

“Il Moro”, the Oscar longlisted film on the life of the Duke of Florence Alessandro de’ Medici of African descent followed by a discussion with the film director Daphne Di Cinto.

Information on how to register for this event will be made available on the Gerda Henkel website.

Concept and organization: Gertrude Aba Mansah Eyifa-Dzidzienyo and Vera-Simone Schulz