Oxford Medieval Manuscripts Group, Trinity Term 2024, Fridays 5pm (BST)

Trinity Term 2024 | Fridays 5 pm (the V&A visit is at 11 am) | Merton College, Oxford University; Weston Library, and the Victoria and Albert Museum

Organisers: Irina Boeru, Fergus Bovill, Ana Dias, Charly Driscoll, Elena Lichmanova, Mathilde Mioche, Celeste Pan, Klara Zhao

To subscribe to our mailing list, participate in library visits, propose a presentation of your research for work in progress meetings, or submit any queries, please write to: elena.lichmanova@merton.ox.ac.uk 

Week 1, 26 April 2024 (Weston Library)

Martin Kauffmann (Bodleian Library), A. C. (Tilly) de la Mare and the Formation of a Palaeographer

Limited places, write to the email below by 24th April 2024. 

Week 3, 10 May 2024 (Hawkins Room)

Sara Charles, School of Advanced Study, University of London

Pigments and Illumination in the Middle Ages (practice-based) Hawkins Room   

All materials are provided. £5 fee (the price is subsidised by the OMS grant).

Limited places. To register, write to the email below by 1st May 2024. 

Week 4, 17 May 2024 (11 am to 3.15 pm)

Illuminated Manuscript Cuttings at the V&A, London

Conversation with Catherine Yvard, National Art Library Special  Collections Curator

Limited places. To join the trip, write to the email below by 10th May 2024.

Week 7, 7 June 2024 (Sir Howard Stringer Room)

Work in Progress Meeting

Antonia Della Fratte (University of Padua), Gustav F. Waagen Tours of Britain: Describing Illuminated MSS in Oxford

We are still accepting applications. If you want to present your work in progress and receive our feedback, write to the email below by 31st May 2024. 

New Publication: ‘Crusader Rhetoric and the Infancy Cycles on Medieval Baptismal Fonts in the Baltic Region’ by Harriet M. Sonne De Torrens

This innovative analysis of the Infantia Christi Corpus, all known medieval baptismal fonts attributed primarily to the twelfth and thirteenth centuries in the Latin West, is the first in-depth study of the elaborate pictorial cycles in relation to the liturgy of the Mass and the political rhetoric used to justify the apostolically approved Baltic Crusades.

This is the first comprehensive, interdisciplinary analysis to demonstrate that the representation of Infancy cycles on twelfth-and-thirteenth-century baptismal fonts was primarily a northern predilection in the Latin West directly influenced by the contemporary military campaigns. The Infantia Christi Corpus, a collection of approximately one-hundred-and-fifty fonts, verifies how the Danish and Gotland workshops modified and augmented biblical history to reflect the prevailing crusader ideology and rhetoric that dominated life during the Valdemarian era in the Baltic region. The artisans constructed the pictorial programs according to the readings of the Mass for the feast days in the seasons of Advent, Christmas and Epiphanytide. The political ambitions of the northern leaders and the Church to create a Land of St. Peter in the Baltic region strategically influenced the integration of Holy Land motifs, warrior saints, militia Christi and martyrdom in the Infancy cycles to justify the escalating northern conquests.

Neither before nor after, in the history of baptismal fonts, have so many been ornamented with the Infancy cycle in elaborate pictorial programs. A brief revival of elaborate Infancy cycles occurs on the fourteenth and fifteenth-century fonts commissioned for sites previously located in the Christian borderlands east of the Elbe River with the rise of the Baltic military orders and the advancement of the Church authority. This extraordinary study integrates theological, liturgical, historical and political developments, broadening our understanding of what constituted northern crusader art in the twelfth and thirteenth centuries.

Dr. Harriet M. Sonne de Torrens (Ph.D., University of Copenhagen, L.M.S. from the Pontifical Institute of Mediaeval Studies, Toronto) is an art historian, medievalist, and academic librarian at University of Toronto Mississagua; co-director of the research project Baptisteria Sacra Index (BSI) with more than 25,000 baptismal fonts; she is co-editor of the book, Visual Culture of Baptism in the Middle Ages: Essays on Medieval Fonts, Settings and Beliefs (2013).

TABLE OF CONTENTS

Introduction

Maps

Part I. The Historical And Political Contexts

Chapter 1. The Workshops and Continental Networks
1.1 The Workshops
1.2 Inscriptions
1.3 Dating Medieval Baptismal Fonts

Chapter 2. The Ecclesiastical, Cistercian, and Artistic Relationships between Denmark and Gotland
2.1. Medieval Kingdom of Denmark
2.2. Öland and Gotland
2.3 The Church, Cistercians, and Military Orders
2.4 The Cistercian Period
2.5 Trade and the Church

Chapter 3. The Eucharist, New Law, and Crusader Theology
3.1. De fontibus salvatoris: The Chalice-Shaped Fonts and the Cult of the Child
3.2. The Eucharist and Baptismal Fonts
3.3. The Judicial Century
3.4. Vineam Domini and the Crusades

Part II. The Iconography, Liturgy, and Crusades

Chapter 4. The Advent Season and Feast Days

4.1. The Liturgy and Biblical Readings
4.2. Palmers and Crusades
4.3. Christ’s Triumphal Entry into Jerusalem
4.4. The New Jerusalem
4.5. St George, St Mercurius, St Methodius and St Cyril
4.6 Advent of Ecclesia
4.7 The Visitation and the Four Daughters

Chapter 5. The Christmas Season
5.1. Vigil of Christmas (24 December)
5.2. Christmas Day (25 December)
5.3. Feast Day of St Stephen (26 December) and Legend of Staffan the Stable Boy
5.4. Feast of the Holy Innocents (28 December)
5.5. Feast Day of St Thomas Becket of Canterbury (29 December)
5.6. Feast of the Circumcision / Octave of Christmas (1 January)

Chapter 6. The Epiphany Season: Crusader Kings and Peregrini
6.1. The Vigil of the Epiphany (5 January)
6.2. The Epiphany (6 January)
6.3. Moses and the Crusades
6.4. The Cult of the Magi
6.5. Milites Christi and Martyrdom
6.6 Candlemass: The Feast of the Purification (2 February)

Conclusion

Appendix 1. Tables
Appendix 2. Figures

Bibliography
Index of Biblical References
Index of Baptismal Fonts
General Index

Find out more about this new book over on Brepol’s website.

Call for sessions: Sponsored sessions by Mary Jaharis Center at the International Congress on Medieval Studies, Kalamazoo, deadline 13 May 2024

Conference Date: May 08, 2025–May 10, 2025 
Location: Medieval Institute, Western Michigan University, Kalamazoo, MI 49008

To encourage the integration of Byzantine studies within the scholarly community and medieval studies in particular, the Mary Jaharis Center for Byzantine Art and Culture seeks proposals for a Mary Jaharis Center sponsored session at the 60th International Congress on Medieval Studies, Western Michigan University, Kalamazoo, May 8–10, 2024. We invite session proposals on any topic relevant to Byzantine studies.

Session proposals must be submitted through the Mary Jaharis Center website. The deadline for submission is May 13, 2024.

If the proposed session is approved, the Mary Jaharis Center will reimburse a maximum of 4 session participants (presenters and moderator) up to $800 maximum for scholars travelling from North America and up to $1400 maximum for those travelling from outside North America. Funding is through reimbursement only; advance funding cannot be provided.

For further details and submission instructions, please visit https://maryjahariscenter.org/sponsored-sessions/60th-icms.

Hybrid conference: ‘Connecting stucco in the Mediterranean (c. 300 BCE – 1200 CE) Methodological approaches and the state of research’, 16-18th May 2024, Ankara

16-18 May 2024, Bilkent University and Erimtan Museum, Ankara (Türkiye) and Zoom.

The use of plaster reliefs (stuccoes) as architectural decoration is a well-known phenomenon in the Mediterranean. Recent decades have witnessed a renewed interest in stucco, but it has been mainly done within the boundaries of specific disciplines and chronological specialisations. While this allowed scholars to recognise the relationship of stucco with specific architectural traditions and technologies, it did not allow to spot long-term trends and cross-cultural interactions. This is due to the lack of coordination of scholarship on the study of stucco, which appears to develop at different speeds and aim at different goals depending on the field of study.

The conference connects experts in the Hellenistic, Roman, Byzantine, and Islamic periods up to ca 1200 CE to address common questions that can help to see long-term phenomena and cross-cultural exchanges in the Mediterranean.

For more info and for Zoom registration: https://connectingstucco.com/ and connectingstucco@gmail.com

Conference programme

Thursday, 16th May – Bilkent University Campus C-Amphi Block

8:30-9:00 Registration and tea/coffee

9:00-9:10 Opening remarks by Dominique Kassab Tezgör (Chair, Department of Archaeology) and Simon Wigley (Dean, Faculty of Humanities)

9:10-10:00 Opening lecture:

  • The “Byzantine” Mediterranean in transition from Late Antiquity to the Early Middle Ages (ca. 500-ca.900), Luca Zavagno (Bilkent University).

10:00-10:20 Tea and coffee break

10:20-11:20 Keynote lecture:

  • Looking Forwards, Looking Back: The state of the field of Medieval Stucco Studies in the Wider Mediterranean region, Richard McClary (University of York).

11:30-12:30 Session 1: Use and perception of stucco from the Roman to the Late Antique period

Chair: Dominique Kassab Tezgör (Bilkent University)

  • Stuccowork in the Herodian Palaces – A Roman influence in first-century BCE Middle East?, Lena Naama Sharabi (Hebrew University, Jerusalem).
  • Decorated stucco moulded cornices and faux-marble columns from Dura Europos (3rd cent. CE): ideological choice or practical necessity?, Barbara Crostini (Uppsala University).

12:30-14:00 Lunch 

14:00-15:30 Session 2: Stucco in the Late Antique built spaces

Chair: Roland Smith (Bilkent University)

  • When Change is a Relief: Stucco surfaces and aesthetic values in Late Antiquity, Jessica Plant (University of Cambridge).
  • On a group of standing saints in stucco or the perception of “γυψοπλασίας“ in Late Antiquity, Stefanie Archut (Rheinische Friedrich-Wilhelms-Universität Bonn).
  • The virtual reconstruction of the Umayyad period revetments from Khirbat al Mafjar, Ignacio Arce (German Jordanian University).

15:30-15:45 Tea and coffee break

15:45-17:15 Session 3: Technical aspects in the Early Middle Ages: East and West

Chair: tbc

  • Stucco techniques in Lombard and Carolingian Architecture: insights from the “Tempietto Longobardo” in Cividale, the Church of St. Benedict in Mals, and the Monastery of St. John in Müstair, Luca Villa and Patrick Cassitti (Stiftung Pro Kloster St. Johann).
  • Early Islamic Prefabricated Stuccowork, Andrea Luigi Corsi (University of York).
  • Byzantine stucco recipes in the Mediterranean context (10th -11th c.)- first data from archaeometrical analyses, Flavia Vanni and Eirini Tsardaka (Newcastle University – Ormylia Art & Diagnosys Center).

20:00 Speakers’ Dinner

Friday, 17th May – Erimtan Museum, Ankara

9:00-9:10 Welcome speech by Nazan Gezer (Director of the Erimtan Museum)

9:15-10:15 Session 4: Between the Sassanian and Islamic stucco production (1)

Chair: Prof. Lutgarde Vandeput (Director of BIAA)

  • Stucco productions from Gawr Tepe (KRI, Iraq). Preliminary results of a MiSAK-eartHeritage multidisciplinary and comparative study, Luca Colliva and Serenella Mancini (MiSAK – Alma Mater Studiorum-Università di Bologna).
  • The production process of traditional Gypsum in Iranian architecture. Case study: Takht-e Soleyman world heritage site, Mozaffar Abbaszadeh and Mohammad Jafarpanah (Urmia University – Shahid Beheshti University, Tehran).

10:15-10:30 Tea and coffee break

10:30-12:00 Session 5: Between the Sassanian and Islamic stucco production (2)

Chair: tbc.

  • The Ghassanid and Umayyad stucco revetments from Qasr al Hallabat, Ignacio Arce (German Jordanian University).
  • East versus West: the origins of the Umayyad style in the art of stucco, Siyana Georgieva (UniToscana).
  • Beyond borders: exploring the dispersed stucco treasures of Kharg Island, Hassan Moradi (National Museum of Iran, Teheran).

12:10-13:40 Session 6: Methodological aspects

Chair: Pelin Yoncanci (METU)

  • Exploring the aesthetic harmony: Islamic stucco patterns and calligraphy in Architectural Design, Engy Farrag (Delta University).
  • Methodological approach to characterize two stucco collections from Iran in the Metropolitan Museum of Art, Atefeh Shekofteh and Federico Caro (The Metropolitan Museum of Art, New York).
  • Some remarks and recommendations for examination of Mediterranean stuccoes based on research of Medieval Persian carved stuccos, tiles and wall paintings, Ana Marija Grbanovic (Otto-Friedrich-Universität Bamberg).

13:40-14:30 Lunch

14:30-15:30 Session 7: People, materials, and images on the move from the Persian Gulf to Egypt (1)

Chair: Alessandro Carabia (University of Birmingham)

  • Stucco workshops in the Early Islamic Bilad al-Sham and the Arabian/Persian Gulf. The problem of artistic patronage, Agnieszka Lic (Polish Academy of Sciences).
  • Tracing decorative dialogues: cultural exchange and artistic assimilation in stucco and brickwork between the Iranian world and Armenian region in 11th-13th centuries, Miriam Leonetti (Università di Firenze).

15:30-15:45 Tea and coffee break.

15:45-16:45 Session 8: People, materials, and images on the move from the Persian Gulf to Egypt (2)

Chair: tbc

  • The long-distance mobility of Iranian stucco craftsmanship in Cairo, Leila Danesh (University of York).
  • How Mamluk stucco decorations inspired Revival architects during the 19th -20th Century AD?, Menna Naguib (Alexandria University).

18:30 Reception hosted at the British Institute at Ankara (BIAA). 

Saturday 18th May – Bilkent University Campus C-Amphi Block

9:00-9:30 Roundtables

9:35-10:10 Plenary discussion

10:15-10:30 Closure remarks by Luca Zavagno, Flavia Vanni and Agnieszka Lic.

Afternoon: Visit to Ankara’s Castle and goodbyes

New Publication: ‘Illuminating the Vitae patrum: The Lives of Desert Saints in Fourteenth-Century Italy’, by Denva Gallant

During the fourteenth century in Western Europe, there was a growing interest in imitating the practices of a group of hermits known as the Desert Fathers and Mothers. Laypeople and religious alike learned about their rituals not only through readings from the Vitae patrum (Lives of the Desert Fathers) and sermons but also through the images that brought their stories to life.

In this volume, Denva Gallant examines the Morgan Library’s richly illustrated manuscript of the Vitae patrum (MS M.626), whose extraordinary artworks witness the rise of the eremitic ideal and its impact on the visual culture of late medieval Italy. Drawing upon scholarship on the history of psychology, eastern monasticism, gender, and hagiography, Gallant deepens our understanding of the centrality of the Desert Fathers and Mothers to late medieval piety. She provides important insights into the role of images in making the practices of the desert saints both compelling and accessible to fourteenth-century city dwellers, who were just beginning to cultivate the habit of private devotion on a wide scale.

By focusing on the most extensively illuminated manuscript of the Vitae patrum to emerge during the trecento, this book sheds new light on the ways in which images communicated and reinforced modes of piety. It will be of interest to art historians, religious historians, and students focusing on this period in Italian history.

Denva Gallant is an Assistant Professor of Art History at Rice University.Find out more about this book over on the Pennsylvania State University Press website.

Call for Submissions: ‘Making for an uncertain future: material ecocritical approaches around the year 1000’ (special issue of Medieval Ecocriticisms), deadline 10 June 2024

This issue of Medieval Ecocriticisms looks at the abundant superfluity (or excess) of the long millennial moment, positioning it in dialogue with the anticipated end of the world in 1000, both anticipatory and hereditary, with all of its forecast systemic, ecological and eschatological collapse. In suggesting this, and in looking at this material through the lens of crisis, time and environment, we find ideas of what it might mean to live in the long end times of a/the ecological long durée of an uncertain future. We invite thoughts around how medieval millennial material, its art and literature might foreshadow the Anthropocene, particularly given how it might, in some way, be responding to the climactic non-apocalypse of 1000 that was forecast, but not realised.

Although there has been some scholarly discomfort around using the past as a tool for discussing later times and paradigms, this issue suggests that the past can be employed as a resource for other ways of thinking about the present and perhaps also the future. Thus, the eschatologically charged period that immediately anticipated the millennium, and the uncertain apotropaism and socio-temporal ‘renaissance’ of the Romanesque, together with their sculpted objects that perform as nodes responding to a network of anticipated crisis, might provide us, as eco-critically thoughtful and materially engaged medievalists, and as a society more broadly, with a critical parallel for thinking about current ecological events.

We ask contributors to think about the ways in which medieval millennial material may:

  • Connect or disrupt the medieval and the ‘modern’
  • Respond to the here and now, there and then, elsewhere and other-when
  • Consist of both deep time and deep history
  • React to or disrupt momentary or epochal thinking
  • Respond to crisis or an anticipated event that failed to happen or is still unfolding
  • Ask where and how we live
  • Think about place, environment, and ecology
  • Frame relationships between the human and non-human

Papers around 6000 words are sought. Please submit an abstract (300 word maximum) and cv to Meg Boulton (meg.boulton@york.ac.uk) and Meg Bernstein (bernsteinm@alfred.edu).

Call for Participation: ‘Medieval Art History Tomorrow’ (ICMS, Kalamazoo, 2024), 11 May 2024

59th International Congress on Medieval Studies (Kalamazoo, MI), 2024
Western Michigan University
Saturday, May 11, 10:00-11:30am
Sangren Hall 1730 [Session 344]

Organized by Ben Tilghman, Eliza Garrison, and Nina Rowe and Sponsored by Different Visions

Which theoretical approaches can best move the field of medieval art history into the future? Which objects or sites are well-suited to analysis energized by current priorities for the discipline? How can we work collectively and systematically to pursue research that realizes anti-racist principles and provides colleagues and students with tools for analyzing social inequity and environmental degradation?

“Medieval Art History Tomorrow” will be a whiteboard session in which Workshop Leaders will offer short presentations on a critical text and an object or site, making the case for how these materials can steer the field, and move it forward. Attendees of the session will be part of a workshop through which we aim to ignite a dynamic discussion and confirm a plan for linked projects to be pursued over the coming years. At the ICMS 2025, participants will reconvene to share findings and refine the projects’ goals. At the ICMS 2026, participants will deliver polished papers presenting the research kindled by our discussions and consider next steps.

Come join the conversation!Find out more on Different Visions.

Pre-registration and Preparation for the Workshop are encouraged but not required.

If you plan to attend, please register by sending an email to: medievalarthistorytomorrow@gmail.com, giving your name, student or professional status, and general field/s of scholarship.

Course: ‘Fresco-Hunting’ Photo Research Expedition to Medieval Balkan Churches, Application deadline: 25 April 2024

25 May – 08 June 2024

The “Fresco-Hunting” Photo Research Expedition to Medieval Balkan Churches provides a unique opportunity for students and volunteers to take part in an expedition to document abandoned medieval churches/chapels and their frescos in western Bulgaria, and to visit many other Christian Orthodox churches, monasteries, museums and archaeological sites in Sofia and western Bulgaria. The expedition and the field school are coordinated by the Balkan Heritage Foundation (BHF).

Participants receive training in survey management, digital photography, surveys of architecture and iconographic program, technical drawing, use of dumpy level, developing archives of digital images etc., introduction to Byzantine art,  architecture and religious iconography as well as photogrammetry, Reflectance Transformation Imaging (RTI) and other photographic techniques for documentation of cultural heritage.

The field school is designed for students and young specialists in heritage, archaeology and conservation as well as artists, but we also welcome anyone interested in:   

  • medieval civilization in Southeastern Europe (especially Byzantine and Christian Orthodox architecture, arts and iconography during the late medieval period: 13th to 17th centuries)   
  • digital photography   
  • documentation of ecclesiastic architecture and frescos   
  • cultural heritage preservation   
  • travel to significant heritage sites in western Bulgaria. 

BHF partners in this project:    

Find out more on the Balkan Heritage Foundation website.

Job resources: Careers for Medievalists?

The ‘Careers for Medievalists?’ event, sponsored by the British Archaeological Association at the Courtauld Institute of Art, offered insights into the diverse career paths available for those with a background in medieval studies. This informative session featured discussions on fields such as heritage and conservation, curating, the art market, tour guiding, freelancing, university roles, archives, libraries, publishing, and editing. Speakers from academia, museums, and the art market shared valuable advice for recent graduates and job seekers.

Couldn’t make the event? Watch it below:

Useful websites highlighted during the event include:

Teaching:

Publishing:

Curating/Museums/Dealers:

Heritage Management:

Archives:

Paid Internships:

Groups:

For more information on the event, visit the Courtauld Website.

Conference: Illuminated Cuttings im Germanischen Nationalmuseum, Nürnberg, 29-30 April 2024

Find out more on the Institut für Kunstgeschichte website.

Among the holdings of the Cabinet of Prints of the Germanisches Nationalmuseum (GNM) in Nuremberg is a major collection of illuminated cuttings, consisting of pages, initials, and ornamental borders, excised from German, Bohemian, Flemish, French, and Italian manuscripts from the 9th to 16th century. Their status changed in both time and space from Middle to Modern Age: they went from being part of a book to being cut out and collected as Curiosities, then becoming ‘Monuments’ of lost primitive Art, or models in the wake of the Art & Crafts Movement, of the new reproduction technologies and academic disciplines.

29 April: The symposium will bring together an international team of scholars and curators: session I and session II will offer an insight into the fragments at the GNM, exploring their history, style, the relationship with Monumental Arts, and different topics related to their material production; session III will be devoted to on-going Projects of Cataloguing collections of German Miniatures, discussing cataloguing perspectives in connection with international databases.

30 April: During the morning, the conference attendees will have the opportunity to examine the miniatures in the Studiensaal of the Germanisches Nationalmuseum. Special emphasis will be placed on the Illuminated fragments presented by the scholars the previous day, further encouraging discussion about their style and provenances.

Organization and contact:
Dr. Beatrice Alai (beatrice.alai@fau.de)

Conference Programme

29 April 2024 | Germanisches Nationalmuseum, Konferenzraum, Kornmarkt 1, Nuremberg

9.00–9.10:  Welcome

9.10–9.20: Introduction: Hans von und zu Aufsess and the Birth of the Kupferstichkabinett, Germanisches Nationalmuseum.
Christian Rümelin (Kupferstichkabinett, Germanisches Nationalmuseum, Nürnberg)

SESSION 1: Working with Italian, Flemish, and Bohemian Illuminated Cuttings at the GNM

Chair: Francesca Manzari (Sapienza Università di Roma)

9.20–9.40: Some observations on the „Bohemian“ fragments of the GNM in Nuremberg. Maria Theisen (Österreichische Akademie der Wissenschaften, Institut für Mittelalterforschung / Abt. Schrift- und Buchwesen)

9.40–10.00: Discovering the Italian Fragments Collection at the GNM. Beatrice Alai (Friedrich-Alexander-Universität Erlangen-Nürnberg)

10.00–10.20: Scattered Leaves: The Hastière Bible as a case-study. Peter Kidd (Peter Selley Fellow, Bodleian Library, Oxford)

10.20–10.50: Discussion +  Coffee break

SESSION 2: Working with German Cuttings at the GNM

Chair: Christine Beier (Universität Wien)

10.50–11.10: Alte und neue Bekannte: Wiedersehen mit Fragmenten des Spätmittelalters aus Mitteleuropa im Germanischen Nationalmuseums in Nürnberg. Regina Cermann (Österreichische Akademie der Wissenschaften Institut für Mittelalterforschung / Abt. Schrift- und Buchwesen)

11.10–11.30: Little-known Cuttings at the GNM and Their Siblings: New Insights into Manuscript Illumination at the Turn of the 16th Century from the Rhenish Lowlands. James Marrow (Professor Emeritus, Princeton University)

11.30–11.50: The Birth of God in the Soul in Newly Discovered Devotional Drawings from St. Walburg in Eichstätt. Jeffrey Hamburger (Harvard University, Cambridge, MA)

11.50–13.40: Discussion + Light Lunch Break

SESSION 3: Cataloguing collections of German Miniatures: on-going Projects in Germany, and international experiences

Chair: Martin Roland (Österreichische Akademie der Wissenschaften, Institut für Mittelalterforschung / Abt. Schrift- und Buchwesen)

13.40–14.00: The collection of manuscript fragments and cuttings of the „Deutsches Buch- und Schriftmuseum“ in Leipzig – Workshop report: results and open questions. Matthias Eifler (Universitätsbibliothek, Leipzig)

14.00–14.20: Making manuscript fragments in museum collections online accessible: Web portals for the presentation of the European manuscript heritage. Christoph Mackert (Universitätsbibliothek, Leipzig)

14.20–14.40: Fragmentarium und das GNM. Die Möglichkeiten der digitalen Katalogisierung. Marina Bernasconi Reusser (Fragmentarium)

14.40–15.00: Display Scripts and how to Describe them. Christine Jakobi-Mirwald (Independent Scholar)

15.00–15.20: Framing the gaze: some thoughts on Illuminated manuscript cuttings in a museum context. Catherine Yvard (V&A Museum)

15.20–16.30: Discussion + Coffee break

Keynote lecture:

16.30–17.30: Painting and Illumination in Nürnberg in the time of Albrecht Dürer’s artistic formation. The activity of Hans Traut as illuminator in the light of five recently rediscovered fragments from a broken – up missal. Gaudenz Freuler (Universität Zürich)

30 April 2024 | Germanisches Nationalmuseum, Studiensaal, Kornmarkt 1, Nuremberg

9.30–11.30: Round-table discussion with the miniatures in the Studiensaal (with Christian Rümelin)

12.00: Conclusion