Medieval Art Research

Recorded Lecture: ‘Renaissance Lives- Erasmus of Rotterdam: the Spirit of a Scholar,’ William Barker, Micha Lazarus and François Quiviger

Erasmus of Rotterdam came from an obscure background but, through remarkable perseverance, skill, and independent vision, became a powerful and controversial intellectual figure in Europe in the early sixteenth century. He was known for his vigorous opposition to war, intolerance, and hypocrisy, and at the same time for irony and subtlety that could confuse his friends as well as his opponents. His ideas about language, society, scholarship, and religion influenced the rise of the Reformation and had a huge impact on the humanities, and that influence continues today. This book shows how an independent textual scholar was able, by the power of the printing press and his wits, to attain both fame and notoriety. Drawing on the immense wealth of recent scholarship devoted to Erasmus, Erasmus of Rotterdam is the first English-language popular biography of this crucial thinker in twenty years.

Speakers: William Barker (University of King’s College & Dalhousie University), Micha Lazarus (Warburg Institute & University of Cambridge), François Quiviger (Warburg Institute)

William Barker is the Inglis Professor and former president of the University of King’s College as well as professor emeritus of English at Dalhousie University. He is the editor of The Adages of Erasmus.

Micha Lazarus is Associate Fellow of the Warburg Institute and Fellow of Trinity College, Cambridge

Renaissance Lives is a series of biographies published by Reaktion Books as well as a series of conversations discussing the ways in which individuals transmitted or changed the lives of traditions, ideas and images.

This event was filmed on 20 January 2022

New Publication: ‘Christian Thought in the Medieval Islamicate World – ‘Abdīshō’ of Nisisbis and the Apologetic Tradition’ by Salam Rassi

Oxford Oriental Monographs

First book-length history of Syriac and Christian Arabic apologetic literature
First intellectual biography of an influential Syriac author
An in-depth analysis of the entangled worlds of medieval Christian and Islamic theology
A detailed study of a much-neglected period of social and intellectual history in the Middle East

Christian Thought in the Medieval Islamicate World: ʿAbdīshōʿ of Nisibis and the Apologetic Tradition is the first monograph-length study and intellectual biography of ʿAbdīshōʿ of Nisibis (d. 1318), bishop and polymath of the Church of the East. Focusing on his works of apologetic theology, it examines the intellectual strategies he employs to justify Christianity against Muslim (and to a lesser extent Jewish) criticisms. Better known to scholars of Syriac literature as a poet, jurist, and cataloguer, ʿAbdīshōʿ wrote a considerable number of works in the Arabic language, many of which have only recently come to light. He flourished at a time when Syriac Christian writers were becoming increasingly indebted to Islamic models of intellectual production. Yet many of his writings were composed during mounting religious tensions following the official conversion of the Ilkhanate to Islam in 1295. In the midst of these challenges, ʿAbdīshōʿ negotiates a centuries-long tradition of Syriac and Arabic apologetics to remind his readers of the verity of the Christian faith. His engagement with this tradition reveals how anti-Muslim apologetics had long shaped the articulation of Christian identity in the Middle East since the emergence of Islam. Through a selective process of encyclopaedism and systematisation, ʿAbdīshōʿ navigates a vast corpus of Syriac and Arabic apologetics to create a synthesis and theological canon that remains authoritative to this day.

Introduction: ‘A Constant but not Frozen Tradition’
1:Authority, Compilation, and the Apologetic Tradition
2:The Life and Times of a ‘Most Obscure Syrian’
3:The One is Many and the Many Are One: ʿAbdīshōʿ’s Trinitarian Thought
4:Debating Natures and Persons: ʿAbdīshōʿ’s Contribution to Christology
5:Christian Practices, Islamic Contexts: Discourses on the Cross and Clapper
Conclusion: A Tapestry Woven from Many Cloths

Salam Rassi, British Academy Postdoctoral Fellow, University of Oxford, UK

Salam Rassi earned his D.Phil. in Oriental Studies at the University of Oxford and has held teaching and research positions at Royal Holloway, the American University of Beirut, and the Hill Museum and Manuscript Library. His primary interest is medieval intellectual and social history with a focus on scholarly exchange between Christians and Muslims. He is currently a British Academy Postdoctoral Fellow at the University of Oxford.

Online Lecture: ‘Luxury handguns at the Renaissance courts,’ Catherine Fletcher, The Warburg Institute via Zoom, 24th May 2002, 15:30-17:00 (BST)

Catherine Fletcher (Manchester Metropolitan University): ‘Luxury handguns at the Renaissance courts’

By the early sixteenth century, handguns had become an important technology of warfare. European cultural attitudes towards these new objects were ambivalent. In literature firearms were often described as diabolical and unchivalrous. Yet at the same time a gift culture developed around guns. They were assimilated into the world of the court, where designs of firearms and accessories echoed those of fashionable clothes, textiles and furniture. Using a series of examples from museum collections, this talk will investigate the ways that sixteenth-century guns became ‘civilized’.

This event is part of the A Material World: Ritual, which brings together academics and heritage professionals from a wide range of disciplines to discuss issues concerning historical objects, their materials, forms, and functions, as well as their conservation, presentation, display, and reconstruction.

Organisers: Rembrandt Duits (Acting Curator, The Photographic Collection, The Warburg Institute) and Louisa McKenzie (PhD student, The Warburg Institute).

All sessions during 2021-2022 will be delivered online.

FREE VIA ZOOM WITH ADVANCE BOOKING. CLICK HERE TO BOOK.

New Publication: ‘Illuminating Metalwork: Metal, Object, and Image in Medieval Manuscripts,’ edited by Joseph Salvatore Ackley and Shannon L. Wearing

The presence of gold, silver, and other metals is a hallmark of decorated manuscripts, the very characteristic that makes them “illuminated.” Medieval artists often used metal pigment and leaf to depict metal objects both real and imagined, such as chalices, crosses, tableware, and even idols; the luminosity of these representations contrasted pointedly with the surrounding paints, enriching the page and dazzling the viewer. To elucidate this key artistic tradition, this volume represents the first in-depth scholarly assessment of the depiction of precious-metal objects in manuscripts and the media used to conjure them. From Paris to the Abbasid caliphate, and from Ethiopia to Bruges, the case studies gathered here forge novel approaches to the materiality and pictoriality of illumination. In exploring the semiotic, material, iconographic, and technical dimensions of these manuscripts, the authors reveal the canny ways in which painters generated metallic presence on the page. Illuminating Metalwork is a landmark contribution to the study of the medieval book and its visual and embodied reception, and is poised to be a staple of research in art history and manuscript studies, accessible to undergraduates and specialists alike.

Joseph Salvatore Ackley, Wesleyan Univ., Middletown, USA; Shannon L. Wearing, Pontifical Inst. of Mediaeval Studies, Toronto, Canada.

Contents:

I INTRODUCTION
Preciousness on Parchment: Materiality, Pictoriality, and the Decorated Book Joseph Salvatore Ackley and Shannon L. Wearing	1
II TECHNIQUE
Surface Effect and Substance: Precious Metals in Illuminated Manuscripts Nancy K. Turner	51
III REPRESENTATION
Metal Labor, Material Conversions: Goldsmiths in the Life of St. Denis and in Parisian Life, ca. 1300 Brigitte Buettner	113
Copying, Imitation, and Intermediality in Illuminated Ethiopic Manuscripts from the Early Solomonic Period Jacopo Gnisci	139
The Colors of Metalworks: The Painted Materials of Machinery in Byzantium Roland Betancourt	167
IV MATERIAL TRANSLATIONS
Metal, Materiality, and Maṣāḥif: Ornamentation in Abbasid Qur’ans Beatrice Leal	199
Manuscript as Metalwork: Haptic Vision in Early Carolingian Gospel Books Beth Fischer	223
A “Multimedia” Manuscript: Metalwork and the Siegburg Lectionary Heidi C. Gearhart	247
Illuminating Luxury: The Gray-Gold Flemish Grisailles Sophia Ronan Rochmes	275
V TREASURIES IN BOOKS, BOOKS AS TREASURIES
The Golden Spaces of the Uta Codex Eliza Garrison	303
The Matter of Memory: Illuminated Metalwork in the Vita of St. Albinus of Angers Sasha Gorjeltchan	333
Packaging the Sainte-Chapelle Relic Treasury, Paris ca. 1500 Julia Oswald	361
VI PHENOMENOLOGY AND PIETY
Pilgrimage across Borders: Painted Pilgrim’s Badges in Flemish Illuminated Manuscripts Megan H. Foster-Campbell	393
Peripheral Primacy: Metallic Illumination and Material Illusion in the Aussem Hours Susan Barahal and Elizabeth Pugliano	421
A Curator’s Note: The Tarnished Reception of Remarkable Manuscripts Lynley Anne Herbert	443
Bibliography	463
Index of Manuscripts	505
Index of Names	511
Index of Places	515
Subject Index	519

Call for Papers: ‘Experiencing the Sacred – The Role of the Senses in Medieval Liturgies and Rituals’, 1st International Multidisciplinary Conference Series, 21st-23rd September 2022, Deadline: 15th April 2022

By the Late Middle Ages, the liturgy has become the most important and elaborate ceremonial of Christianity in an already highly ritualised society. Indeed, rituals dominated the everyday life of the faithful, from the Divine Office and the Mass to the individual reading of the Hours; and they accompanied the life of people from their birth to their last breath. Besides, liturgy called for collective involvement and aimed at engaging the faithful by stimulating their senses, in order to trigger emotional and spiritual responses.

Over the past century, much has been said about the liturgy in the Middle Ages. Starting from the historical contribution of Mario Righetti (1946), in the last decades scholars have explored fresh research paths, incorporating notions and tools established by diverse disciplines. Philippe Buc (1997) and Eric Palazzo (2000) have opened up new research opportunities by assimilating sociological concepts, exploring the role of rituals as agents in shaping society and fostering social cohesion. More recently, this field has been fuelled with contributions from numerous disciplines that have started to engage in the study of the past, including neurosciences, performance studies, anthropology (Bull & Mitchell, 2016) and sensory studies (Palazzo, 2014; Neri & Caseau, 2021).

The scientific relevance of these contributions in generating adventurous approaches and opening up new panoramas is unquestionable. Following these fresh pathways, the first conference of the series “Experiencing the Sacred”, established by the SenSArt ERC project, aims to develop the topic further by triangulating the liturgy (broadly intended), the experience of the faithful (understood both as an individual and as social groups) and the sensoria (i.e. the diverse sensory systems that existed in the Middle Ages). In so doing, it aims at showing that the experience of the sacred was not homogeneus and static. On the contrary, it was a multimodal and multisensorial activity, one that bore complex and overlapping layers of meaning, and which was perceived in different ways by the diverse groups and individuals involved.

In order to reach this objective, the conference will consider both the material and the immaterial aspects of the liturgy, and will emphasise the wide range of its sensorial appeal. Images, objects, odours, words, flavours, movement, and sounds all formed part of the liturgical performance that permeated the life of medieval people. And yet, they were exploited and perceived in different terms by the diverse groups involved, such as the religious and lay community, men and women, members of the aristocracy and of the lower social groups.

The meeting will bring together a multi- and interdisciplinary community of scholars with a broad interest in the religious rituals of the late Middle Ages (ca. 1200 to ca. 1500), with particular respect to Art History, History, Musicology and Liturgy, in order to cross-fertilise these perspectives.

Scholars may address the topic with a broad approach but always considering the role of the sensorium in the performance and reception of the rites. This conference will focus specifically on Christian liturgies without geographical restrictions. Paper topics may include, but are by no means limited to:

Rituals beyond the Mass such as vestments, consecrations, or monastic professions.
Civic rituals mediated by the Church, such as coronations.
Individual liturgical practices: how the rituals enter the everyday.
The materiality of liturgy: the role of objects within different liturgical ceremonies (books, altarpieces, sculptures, paintings, metalworks, vestments, relics).
Regulations and norms: how was the liturgy orchestrated? How did the church regulate the rituals?
‘Unofficial’ liturgy and subversive rituals: irregularities, contaminations and hybridisations between popular traditions and the Church regulations.
Collective practices: how did different social groups interact with the sacred during the rituals? How were the rituals received and perceived by the faithful, from the clergy to the peasants?

Please send a title and abstract of no longer than 300 words, together with a short CV and personal data (max. 300 words), to the following emails: zuleika.murat@unipd.it; valentina.baradel@unipd.it; sara.carreno@unipd.it
The language of the conference is English.
Deadline: April 15th, 2022

This conference is organised by the ERC research project SenSArt – The Sensous Appeal of the Holy. Sensory Agency of Sacred Art and Somatised Spiritual Experiences in Medieval Europe (12th-15th century), Grant Agreement ID: 950248, ERC H-2020, PI Zuleika Murat, Università degli Studi di Padova. https://cordis.europa.eu/project/id/950248

Organising Committee:
Zuleika Murat (Associate Professor, Università degli Studi di Padova)
Valentina Baradel (Post-Doctoral Research Fellow, Università degli Studi di Padova)
Sara Carreño (Post-Doctoral Research Fellow, Università degli Studi di Padova)

Scientific Committee:

Valentina Baradel (Dipartimento dei Beni Culturali – Università degli Studi di Padova)

Sara Carreño (Dipartimento dei Beni Culturali – Università degli Studi di Padova)

Matteo Cesarotto (Centre d’études supérieures de la Renaissance – Université de Tours)

João Luís Inglês Fontes (Instituto de Estudos Medievais – Universidade NOVA de Lisboa)

Zuleika Murat (Dipartimento dei Beni Culturali – Università degli Studi di Padova)

Salvador Ryan (St Patrick’s Pontifical University, Maynooth)

More information can be found here.

Publication: ‘Notre Dame Cathedral: Nine Centuries of History’, Dany Sandron and Andrew Tallon, Translated by Andrew Tallon and Lindsay Cook

Since its construction, Notre Dame Cathedral has played a central role in French cultural identity. In the wake of the tragic fire of 2019, questions of how to restore the fabric of this quintessential French monument are once more at the forefront. This all-too-prescient book, first published in French in 2013, takes a central place in the conversation.

The Gothic cathedral par excellence, Notre Dame set the architectural bar in the competitive years of the third quarter of the twelfth century and dazzled the architects and aesthetes of the Enlightenment with its structural ingenuity. In the nineteenth century, the cathedral became the touchstone of a movement to restore medieval patrimony to its rightful place at the cultural heart of France: it was transformed into a colossal laboratory in which architects Jean-Baptiste Lassus and Eugène-Emmanuel Viollet-le-Duc anatomized structures, dismembered them, put them back, or built them anew—all the while documenting their work with scientific precision.

Taking as their point of departure a three-dimensional laser scan of the cathedral created in 2010, architectural historians Dany Sandron and the late Andrew Tallon tell the story of the construction and reconstruction of Notre Dame in visual terms. With over a billion points of data, the scan supplies a highly accurate spatial map of the building, which is anatomized and rebuilt virtually. Fourteen double-page images represent the cathedral at specific points in time, while the accompanying text sets out the history of the building, addressing key topics such as the fundraising campaign, the construction of the vaults, and the liturgical function of the choir.

Featuring 170 full-color illustrations and elegantly translated by Andrew Tallon and Lindsay Cook, Notre Dame Cathedral is an enlightening history of one of the world’s most treasured architectural achievements.

“Smaller, more concise, and more streamlined than a traditional monograph, it emphasizes a series of graphics developed from Tallon’s 3D-scan data, which together purport to show the development of Notre-Dame over the nine centuries of its history. In this way it helps to make the fruits of recent research on the cathedral’s history readily accessible to nonspecialist readers. The new translation undertaken by Lindsay Cook, who studied with both Murray and Tallon and whose own research considers parish churches constructed in the orbit of Notre-Dame, now effectively expands that mission to anglophone audiences.”—Robert Bork, caa.reviews

Dany Sandron is Professor of Art and Archaeology at Sorbonne Université.

Andrew Tallon (1969–2018) was Associate Professor of Art at Vassar College.

Lindsay Cook is Visiting Assistant Professor of Art at Vassar College.

This volume is currently available on sale here.

Contents:

1163: Planning the Cathedral

The Bishop

The Cathedral Chapter

The Fabric

Resources

Episcopal Donations

Capitular Donations

Lay Donations

1170: Building the Cathedral

The Materials

The Master Mason

The Design

The Construction

1177: Constructing the Vaults

The Vaults

Technical Aspects of Vault Construction

The Space of the Choir

1182: Liturgical Choir and Sanctuary

The Liturgical Choir

Staging the Ecclesiastical Hierarchy

The Medieval Sanctuary

1208: Form and Meaning

The Choir

The Nave

1220: Portals and the Gallery of Kings

1225: Changing Tastes

A Radical Transformation

The Changes

Instability of the West Front

1245: Towers and Bells, Marking Time at the Cathedral

The Casting of a Bell

1265: Relics and Processions

Relics and Reliquaries

Stational Liturgy and Processions

1300: Pious Foundations and Tombs

The Choir: Preserve of Prelates and Princes

The Chapels

Confraternities at Notre Dame

1350: A Point of Reference

The Architects

Directing the Works

1780: Baroque Transformations

1860: The Major Restoration of Lassus and Viollet-le-Duc

Notre Dame in Peril

The Invention of French Cultural Heritage

The Competition

The Project

The Restoration

The Rational Cathedral

The Cathedral Today

Conclusion

Plan of Notre Dame

Glossary

Selected Bibliography

Credits

Call for Papers: ‘The Itinerant Shrine: Art, History and the Multiple Geographies of the Holy House of Loreto’, The Courtauld Institute, 30th June-1st July 2022, Deadline: 15th March 2022

The Santa Casa, or Holy House of the Virgin Mary, is a relic in constant motion. Legend holds that at the end of the thirteenth century, a company of angels flew Mary’s small brick house—the site of the Annunciation and Jesus’s childhood home—out of Nazareth before eventually depositing it in Loreto, a remote hill town in the Marches region of Central Italy. Over the ensuing centuries, the House prompted the movement of people to the sanctuary that grew up around it: migrant communities that had been excluded from other Italian cities came to settle in Loreto just as a growing number Christians set out on pilgrimage in order to visit the miraculous incorporation of the Holy Land into Europe. As the site grew in prominence, it attracted artists from multiple centres who produced opulent votive adornments in painting and sculpture. At the same time, the sanctuary became a point of transmission for devotional memorabilia, including prints, statuettes, ceramics, and tattoos. As a result of this proliferation of media, architectural reproductions of the Holy House emerged throughout Europe and as far afield as the Amazon Basin and modern-day Canada. Through contact with the original relic or one of its surrogates located across the globe, Loreto has continued to inspire devotional and artistic responses into the present day.

Building upon scholarly interest in the cult of the Holy House, this conference endeavours to serve as an important milestone for international academic discourse on Loreto. Responding to the humanities’ recent global turn, it will investigate how a small town in the Italian hinterland became a central node in an expansive geographic network.

Topics covered might include:
– The cult of Loreto, from its medieval foundations through the twenty-first century
– The Holy House of Nazareth and its various permutations (i.e., Walsingham, Sossau)
– Broader themes of mobility, migration and cultural contact
– The Santa Casa as an instrument of symbolic domination, religious conversion and colonisation
– Lay and religious patronage pertaining to the Loretan cult
– Iconographic and spatial reproduction of the sanctuary of Loreto, or the Santa Casa itself
– The sacred and political economies of pilgrimage

This conference welcomes proposals from early and mid-career scholars working in a variety of disciplines and employing diverse methodological approaches. Proposals of maximum 250 words and a brief CV must be sent by 15 March 2022 to ecgiffin@icloud.com and matteo.chirumbolo@courtauld.ac.uk. The main language of the workshop will be English. Speakers will be notified by 1 April 2022. Some expenses (i.e., travel costs and accommodation in London) will be covered.

Organised by Matteo Chirumbolo, Erin Giffin, and Antongiulio Sorgini.

Clive’s conference is kindly supported by Dr Nicholas Murray and Mr William Sharp in loving memory of Mr Clive Davies.

Recorded Lecture: ‘A Material World – Revealing the Coventry Tapestry through Conservation’, Alison Lister, The Warburg Institute

The process of conserving a historic artefact provides opportunities to gather data on its composition and condition that can inform its future interpretation, presentation, and preservation. In this seminar, Alison Lister (Textile Conservation Limited) will describe and illustrate the initial results of a detailed examination and assessment of the late 15th/early 16th century tapestry from St Mary’s Guildhall, Coventry. This 9m long by 3m high tapestry, woven in wool and silk, was made specifically for the building and is believed to depict King Henry VI and his wife Margaret of Anjou. As part of a major refurbishment of the Guildhall, the tapestry is undergoing conservation to prepare it for redisplay, providing a rare opportunity to record key features of its materials, structure, design, and alterations that can then be made available to the public.

Presented by Alison Lister (Textile Conservation Limited)

This event is part of the A Material World, which brings together academics and heritage professionals from a wide range of disciplines to discuss issues concerning historical objects, their materials, forms, and functions, as well as their conservation, presentation, display, and reconstruction. https://warburg.sas.ac.uk/whats-on/material-world.

This event took place on 3 December 2021.

Online Lecture: ‘Sumatran Camphor in Medieval Afro-Eurasia,’ Alex West, Silk Roads Programme at King’s College, University of Cambridge, Zoom, 25th February 2022, 14:00 (GMT)

Alex West is a lecturer at the Institute for Area Studies, University of Leiden. Specialising in the Indo-Malaysian archipelago in the fifteenth century before the arrival of the Portuguese and the Islamisation of Sunda, his translations and research have revealed the presence of commodities sourced from places as far apart as the Levant and New Guinea.

Join to hear more about how Sumatran camphor in medieval Afro-Eurasia, and what this reveals about global medieval trade networks.

To join the Zoom meeting, please click here.

Everyone is very welcome to join and participate in the events hosted by the King’s College Silk Roads Programme, please add your details here to join our mailing list or get in touch. We do not record the seminars or mini-conferences as you will be hearing about brand- new, often unpublished research and we hope to facilitate questions and discussion between the audience and speakers.

Post-Doctoral Fellowship: Mellon Post-Doctoral Fellowship in Art History Leadership, Deadline: 21st March 2022

The Cleveland Museum of Art (CMA) and the Department of Art History and Art at Case Western Reserve University (CWRU) recognize that the growth of visionary and effective museum and academic leaders does not stop at graduation. Indeed, critical skills such as project management, effective administration, goal-setting, and professional accountability are often not integrated into graduate experiences. The Mellon Foundation is generously supporting a Postdoctoral Fellowship. Through this position, the Joint Program between the CMA and CWRU will help to create a more holistic continuum of education that better prepares future academic and museum administrative leaders early in their careers. By working closely with leadership, staff, and faculty at the CMA and CWRU, the postdoctoral fellow will learn the academic and administrative intricacies of both museum and academic environments.

The fellow will play a key role as a member of the joint CMA/CWRU team planning the biennial Keithley symposium, named in honor of Nancy and Joe Keithley; assist faculty, curators, and students to develop CMA collections-based projects related to their Mellon coursework at CWRU; and coordinate the new short-term Mellon Visiting Fellowship for artists, scholars, or other thought leaders at CMA, among other activities. Work will include engagement with communities of color and other groups who may feel less connected to art museums from a public humanities viewpoint, according to which the agency and authority of the community is acknowledged.

The fellowship is designed to help the fellow to craft plans for personal and professional development and growth, including through executive leadership coaching from the CWRU Weatherhead School of Management. Through these experiences, the postdoctoral fellow will play a significant role in shaping the future of the CMA/CWRU partnership and obtain grounding for a successful career in museums and/or academic institutions. The fellow will report to both the Curator of Greek and Roman Art at the Cleveland Museum of Art, who serves on the Joint Program Committee and the Keithley Symposium Planning Committee, and to the Chair, Department of Art History and Art at Case Western Reserve University. They may also work with curators, educators, and faculty in other areas of specialization, pending mutual interest.

Applicants should be recent PhD graduates who received their PhD no earlier than five years prior to the application deadline in art history or a related field, with demonstrated interests in the intersections of museums and academic institutions. Applications should include a cover letter explaining the applicant’s interest and qualifications for this fellowship, together with a CV, a writing sample, and contact information for three academic or professional references. The one-year fellowship will provide a salary of $45,000 per year, plus benefits. The fellowship has the potential to be extended by a second year. Candidates must be eligible to legally work in the USA. Applications received by March 21, 2022 will receive full consideration, but applications received later may also be considered. The fellowship will begin in either summer or autumn 2022.

In employment, as in education, Case Western Reserve University along with The Cleveland Museum of Art are committed to Equal Opportunity and Diversity. Women, veterans, members of underrepresented minority groups, and individuals with disabilities are encouraged to apply. Case Western Reserve University and The Cleveland Museum of Art provides reasonable accommodations to applicants with disabilities. Applicants requiring a reasonable accommodation for any part of the application and hiring process should contact the Office for Inclusion, Diversity and Equal Opportunity at 216.368.8877 to request a reasonable accommodation. Determinations as to granting reasonable accommodations for any applicant will be made on a case-by-case basis.

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