Conference: Art and Economy in France and Italy in the 14th century: new research

giottotodeleteConference: Art et économie en France et en Italie au XIVe siècle. Nouvelles enquêtes,Art et économie en France et en Italie au XIVe siècle. Nouvelles enquêtes, Université de Lausanne, 19-20 October 2017




Jeudi 19 octobre 2017

Nicolas Bock, Michele Tomasi

14h30 L’Italie au Trecento et au Quattrocento : da Giotto alla morte !

Damien Cerutti
Giotto & Cie. Réflexions sur le marché pictural florentin dans le deuxième quart du Trecento

Katalin Prajda
Finanze e attività imprenditoriale nelle industrie pittoriche, orafe e di carpenteria nella Firenze del primo Rinascimento. Come la seta divenne una specialità fiorentina

Fabio Marcelli
Arte, civiltà comunale ed economia nell’Appennino umbro-marchigiano

Giampaolo Ermini
Il cantiere del coro trecentesco del duomo di Orvieto: manovalanza, materiali, costi e finanziamenti

Paola Vitolo
Spese della morte: investimenti per l’aldilà (e per l’al di qua) e pratica artistica (Italia, XIII-XIV secolo)


Vendredi 20 octobre 2017

9h00 Les arts de luxe

Chiara Maggioni
Orfèvreries à Mantoue au XIVe siècle : frais, évaluations, valeurs de marché

Andrea Cravero
Vetri dorati e graffiti del basso medioevo: economia di una bottega assisiate e mercato fiorentino

Giampaolo Distefano
Le occasioni del mercato artistico parigino del Trecento e la carriera dell’orafo Jean le Braelier

11h30  Entre l’Italie et la France

Teodoro De Giorgio
La riorganizzazione del sistema fiscale della corte pontificia avignonese sotto Giovanni XXII (1316-1334) e il nuovo volto del mecenatismo artistico papale

Alain Salamagne
L’usage du bois précieux dans le château en France et en Bourgogne (1350-1450)

14h00 Perspectives méditerranéennes

Doron Bauer
Economic Fluctuations and Artistic Production in The Kingdom of Majorca

Francesco Ruvolo
Prima di Antonello. Nuovi culti, spazio sacro e potere economico, nella Messina tra Due e Trecento

15h00  En ouvrant encore les horizons

Étienne Anheim
L’économie du travail artistique au XIVe siècle en France et en Italie

Wim Blockmans
La spécificité du secteur de l’art dans l’économie du bas Moyen Âge


CFP: “‘For I am a woman, ignorant, weak and frail’: Feminising Death, Disability and Disease in the later Middle Ages,” International Medieval Congress, University of Leeds, 3rd-6th July 2017

death-medievalCall for Papers: “‘For I am a woman, ignorant, weak and frail’: Feminising Death, Disability and Disease in the later Middle Ages,” International Medieval Congress, University of Leeds, 3rd-6th July 2017
Deadline: 23rd September 2016.

**Should this session attract enough interest it will become a three-part series, with each session focussing more deeply on the individual themes of death, disability and disease.

Within late-medieval society, to be valued was to look and behave according to the societal ‘norm’ – dependency was largely represented as a feminine trait, whereas to be independent was to be masculine. How then did medieval people respond to deviations from these gendered expectations as a result of death (or dying), disabilities and chronic diseases?

This session will consider the feminisation of death, disability and disease through an interdisciplinary lens, in order to answer questions about the perceived ‘feminine’ dependency of the marginal ‘third state’ between being fully healthy and fully sick (i.e. to be dying, diseased or disabled). It will hope to consider the contradictory nature of female disease and disability which both engendered an elevated sense of holiness and, conversely, a sense of physical monstrosity; the female response to death, disability and disease as elements of daily life which were (largely) out of their control; the effect of death, disability and disease on medieval constructions of masculinity; and whether – if death, disease and disability dehumanise the body – is it even important to consider the effect of these states on an individual’s gendered identity?

We welcome multi-disciplinary papers from all geographical locations, c.1300-c.1500, which engage with themes such as (but not limited to): Representations of death, disease and/or (dis)ability; literature either for or by women dealing with the themes of death, disease and/or disability; the tradition of Memento Mori and/or the Danse Macabre; the gendering of ‘Death’; the Black Death’s impact on traditional gender roles; obstetric death; female piety and holy anorexia; the effect of chronic disease and/or disability on late-medieval constructions of masculinity; women and disease (as the developers of cures, writers of recipes, carers or patients, etc.); female use of disability aids and/or prosthetics; and self-inflicted disfigurement.

How to submit: Please send a paper title and an abstract of 100-200 words to Rachael Gillibrand at the Institute for Medieval Studies, University of Leeds ( by 23rd September 2016.

CFP: Picturing Death 1200-1600 (Edited Volume)

Deadline: 1 September 2016

Picturing Death 1200-1600
Proposals sought for chapters in a peer-reviewed edited volume

The glut of pictures of and for death has long been associated with the Middle Ages in the popular imagination. In reality, however, these images thrived in Europe in a much more concentrated period of time that straddles the Middle Ages and the Renaissance, as conventionally defined. Macabre artifacts ranging from monumental transi tombs to memento mori baubles, gory depictions of the death and torment of sacred figure as well as of the souls of the lay, gruesome medical and pharmacological illustrations, all proliferate in tandem with less unsettling (and far more widespread) works such as supplicant donor portraits and lavishly endowed chantry chapels, with the shared purpose of mitigating the horrors of death and the post-mortem state. The period in question, 1200-1600, is bracketed by two major moments in European cultural history. At its end is the aftermath of the Protestant Reformation, which altered Europeans’ approach to their own mortality and subsequently also aspects of the visual culture facilitating their practices. The beginning, 1200, is marked by the culmination of a conceptual shift that in a 1981 book Jacques le Goff termed the spatialization, or more famously, birth of Purgatory.

Le Goff observed that in the second half of the twelfth century a hitherto somewhat vague and changing idea about a third place for the dead—neither heaven nor hell—coalesced into a notion of a concrete locale for posthumous penance and spiritual cleansing. Crucially, this fixed “third place”—Purgatory—was subject to the influence of the living. The ability to alleviate purgatorial sentences and torments by prayer, Le Goff observed, profoundly altered the relationship between the living and the dead in Europe, spawning a complex economy of Salvation, which, as most social systems, greatly favored the rich and powerful. While some of his evidence has been called into question, Le Goff undoubtedly traced an accurate trend. First embraced in a 1254 letter by Pope Innocent IV, belief in the efficacy of prayer in addressing the plight of the souls in Purgatory became official Church doctrine at the Council of Lyons in 1274, and was subsequently affirmed, repeatedly, through the Council of Trent (1545-1563). The influence of the Salvation economy on image making is unmistakable. It has been discussed in numerous studies dedicated to various aspects of this phenomenon that have appeared since Erwin Panofsky’s 1964 field-defining work on tomb sculpture, especially in recent decades, as part of a broader surge in visual culture studies.

The purpose of the present volume is to further probe the many open questions still surrounding the logic and purpose of Salvation-industry imagery, and especially to explore connections hitherto obscured by artificial modern divides of periodization, national school, and perceived aesthetic merit. Those include parallels between picturing death north and south of the Alps, continuities between such seemingly disparate objects as the Royaumont Abbey tombs and Early Modern anatomy treatises, and, crucially, the oft-underemphasized connection between macabre and mainstream pictures of and for death. In bringing together essays on death-related artifacts from a broad temporal and geographic scope and purposefully cogitating the macabre and non-macabre novelty imagery, we seek to ultimately raise an ambitious question: Was the new sense of agency in the face of death a major driving force behind the phenomenon now known as the Renaissance?

A great number of images—and image types—from the period 1200-1600 are directly related to this newfound economy of Salvation, likely accounting for a substantial portion of the era’s dramatic quantitative expansion in artistic production across Europe. The qualitative change that followed, from heighted interest in realism to an obsession with affective engagement, likewise seems curiously entwined with that economy. Furthermore, recent studies problematize the popular notion that macabre imagery emerged in response to the plague that ravaged Europe in the mid-fourteenth century; in reality, pictures of decomposing human corpses appear much earlier in the context of medical illustrations, and thus form part of a broader, essentially rational inquiry into human transience. Along with the settling recognition that so many famous Renaissance artifacts were created primarily to mitigate mortality it greatly complicates the (already rather fraught) grand narrative of the disenchantment of the image.

This greater framework begets a host of other questions. Potential topics may include, but are not limited to:
-The inherent tension in luxury artifacts evoking the “memento mori”
-Parallels and disjuncture between literary and pictorial works on death
-Novelty funerary practices, from the embalming of the body to
increasingly lavish ceremonies
-The messages, intended or inadvertent, that viewers received from
images of the afterlife
-The effects of the religious turmoil of the sixteenth century on
earlier imagery and customs

Please send a 500-word abstract and a short CV by September 1, 2016 to
the editors:
Stephen Perkinson
Noa Turel

Chapter deadline: December 1, 2016
Chapter length: c. 4,000 words
Publication, in Brill’s Studies on Art, Art History, and Intellectual
History series (edited by Walter S. Melion), is projected for late 2017

Conference: 17th congress on the Dance of Death and macabre art

danse_macabre_-_guyot_marchand9_28abbot_and_bailiff29Conference: 17e congrès sur l’étude des danses macabres et sur l’art macabre en
général, Troyes (Aube/ France), médiathèque du Grand Troyes, boulevard Gambetta,
May 25 – 28, 2016

Programme :

Mercredi 25 mai 2016

Accueil de 10h à 14h

Véronique Saublet, Vice –Présidente du Grand Troyes
Accueil des participants

Novella Lapini (Firenze)
La processione dei vivi e dei morti nella Roma antica : il funerale
della nobilitas

Gérard Gros (Université de Picardie)
Misère humaine et dubitacio mortis : l’Épître de Gautier

Marie-Dominique Leclerc (D.M.E. – Université de Reims Champagne-Ardenne)
Trois p’tits tours et puis s’en vont, La mort chez les marionnettes :
la Mort, sujet central de la pièce


Antonia Víñez Sánchez (Universidad de Cádiz)
Lo macabro en el Cancionero de Santa María de El Puerto de Alfonso X

Danielle Quéruel (D.M.E. – Université de Reims Champagne-Ardenne)
Le “Mors de la pomme” : entre danse macabre et théâtre médiéval

Michela Margani (Università di Macerata)
I dadi della Morte : metafore del gioco nella letteratura francese

Visite de l’exposition d’ouvrages à thématique macabre des fonds de la

Jeudi 26 mai 2016

Laura Ramello, Alex Borio, Elisabetta Nicola (Università di Torino)
“Puet nul ocire la mort?” Croyances, mythes, symboles de la mort dans
les traités pseudo-scientifiques médiévaux

Alina Zvonareva (Università di Padova)
Il Ballo della Morte : un remaniement toscan du XVe-XVIe siècle de la
Danse macabre de Paris

Ilona Hans-Collas (D.M.E. – GRPM)
IUDICIUM TIME. Justice et avertissement à travers la Mort et son
miroir. À propos du Jugement dernier de Malines (1526)


Cécile Coutin (D.M.E. – BnF)
Un Memento Mori musical de Luigi Rossi (vers 1641-1645)

Marie-Suzon Druais (Université de Rennes 2)
Les représentations de la personnification de la mort, l’Ankou, en
Basse-Bretagne, aux XVIe et XVIIe siècles

Raffaele Cioffi (Università di Torino)
Il supplizio dell’impiccagione nell’omiletica anglosassone, fra radici
apocrife e reminiscenze poetiche

Barbara Foresti (Bologna)
Il Giudizio Universale, l’Inferno e gli Evangelisti di Pietro Pancotto:
dall’ombra di un portico, alla luce di un’interpretazione

Karin Ueltschi (Université de Reims Champagne-Ardenne)
Danses macabres, cortèges de morts et chasses sauvage : variations
mythiques et littéraires

Omar Khalaf (Università Ca’ Foscari Venezia, Université Paris 4)
“Memorare novissima” : Caxton’s editions of Earl Rivers’s Cordyal and
the meditation on death in late medieval England


Didier Jugan (D.M.E. – GRPM)
Joël Raskin (D.M.E.)
Le navire de l’Eglise face aux hérésies, aux péchés et à la mort
(XVIe-XVIIe siècles)

Angelika Gross (Paris)
A propos d’un fragment de la fresque de la Danse macabre de 1440 à Bâle

Concert à la chapelle Argence

Vendredi 27 mai 2016

Monica Engel (Amsterdam)
Daniel Burckhardt-Wildt and his enigmatic drawing of the demolition of
Basel’s Dance of Death

Giuliana Giai (Torino)
Chronique de l’an Mil : la bonne et la mauvaise mort dans les “exempla”
de Novalesa

Cristina Bogdan (D.M.E. – Université de Bucarest)
L’Image du jugement individuel de l’âme. Le voyage par les Péages
aériens dans l’iconographie roumaine du XVIIIe siècle


Marco Piccat (D.M.E. – Università di Trieste)
Le Royaume de Sardaigne et la Danse macabre

Elisa Martini (Università di Firenze)
Il Casentino dei morti dimenticati. Le novelle del Sire di Narbona e di
Messer Cione

Caterina Angela Agus (Torino)
La “morte doppia” nella devozione popolare tra Savoia e Delfinato

Silvia Marin Barutcieff (D.M.E. – Université de Bucarest)
“…Même quand je marche dans la sombre vallée de la mort, je ne redoute
aucun mal”. Les supplices et la mort du martyr dans l’iconographie
religieuse de Valachie au XIXe siècle

Tony Seaton (University of Limerick)
Sophie Oosterwijk
(D.M.E. – University of St Andrews)
The British Dance of Death : A Memento Mori for Jane Austen’s era

Alberto Milano (Civica Raccolta Bertarelli, Milano)
Reliures italiennes en xylographie avec motifs macabres

Jean-Louis Haquette (Université de Reims Champagne-Ardenne)
Conclusion et clôture du colloque

Visite de la Cité du vitrail

Samedi 28 mai 2016

Excursion “A la recherche du macabre en Champagne méridionale”.
(Pont-Sainte-Marie, Les-Riceys, Chaource, Ervy-le-Châtel,
Neuvy-Sautour, Lirey)

For more information, click here.

Conference: Experiencing Death in Byzantium (Newcastle, 29 May 2015)

This single day conference will consider the extent to which we can approach the individual experiences surrounding death in Byzantium and the relevance they have for our knowledge of Byzantine self-understanding. How can we approach experiences that played tangible social roles and yet were so irreducible to literal language and meaning that they remained couched in the language of allegory? To what extent were shared experiences and understandings of death and dying orchestrated for individuals? Can remaining physical and textual evidence reveal such intended experiences to us? This conference seeks to access the personal and contingent experiences surrounding death and dying in Middle Byzantine mortuary practices.

We will consider the affects of the objects, images, literatures and theologies connected to death, dying and the otherworld in Byzantium. In this way, both the material and immaterial aspects of death in Byzantium will be discussed from grave goods and eschatological literature, to the emotions and sensations of death along with images of death, dying and judgement. This conference takes seriously the evident dearth of systematic eschatological doctrine in Byzantium and Byzantine preference for allegorical understandings of death and the otherworld. It seeks to create a space to discuss and integrate the separate, and at times disparate and opaque, bodies of eschatological practice and knowledge across various spheres of Byzantine life.  It is hoped that this will reveal to us more profound and fundamental insights into eschatological thought, sentiment and action in Byzantium and their contribution to Byzantine self-understandings.

For further information and to register, please visit:

Organised by Dr Sophie Moore, Dr Niamh Bhalla and Dr Mark Jackson.