Funding and scholarships

Fully-funded PhD available in Gothic Art at the University of Kent

870x489_fullsizerender_25The excellent archival and architectural resources at Canterbury Cathedral, the first English Gothic building, combined with our proximity to Paris, the site of origin of Gothic art, provide an ideal research environment for a doctoral project that examines the visual culture and development of the Gothic style. Working with Dr Guerry, who is a specialist in the field of Gothic wall painting, this PhD studentship at the School of History at the University of Kent would enable an outstanding graduate student to pursue research that would contribute substantially to our understanding the invention, diffusion, and function of Gothic art in the High Middle Ages. In the past decade, new approaches to the study of Gothic Art have benefitted tremendously from the advent of scanning technology, which has the potential to reveal the content of lost medieval murals. Because of the vicissitudes of time, wall paintings rarely survive. In the Middle Ages, lavish wall paintings once covered the interior and exterior of churches, halls, houses, castles, and bridges.

This studentship would provide a postgraduate with the opportunity to discover and define the significance of forgotten Gothic wall paintings or another aspect of monumental Gothic art. Under the tutelage of Dr Guerry and with the help of her collaborators, the PhD student would be given access and equipped with all of the necessary tools to achieve groundbreaking fieldwork, ideally on site in Canterbury, Paris, or Angers, where Dr. Guerry has ongoing research projects.

-Ideal candidates will have an MA or MPhil with distinction in History, History of Art, or Architecture

-Proficient language skills in both Latin and French are necessary

Here are the general details:

Further particulars:

Closing date for applications is 31 January 2016

Contact Dr Emily Guerry ( with any questions

Lecture series

Murray Seminars at Birkbeck: Spring 2016

CanterburyMurray Seminars at Birkbeck for Spring 2016

 This term promises an interesting and varied programme.  Our speakers are:

  • Zuleika Murat, sharing discoveries about Guariento and the Tomb of Doge Giovanni Dolfin in Santi Giovanni e Paolo, Venice (Wednesday 20th January)
  • Tom Nicksonlooking at the significance of light and its subsequent obscuration in gothic buildings (Wednesday, 10th February)
  • Paula Nuttall, on dance and low-life subjects in drawings by Verrocchio (Monday, 7th March)

All of this term’s seminars are held at 5pm in the Keynes Library at Birkbeck’s School of Arts (Room 114, 43, Gordon Sq., London, WC1H OPD).  A break at 5.50pm is followed by discussion and refreshments.  We look forward to seeing you there.

Details of individual events can be found at
Lecture series

Lecture, 6pm, 18 January 2016. Architectural Practice in Spain, 1370-1450: Drawings, Documents & Historiography

The Coll & Cortés Medieval Spain Seminar in the Research Forum South Room in the Courtauld Institute of Art, London. By Dr Encarna Montero, University of Valencia

6-7pm, Monday 18th January, followed by a drinks reception. Free attendance, open to all


Model for a pinnacle, Valencia, c. 1442. Valencia Municipal Museum
Model for a pinnacle, Valencia, c. 1442. Valencia Municipal Museum

A significant number of sources for the study of architectural practise survive from medieval Spanish kingdoms when compared to other European territories. Apprenticeship contracts, drawings, sketches and masons’ inventories shed light on the means by which architectural knowledge was transmitted in the Iberian peninsula between 1370 and 1450. This body of evidence – much of it newly discovered – also challenges many long-held assumptions, even if several key problems remain unresolved: the training requirements for masons’ apprentices, the specific skills that defined a master, or the role of drawing in the building process.

This is the second in the Coll & Cortés Medieval Spain Seminars, which take the theme of ‘Gothic Architecture, New Approaches’ from 2015-17. The first lecture in the series was delivered by Eduardo Carrero in October 2015.

Upcoming Events

Lecture: Professor Robert Bork, “Drawings and the Transmission of Geometrical Knowledge across Time, Space, and Media”

Tuesday 24 November 20154:00 pm – 5:30 pm

The Sackler Research Forum Seminar Room, The Courtauld Institute of Art, Somerset House, Strand, London, WC2R 0RN

Open to all, no booking required!image001-723x1024

In this talk Robert Bork will consider Gothic architectural drawings as vehicles for the transmission of geometrical information, placing their development in the context of a broader tradition of geometrical design that reaches with a surprising degree of continuity across the long Middle Ages.  After brief discussion of the geometrical toolkit used by the creators of early medieval manuscripts and jewelry, he will explore the flourishing of architectural drawing in the Gothic era and its impact on both design practice and the sharing of visual information across temporal and geographical boundaries.  He will devote particular attention to the analysis of a fantastic drawing produced in or near Regensburg around 1400 that shows a single-spired façade, whose close geometrical relationship to the thirteenth-century choir of Regensburg Cathedral has not formerly been recognized.  In conclusion, he will demonstrate that many of the same geometrical techniques used by Gothic church designers were also used not only by some northern fifteenth-century painters, but also by Italian painters active in the decades around 1500, including Piero di Cosimo and Piero della Francesca.


New publications: L’arte medievale nel contesto 300-1300. Funzioni, iconografia, tecniche AND L’arte di Francesco. Capolavori d’arte italiana e terre d’Asia dal XIII al XV secolo

PAOLO PIVA (ed.). L’arte medievale nel contesto 300-1300. Funzioni, iconografia, tecniche, Jacamedievale-contesto-240x330 Book, 2015, 450 p.
ISBN: 978-8816371255

El amplio abanico configurado por las contribuciones que conforman este volumen, donde se analizan funciones, temas y técnicas, incluyendo discusiones sobre personalidades artísticas, cronología y estilo, pone de manifiesto los fuertes raíces históricas del arte medieval, en su contexto.

Sin un carácter estrictamente sistemático, el volumen -que no está dirigida a una tipología de lector en particular, sino a estudiantes, académicos y expertos en la materia- constituye la mirada científica más amplia y actualizada disponible sobre el milenio medieval en occidente.


PAOLO PIVA: L’arte medievale e il suo contesto


FULVIO ZULIANI: La percezione del Medioevo

Architettura, scultura monumentale, vetrata

HARMEN H. THIES: Progressi’ tecnici ed evoluzione dei sistemi strutturali negli edifici di culto (secoli VI-XVI)
WOLFGANG SCHENKLUHN: Iconografia e iconologia dell’architettura medievale
FRANCESCO GANDOLFO: La facciata scolpita
ANTONIO CADEI: Le cattedrali all’origine del Gotico

Spazio liturgico, oggetti, soggetti

PAOLO PIVA: Lo “spazio liturgico”: architettura, arredo, iconografia (secoli IV-XII)
JEAN-PIERRE CAILLET: L’arredo dell’altare
VICTOR M. SCHMIDT: Tavole dipinte: tipologie, destinazione e funzioni (secoli XII-XIV)
GIUSEPPA Z. ZANICHELLI: I “soggetti” dei libri liturgici miniati (VI-XIII secolo)
YVES CHRISTE: L’iconografia e il ruolo dell’esegesi

Pittura, iconografia, contesto

SILVIA BIANCA TOSATTI: Le tecniche della pittura medievale
HERBERT L. KESSLER: Storie sacre e spazi consacrati: la pittura narrativa nelle chiese medievali fra IV e XII secolo
ANTONIO IACOBINI: Il mosaico in Italia dall’XI all’inizio del XIII secolo: spazio, immagini, ideologia
LUDOVICO GEYMONAT, PAOLO PIVA, FABIO SCIREA: Pittura murale, contesto strutturale, pianificazione iconografica (esempi del XIII secolo)


SERENA ROMANO: Il nuovo racconto. Assisi e la svolta della pittura narrativa

arte-francesco-268x330ANGELO TARTUFERI; FRANCESCO D’ARELLI. L’arte di Francesco. Capolavori d’arte italiana e terre d’Asia dal XIII al XV secolo, Giunti, 2015, 480 p.
ISBN: 978-8809808010

Catálogo de la exposición llevada a cabo en la Galleria dell’Accademia de Florencia, donde se reúnen por primera vez las obras de arte realizadas a partir de la promoción franciscana medieval, las cuales son confrontadas con obras de arte asiático pertenecientes al mismo período.

De este modo, se destacan y al mismo tiempo se analizan los estrechos vínculos que se entrecruzan entre la Orden Franciscana en los siglos XIV y XV y las tierras de evangelización oriental, de Egipto a China, desde Jerusalén a Mongolia.

Los estudios incluidos en el catálogo y la selección de obras (que comprenden pinturas y esculturas de Giunta di Capitino, Taddeo Gaddi, Carlo Crivelli, Nicola Pisano y Andrea della Robbia, miniaturas, artes aplicadas de temática franciscana y documentos) dan testimonio de la obra de evangelización de personajes como Odorico da Pordenone, Giovanni da Pian del Carpine y Giovanni da Montecorvino.

Call for Papers Conference

Use of Models in Gothic Art (Geneva, 4-5 Nov 2016)

Villard_de_Honnecourt_-_Sketchbook_-_29[1]Call for Papers

University of Geneva, November 4 – 05, 2016
Deadline: Dec 15, 2015

The University of Geneva’s Art History Unit and the University of
Strasbourg’s Institute of Art History are organizing an international

Supposed Models, Identified Models: Their Uses in Gothic Art

The topic of models, whose use is inherent to the artistic creative
process, has been central to art historians’ concerns for a long time.
In the Middle Ages, the use of various models was frequent. But those
remain rather difficult to identify when dealing with specific pieces
of work, which can be very distant, both chronologically and
geographically. Moreover, interpreting prototypes makes it all the more
difficult to analyse this phenomenon and appreciate its true
importance. Indeed, medieval artists typically proceeded by selecting a
number of patterns, which they then assembled into different
compositions. The few medieval model books that we have at our disposal
today describe this process: there is little to no composition per se,
but rather a selection of depictions. This shows a will by the artist,
whether it be a sculptor, a goldsmith, a painter or an architect, to
use creativity to go beyond the model itself, through the manipulation
and combination of a variety of borrowed elements. We know that the
diversity of the models used is key to the formation of Gothic art.
Determining their origin and circulation for a specific piece of work,
however, is no easy task.

Following the 1995 publishing of Robert W. Scheller’s seminal work
Exemplum. Model-book Drawings and the Practice of Artistic Transmission
in the Middle Ages, the use of bi- or tridimensional models, as an
intermediate between two pieces of work sharing one or more
similarities, has been systematically put forward to explain formal
transmission. However, given the rarity of the documents and the
uncertainty of their initial purpose, many questions and discrepancies
in opinions remain on both their importance and their actual use.

The aim of this conference is therefore to focus on those topics, more
specifically on how central they were to the creative process during
the Gothic era (12th to 15th century), in all artistic fields
(painting, sculpture, goldsmithery, architecture). By discussing those
different aspects in the various contributions, through the study of
their specificity (their nature, use and various channels of
distribution) the notion of models may thus be more precisely defined.

The nature itself of those models, a very debated issue, is a logical
starting point, even if the current state of the documents and the
preservation of the works make it difficult to guarantee a satisfactory
analysis. Which works of art are, at some point, deemed worthy of being
reproduced or mentioned? How is a model chosen? What criteria are taken
into account in order for it to be elevated to the status of reference?
In this case, the prototype becomes exceptional and should therefore be
examined. Model books and model drawings are another crucial topic
which must be widely discussed. What functions can be assigned to the
few fragments which historiographical tradition has considered as such?
Should formal books, designed to register a pattern or a composition,
be distinguished from notebooks used for memory purposes? The
collections of patterns we have today, which were probably designed to
be used as an intermediate and a means of transmission, come in a
bi-dimensional form, either on parchment, paper or wood. Fabric was
also considered recently as a possible material for the design of the
Canterbury and Sens stained glass. Besides, there is evidence of
tri-dimensional scale models (made of wax, wood, clay or plaster) being
used for various purposes, including sculpture. Again, the very nature
of these materials used for formal transmission from one work of art to
another requires an in-depth analysis.

We also need to question the manners in which craftsmen and artists
might have used these models. Are those partial or complete copies? To
what extent did the model need to be adapted (for iconography, material
or point of view), completed, adjusted (for scaling or framing) and
inevitably interpreted? What meaning should inversions be given? The
use of models, whether it be through sketches or reference work, could
have contributed to the visual and technical training of the artist as
well as guided the commissioner’s choice, following both aesthetic and
ideological criteria. Notes made for memory purposes and gathered along
various trips should not be neglected either.

Beyond the bi- and tri-dimensional models, whose role and significance
must be put into perspective, or at least carefully examined, the
transmission of shapes, patterns and compositions could have been
achieved via different means. The travelling of artists, supervisors or
commissioners, the mobility of small objects such as manuscripts,
statuettes, goldsmithery pieces, seals and the sending of diplomatic
gifts all represent other possible channels of distribution which could
explain the noted similarities between works geographically very
distant from one another.

Studying and questioning each of these aspects as thoroughly as
possible should provide us with some elements to answer a number of
questions which have been too briefly addressed so far. It should also
give a clearer and more precise idea of one of the means of
transmission of gothic art, through intense circulation networks, which
have contributed both to its emergence, its development and its spread.

The conference proceedings will be published.

Presentation proposals must be submitted by email with an abstract of
approx. 400 words, along with an abridged C.V. (2 pages maximum) by
December 15, 2015 to the following address: .
Prospective participants will be notified in mid-January 2016. A
provisional schedule will be available from March 2016. Presentations
will be limited to 20 minutes, followed by a 10 minute discussion.
Participants : Researchers, junior and senior
Languages : French, English

Organizing Committee:
Denise Borlée, University of Strasbourg
Laurence Terrier Aliferis, University of Geneva

Scientific Committee:
Michele Bacci, University of Freiburg
Philippe Cordez, Universität München
Frédéric Elsig, University of Geneva
Christian Heck, University of Lille 3
Herbert Kessler, Johns Hopkins University
Pierre Alain Mariaux, University of Neuchâtel
Roland Recht, Paris, Collège de France
Marc Schurr, University of Strasbourg
Jean Wirth, University of Geneva


Conference Upcoming Events

Myths of Medieval Spain. Symposium, Courtauld Institute, 11 March

Detail of the Portico de la Gloria, Santiago de Compostela, late twelfth century


Myths of Medieval Spain. Symposium, Research Forum, Courtauld Institute of Art, 2-6.30, Weds 11 March 2015.

Four papers offer new ideas on a group of well-known sculptures and manuscripts from twelfth- and thirteenth-century Spain, exploring tensions between local and international concerns.

2: Introductory remarks, Tom Nickson (Courtauld Institute of Art)

2.10: Rose Walker (Courtauld Institute of Art)

Beatus manuscripts during the reign of Alfonso VIII of Castile and Leonor of England: a response to the fall of Jerusalem?

2.40: Rosa Rodríguez Porto (University of York)

Tvrpinus Domini gratia archiepiscopus: Notes on the Codex Calixtinus

3.10: James D’Emilio (University of South Florida)

The West Portals at Compostela and the Book of St. James: Artistic Eclecticism at a Cosmopolitan Shrine

3.40: discussion

4.15-5.15: tea


Javier Martínez de Aguirre (Universidad Complutense de Madrid)

The voices and the echoes: Saint James, Gregory the Great and Diego Gelmírez in Santiago de Compostela’s Puerta de Platerías

6.30: drinks reception


Detail of the Portico de la Gloria, Santiago de Compostela, late twelfth centuryMyths of Medieval Spain. Symposium, Research Forum, Courtauld Institute of Art, 2-6.30, Weds 11 March 2015.

Attendance is free, but spaces are limited so you must register

Four papers offer new ideas on a group of well-known sculptures and manuscripts from twelfth- and thirteenth-century Spain, exploring tensions between local and international concerns.

2: Introductory remarks, Tom Nickson (Courtauld Institute of Art)

2.10: Rose Walker (Courtauld Institute of Art)

Beatus manuscripts during the reign of Alfonso VIII of Castile and Leonor of England: a response to the fall of Jerusalem?

2.40: Rosa Rodríguez Porto (University of York)

Tvrpinus Domini gratia archiepiscopus: Notes on the Codex Calixtinus

3.10: James D’Emilio (University of South Florida)

The West Portals at Compostela and the Book of St. James: Artistic Eclecticism at a Cosmopolitan Shrine

3.40: discussion

4.15-5.15: tea


Javier Martínez de Aguirre (Universidad Complutense de Madrid)

The voices and the echoes:…

View original post 18 more words

Call for Papers

Call for Papers: Gotische Skulptur um 1300 (Berlin, 7-8 May 2015)

Christ and the Wise Virgins 1280-1300, Strasbourg
See below for a Call for Papers in German and French for a conference in Berlin, May 7 – 08, 2015. Papers can be French, German or English.
Deadline: Jun 8, 2014.

Gotische Skulptur um 1300 in Frankreich und Deutschland
Tagung der Staatlichen Museen zu Berlin im Bode-Museum

Die in den Jahrzehnten um 1300 in Frankreich und den angrenzenden
Territorien des Deutschen Reichs entstandene, deutlich von
wechselseitigen Bezügen geprägte gotische Skulptur wurde lange
kontrovers diskutiert. Ziel der meisten Debatten war die Erstellung
einer Chronologie der wichtigsten Objekte – ein Bestreben, dem aber
allein schon dadurch Grenzen gesetzt waren, dass nur erstaunlich wenige
Ensembles oder Einzelwerke datiert bzw. Auftraggebern und Bildhauern
sicher zugeschrieben werden können. Daher dominierten stilkritische
Zuschreibungen nolens volens das Feld. Sie waren nicht nur Grundlage
eines instabilen, gleichwohl allgemein akzeptierten Entwicklungsmodells
gotischer Skulptur dies- und jenseits des Rheins, sondern bestimmten
auch Überlegungen zu Themen wie Werkstattmigration, Kunst- und
Materialtransfer, zur Wahrnehmung der Objekte oder politischen Intention
von Kopien prominenter Bildwerke. In jüngster Zeit sind die Diskussionen
wieder lebhafter geworden. Denn neuere bauarchäologische und
dendrochronologische Untersuchungen haben überraschende Zeitstellungen
gebracht, und Revisionen älterer Datierungsvorschläge lassen das  mühsam
aufgerichtete chronologische Gerüst kippen.

Die Frage nach den Folgen für die angerissenen Themenkomplexe ist Anlass
der geplanten Tagung. Es sollen keine neuen Chronologiemodelle
aufgestellt, sondern in erster Linie aktuelle Forschungsergebnisse von
Kunsthistorikern, Bauforschern und Restauratoren gebündelt und somit
neue Perspektiven für den gesamten Forschungsbereich gefunden werden.
Eine wichtige Rolle sollen auch neuere restauratorische Untersuchungen
spielen, die sich vermehrt Steinbildwerken widmen. Die gotische
Skulptur, so lauten häufig die Schlussfolgerungen, war viel häufiger und
früher monochrom, als bislang angenommen. Die Interpretation dieser
Befunde in Hinblick auf Bildwirkung und Rezeption steht oft noch aus.

Einen Schwerpunkt der Tagung wird die Diskussion vor den Objekten der in
vielerlei Hinsicht aufschlussreichen Berliner Skulpturensammlung sein,
die in einem im Sommer 2014 erscheinenden Bestandskatalog erstmals seit
1930 wieder zusammenfassend gewürdigt wurden.

Erbeten werden Vorschläge zu Vorträgen à 25 Minuten zu den oben
genannten Themen, sowohl monographische Präsentationen einzelner Objekte
als auch Übersichten zu komplexen Zusammenhängen. Vorträge können in
deutscher, französischer und englischer Sprache gehalten werden.
Angestrebt wird eine Bezuschussung (Reise- und Übernachtungskosten der
Referenten). Eine rasche Publikation (innerhalb eines halben Jahres) ist

Vorschläge (max. 2000 Zeichen) richten Sie bitte bis zum 8. Juni 2014

Michael Grandmontagne (medrikat-grandmontagne[at]
Tobias Kunz (t-w-kunz[at]
La sculpture gothique vers 1300, en France et en Allemagne
Colloque organisé par les Musées de Berlin
Bode-Museum, 7 et 8 mai 2015
Appel à contribution

Depuis plus d’un siècle, le développement conjoint, autour de 1300, de
la sculpture gothique en France et sur les territoires limitrophes de
l’Empire allemand a fait l’objet de controverses notoires. L’objectif
premier de la plupart des chercheurs aura souvent été d’établir une
chronologie des œuvres les plus importantes – effort louable mais qui
fut longtemps limité, peu d’œuvres ou même d’ensembles pouvant être
datés avec certitude, tandis que force noms d’artistes ou de
commanditaires sont tombés dans l’oubli. Bon gré mal gré, le terrain fut
donc occupé par les « connaisseurs », qui fondent leurs jugements sur
des critères stylistiques, une méthode qui présuppose un développement
continu de la sculpture gothique des deux côtés du Rhin, ce qui n’a rien
d’évident. De nombreuses recherches ont également été dédiées à des
thèmes tels que la migration des ateliers, des œuvres ainsi que des
matériaux, jusqu’à la perception des objets ou à la volonté politique de
copier certaines sculptures majeures. Ces dernières années, les
discussions sont devenues particulièrement animées du fait de nombreuses
découvertes, effectuées dans le domaine de l’archéologie du bâti et de
la dendrochronologie, et dont les résultats surprenants démentent
parfois les certitudes les plus établies. De toute évidence, une
révision du cadre chronologique s’impose.

Ce colloque cherche à établir, dans le champ de la sculpture gothique,
les conséquences des changements méthodologiques induits par la
recherche récente. Il ne s’agira aucunement de proposer un nouveau
modèle chronologique, mais avant tout de présenter les recherches
actuelles des historiens de l’art et de l’architecture, ainsi que des
restaurateurs, ce qui devrait permettre de définir de nouvelles
perspectives pour l’ensemble des études dans ce domaine. Une place
importante sera consacrée aux problèmes qui ont récemment émergé à
l’occasion de certaines restaurations, notamment celles concernant la
sculpture sur pierre : la sculpture gothique, nous disent des analyses
récentes, était bien plus monochrome qu’on ne le pensait jusqu’à
présent. L’interprétation de tels résultats, du point de vue de
l’histoire de la réception des œuvres, doit encore être formulée.

La discussion se fondera en grande partie sur les récentes découvertes
ayant émaillé l’étude des œuvres de cette période appartenant aux
collections de sculptures des Musées de Berlin et conservées au
Bode-Museum, anticipant la parution prochaine, à l’été 2014, d’un
nouveau catalogue raisonné de ces sculptures, plus de quatre-vingts ans
après la dernière édition, publiée en 1930.

Les propositions de communication (de 2 000 signes maximum, espaces
compris) devront être envoyées avant le 8 juin 2014 aux adresses
ci-dessous. Les conférences seront d’une durée de 25 minutes et pourront
être prononcées en allemand, en français ou en anglais. Le déplacement
et l’hébergement des intervenants devraient pouvoir être pris en charge,
tandis que les actes de ces journées devraient être publiés avant la fin
de l’année 2015.

Michael Grandmontagne (medrikat-grandmontagne[at]
Tobias Kunz (t-w-kunz[at]

Call for Participants Excursions Funding and scholarships Memberships and societies Upcoming Events

BAA Aberdeen Conference: Student Scholarship Deadline this Friday!

The British Archaeological Association offers generous scholarships for students who wish to attend its annual conference, which this year will be held in Aberdeen. All students with an interest in medieval art and architecture are warmly encouraged to apply.


The British Archaeological Association’s annual conference for 2014 will be held at Old Aberdeen (19 – 23 Jul 2014). The conference will be based in the medieval surroundings of Aberdeen University with extended trips throughout Aberdeenshire and Moray. Aberdeen University was founded in 1495 by Bishop Elphinstone and 2014 is the 500th anniversary of his death. Papers and tours will cover aspects of his architectural patronage. Highlights will include visits to Elgin Cathedral (the ‘Lantern of the North’) and Pluscarden Abbey, the only medieval monastery in Britain still inhabited by monks and being used for its original purpose. Secular architecture will feature 13th-century Kildrummy Castle, the innovative tower house at Huntly, and lavish Fyvie Castle. Aberdeen offers the well-preserved St Machar’s Cathedral with its castellated towers and heraldic ceiling, and King’s College Chapel, the only complete medieval church interior surviving in Scotland. Historical overviews will be provided, particularly tackling the moderate Aberdeenshire response to the Reformation which allowed the middle ages to linger into the seventeenth century.

The scholarships will cover the entire conference fee, which includes lectures, site visits, sandwich lunches, teas and coffees and dinners, maps and plans. Applicants who live beyond commuting distance from Aberdeen may also apply for accommodation at Hillhead. Depending on demand, some support for travel money may also be available.

Call for Papers

Call for Papers: II International Conference. Sevilla, 1514: Arquitectos tardogóticos en la encrucijada

Call for Papers
II International Conference. Sevilla, 1514: Arquitectos tardogóticos en la encrucijada
Seville, November 12-15, 2014
Deadline: 31 May 2014

After the I International Conference Arquitectura tardogótica en la Corona de Castilla held in Santander in 2010, the II International Conference. Sevilla, 1514: Arquitectos Tardogóticos en la encrucijada, aims to serve as a forum for discussion on the latest research developed in this thematic area in an international context.

The conference will be celebrated as a joint activity between the Universities of Cantabria, Seville, Lisbon (Portugal) and Palermo (Italy) and will be held in the city of Seville during the month of November, 2014, with a duration of 4 days distributed into scientific sessions and guided visits. The scientific sessions will focus on the following topics:

  • Magister: Biographies and trajectories of the Late Gothic master builders.
  • The role of promoters and patrons.
  • 1514 as a milestone: the Late Gothic period and the “Franciscan, German and Moorish skeins”.
  • The councils of master builders in the Late Gothic period.
  • Science, technique and archaeology.
  • Engravings, treatise and microarchitectures.

Those interested in presenting a paper must send the title and abstract in Spanish or in English (max. 1,000 characters) before the 31st of May, 2014, along with their personal information (full name, e-mail address, mailing address and telephone number) to the following e-mail address: (only one paper will be admitted per person).

For more information, please visit the following website: