Tag Archives: liturgy

CFP: Worship in Regensburg’s Institutions: On the Diversity of Liturgical Traditions in the Pre-Modern Period, Regensburg, 6-8 July 2017

dom_st_peter_regensburg_hCall for Papers: Worship in Regensburg’s Institutions: On the Diversity of Liturgical Traditions in the Pre-Modern Period (Gottesdienst in Regensburger Institutionen. Zur Vielfalt liturgischer Traditionen in der Vormoderne) Regensburg, 6-8 July 2017
Deadline: October 31, 2016

In der Vormoderne war Regensburg als weit überregional bedeutendes politisches Zentrum und international vernetzte Handelsstadt auch kirchlich durch eine Vielzahl unterschiedlicher Institutionen geprägt: Neben dem von Bonifatius gegründeten Bistum, das manche seiner liturgischen Traditionen bis lange nach dem Konzil von Trient hochhielt, gingen auch die selbstbewußte Benediktinerabtei St. Emmeram und das Kollegiatsstift der Alten Kapelle genauso wie die Kanonissenstifte Niedermünster und Obermünster auf das Frühmittelalter zurück; insbesondere St. Emmeram betrieb neben seiner reichen Bibliothek ein auch künstlerisch herausragendes Skriptorium. Im Hochmittelalter ergänzten das Benediktinerinnenkloster Mittelmünster auf weiblicher und das Kollegiatsstift von St. Johann auf männlicher Seite die kirchliche Landschaft, wenn auch nicht die erhaltene liturgische Handschriften-überlieferung. Das Schottenkloster St. Jakob strahlte im Rahmen der zweiten iroschottischen Bewegung durch Neugründungen aus, die Abtei Prüfening vor den Toren der Stadt gehörte zur Hirsauer Reform; das Doppelkloster Prüll wurde später zur Kartause.
Mit dem Spätmittelalter erweiterten Klöster männlicher und weiblicher Bettelorden die kirchliche Vielfalt, die in der Neuzeit zusätzliche Komplexität gewann, als sich die Stadt mehrheitlich der lutherischen Reformation anschloß, was zur Übernahme neuer Bräuche, aber auch zu bemerkenswerten Kompromissen führte. Als Tradentinnen und
Produzentinnen von Handschriften, aber auch als Bauherrinnen liturgischer Räume und Auftraggeberinnen von Kunstwerken, nicht zuletzt in ihrem Zusammenspiel im städtischen Raum und in ihrer Prägung durch überregionale Einflüsse sind Regensburger Institutionen ein Prisma, durch das die bunte Vielfalt vormoderner Liturgie und ihrer kulturellen Ausdrucksformen sichtbar wird.
Angesichts großer Unterschiede in Quellenbestand und Forschungslage lohnt sich ein neuer Blick auf die wichtigsten kirchlichen Institutionen, historischen Phasen und überregionalen Bezugssysteme der Liturgiegeschichte Regensburgs in der Vormoderne. Beiträge aus Liturgiewissenschaft, Musikwissenschaft, Kunstgeschichte und verwandten Disziplinen sollen exemplarisch die verschiedenen Dimensionen liturgischen Lebens und ihre künstlerischen, musikalischen und architektonischen Ausdrucksformen erhellen, die bisherige Forschung kritisch sichten, auf bestehende Lücken hinweisen und neue Perspektiven künftiger Erschließung eröffnen. Äußerer Anlaß für die Tagung ist die Wiederbelebung des Institutum Liturgicum Ratisbonense des Bistums Regensburg, welches sich seit der Mitte des 20. Jahrhunderts der Liturgiegeschichte im Spiegel ihrer handschriftlichen Quellen sowie der Erforschung lokaler Eigentraditionen widmet.
Die vom Lehrstuhl für Liturgiewissenschaft der Universität Regensburg mit Mitteln des Institutum Liturgicum Ratisbonense und in Zusammenarbeit einerseits mit dem Akademischen Forum Albertus Magnus des Bistums Regensburg, andererseits mit dem Forum Mittelalter der Universität Regensburg und dem Themenverbund “Metropolität in der Vormoderne” organisierte Tagung findet von Donners-tag 6. bis Samstag
8. Juli 2017 voraussichtlich in den Räumen der Bischöflichen
Zentralbibliothek statt und wird von einer kleinen Ausstellung
begleitet.

How to Submit: Bewerbungen für Vorträge (25 Minuten) und Kurzbeiträge (15 Minuten) auf Deutsch, Englisch, Französisch oder Italienisch werden bis 31. Oktober
2016 mit einem Abstract von maximal 250 Worten an
harald.buchinger@theologie.uni-regensburg.de erbeten; ein
interdisziplinär besetzter Beirat wird bis 30. November 2016 darüber
entscheiden. Es ist geplant, den akzeptierten Beitragenden die Spesen
für Aufenthalt und Verpflegung sowie – im vertretbaren und möglichen
Rahmen – die Reise zu vergüten; die Tagung ist zur Publikation
vorgesehen. Neben etablierten Kolleginnen und Kollegen sind auch
Jungwissenschaftlerinnen und Jungwissenschaftler besonders herzlich
eingeladen.

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CFP: Towards an Art History of the Parish Church, 1200-1399, The Courtauld Institute of Art, London, 2-3 June 2017

St John the Baptist, WinchesterOrganised by: Dr James Alexander Cameron (The Courtauld Institute of Art) and Meg Bernstein (University of California, Los Angeles/The Courtauld Institute Kress Fellow, 2015-2017)

Paul Binski, in his 1999 Studies in Iconography article, “The English Parish Church and its Art in the Later Middle Ages,” asked “how, and in what ways, we might place the imagery of the parish church at the centre of the study of medieval visual culture rather than seeing it as some unfathomable, and perhaps embarrassing, epiphenomenon of something that was ‘really’ going on elsewhere.” Though some 8,000 parish churches in England can be said to consist largely of medieval fabric, no overarching study of English medieval church architecture is available. Instead, scholarship is generally limited to descriptions of single buildings and their furnishings, and the broader historical significance of this building type has largely gone unaddressed.

Towards an Art History of the Parish Church, 1200-1399, to be held on 2-3 June, 2017 at The Courtauld Institute of Art, will gather scholars to revisit the question of the parish church and its relationship to medieval visual culture. Participants will contribute to a vibrant discussion of the Gothic parish church, its utility as an object of study, and the insights offered on the subject by diverse methodologies. In particular, the conference will prioritise ways in which scholars might think about Gothic parish churches collectively, profiting from the rapidly expanding technologies of the digital age. We are pleased to announce that Professor Paul Binski has agreed to give the closing remarks for the conference, and reflect upon how scholarship has progressed since his Studies in Iconography article.Heckington chancel

The conference draws its temporal focus from the most notable lacuna in scholarship, which concerns the introduction and flowering of Gothic architecture across the English parish church in the thirteenth and fourteenth centuries. The thirteenth century saw a broadly Gothic style replace the Romanesque across England; although this has been studied with regard to great church architecture, the mechanics of what amounts to a major stylistic shift at parish level remain largely uninvestigated. Likewise, the quantity of fourteenth-century work in parish churches further shaped the manifestation of the Gothic style, particularly in features such as sedilia which were originally developed in outside of cathedrals and great monasteries. Given the impact of the English Decorated Style on Late Gothic architectural developments across Europe, the parish church promises to illuminate art historical questions beyond the borders of England. These lacunae are in stark contrast to the smaller corpus of the Romanesque period, which has had a large amount of attention via resources such as CRSBI; and the late medieval church after 1400, which draws on greater availability of documentary evidence.

The organisers invite postgraduate, early-career and established researchers to propose papers representing a revitalised approach to the study of parish churches of the thirteenth and fourteenth centuries, and strategies for dealing with the vast amount of material evidence in tandem with a paucity of written records. They welcome contributions especially regarding architecture but also elements of sculpture, painting and glass, as well as their internal (and external) fittings and furnishings. Papers must be foremost concerned with buildings that are primarily parochial, as distinct from abbeys and cathedrals. Possible areas of inquiry include but are not limited to:

  • Sutterton naveBig data and the understanding of artistic processes through comprehensive regional surveys and categorisation, including the use of online crowd-sourcing techniques
  • The intersection of liturgical function and architectural form, perhaps through innovative strategies such as practical re-enactment
  • Understanding architectural spaces through visual and other sensory perception
  • Aesthetics and allegory: the ’period eye’ approach to understanding medieval art through contemporary literature
  • Formal analysis, and its use in understanding the operation of architectural workshops
  • Archaeology and structural investigation
  • Interactions or distinctions between rural and urban parish churches
  • The geography and topography of the parish church in relation to its surroundings
  • The effect of funerary monuments and individual commemoration.
  • Lay sponsorship and creative involvement in parochial architecture
  • Replacement, retention or adaption of older fabric
  • Comparisons of English parochial architecture with that of the Continent

Please submit abstracts of up to 300 words, as well as a current c.v., to Dr James Alexander Cameron and Meg Bernstein at TAAHOTPC@gmail.com by December 15, 2016. There may be limited funds available to defray costs of travel for speakers. It is intended that conference transactions will be published.

For more updates on the conference, watch the page on The Courtauld website

CFP: After Chichele: Intellectual and Cultural Dynamics of the English Church, 1443-1517

St. Anne’s College, Oxford, 28-30 June 2017

An international conference organised by the Faculty of English, University of Oxford, this event builds on the success of the 2009 Oxford conference, After Arundel: Religious Writing in Fifteenth-Century England, which resulted in a book of essays (ed. by Vincent Gillespie and Kantik Ghosh) that vigorously interrogated the nature of religious and intellectual culture in England in the long fifteenth century. After Chichele adopts a similar investigative and interdisciplinary approach. The period has been chosen precisely because the inner workings of English intellectual and religious life during these years have proved challengingly resistant to the formation of grand critical narratives. What are the chief currents driving the intellectual and cultural life of the church in England during this period? What happened to intellectual questioning during the period, and where did the Church’s cultural life express itself most vividly? What significant parochial, regional, national and international influences were brought to bear on English literate practices? In order to address these questions, the conference will adopt an interdisciplinary focus, inviting contributions from historians, literary scholars, and scholars working on the theology, ecclesiastical history, music and art of the period, and it is expected that a wide range of literary and cultural artefacts will be considered, from single-authored works to manuscript compilations, from translations to original works, and from liturgy to art and architecture, with no constraints as to the conference’s likely outcomes and conclusions. It is intended that the conference should generate a volume of essays similar to After Arundel in scope, ambition and quality.

Plenary speakers: David Carlson, Mary Erler, Sheila Lindenbaum, Julian Luxford, David Rundle, Cathy Shrank.

Possible topics for discussion:
Religious writing and the English Church; the emergence of humanism and the fate of scholasticism; literature and the law; cultural and ecclesiastical patronage; developments in art and architecture; the liturgical life of the Church; the impact of the international book trade and of print; palaeography and codicology; the Church’s role in education, colleges and chantries; the impact of travel and pilgrimage.

Please send 500 word abstracts (for proposed 20-minute papers) by Friday, 12th August 2016 to Vincent Gillespie, Lady Margaret Hall, Oxford OX2 6QA (vincent.gillespie@ell.ox.ac.uk).

Lecture series: Visibility and presence of the Image in Ecclesiastical Space

jan_van_eyck_-_the_madonna_in_the_church_-_google_art_projectLecture series: Visibilité et présence de l’image dans l’espace ecclésial, INHA Paris, March 24 – June 16, 2016.

The analysis of medieval Church space requires wide-ranging consideration of mounmental and ritual context. Current research focuses on the reception of images, and on the visibility and legibility of images. Both in the Latin West and in Byzantium, consideration is given to the mise en scène of the sacred through the interaction of monument, rite, objects, decoration and perception. This lecture series features experts of both the Byzantine Orient and the Latin West, focusing on questions raised during an introductory session on 25 Septembre 2015. A large space will be left for discussion with the aim of obtaining a multi-disciplinary perspective on the medieval image.
Programme

Jeudi 24 Mars 2016, 14h30–17h30, Salle Vasari
Thème : Lumière et éclairage de l’espace cultuel : perception et
réception des images
– Lioba Theis (Universität Wien) The Orchestration of Enlightenment:
Light in Sacred Space – Nicolas Reveyron (université Lumière Lyon II)
Image et lumière : performance et polychronie
– Répondant: Andréas Nicolaïdès (université Aix-Marseille)

Jeudi 19 Mai 2016, 14h30–17h30, Salle Vasari
Thème : Images monumentales et jeux d’échelle : les dynamiques
spatiales du lieu de culte
– Isabelle Marchesin (INHA) La mise en réseau des hommes et des
artefacts dans l’église Saint-Michel d’Hildesheim
– Annemarie Weyl Carr (Southern Methodist University, Dallas) Across a
Crowded Room: Paths of Perception in Cyprus’ Painted Churches
– Répondant: Daniel Russo (université de Bourgogne)

Jeudi 16 Juin 2016, 14h30–17h30, Salle Jullian
Thème : Visibilité et lisibilité du dialogue entre images et
inscriptions dans l’espace cultuel
– Vincent Debiais (CNRS – CESCM Poitiers) Absence /silence des
inscriptions en contexte liturgique : quelques exemples hispaniques
– Catherine Jolivet-Lévy (EPHE) Inscriptions et images dans quelques
églises byzantines de Cappadoce : visibilité / lisibilité, interactions
et fonctions
– Répondant: François Bougard (IRHT) Conclusion du cycle : Sulamith
Brodbeck et Anne-Orange Poilpré (université Paris 1 Panthéon Sorbonne)

CFP: Construir lo sagrado en la Europa románica: reliquia, espacio, imagen y rito – VI coloquio Ars Mediaevalis

Call for Papers: cartel_ars_medievalis_2016.jpgConstruir lo sagrado en la Europa románica: reliquia, espacio, imagen y rito – VI coloquio Ars Mediaevalis
Fundación Santa María la Real del Patrimonio Histórico, Avda. Ronda, 1-3; Monasterio de Santa María la Real; Centro Cultural Provincial (Diputación de Palencia) in Aguilar de Campóo, Spain, September 30 – October 2, 2016
Deadline: June 30, 2016

The 6th edition of the Ars Mediaevalis colloquium will analyse the notion of the “sacred” in the Romanesque period, its link with artistic production, and the function of art objects in the church space during liturgical ceremonies. For more information on the event’s theme click here.

Organised by: Gerardo Boto Varela (Universitat de Girona); Alejandro García Avilés (Universidad de Murcia); Herbert Kessler (Johns Hopkins University).

Submission: Short summaries of proposed papers (maximum lenght: 2 single-spaced pages, written in Times New Roman 12) and short bibliographies should be sent to plhuerta@santamarialareal.org by June 30, 2016. Speakers will be selected by 15 July.

Inscriptions: standard fee: 125 €; concessionary fee: 90 € (Amigos del Patrimonio, Amigos del Románico, Amics de l’Art Romànic de Catalunya, asistentes al Coloquio de 2014 o 2015 y a los inscritos en otros cursos de la Fundación Santa María la Real del Patrimonio Histórico en 2016); special concessionary fee: 60 € (students and unemployed); fee for speakers: 25 €. The fees include didactic material and an excursion, including lunch.
Deadline: 25 September 2016

Programme:

Friday, September 30, Sede Fundación Sta. María la real
Morning
Presidencia de sesión: Alejandro García Avilés / Universidad de Murcia
09.15 h.: Recepción de participantes y entrega del material
09.45 h.: Presentación e inauguración del Coloquio
10.00 h.: Ponencia inaugural: Dominique Iogna-Prat / CNRS-EPHE Un cuadro de oración para la comunidad, una arquitectura para la sociedad
11.00 h.: Descanso
11.30 h.: Quitterie Cazes / Université Toulouse-Le Mirail
 Jerarquizar los espacios en las iglesias románicas
12.30 h.: Comunicación
12.50 h: Debate de la sesión
Afternoon
Presidencia de sesión: Javier Martínez de Aguirre / Universidad Complutense de Madri
16.00 h.: Didier Méhu / Université LavaL, Québec
 L’onction, le voile et la vision : anthropologie du rituel de dédicace de l’église au XIe siècle
17.00 h.: Marcello Angheben / Université de Poitiers 
Los relicarios del Mosa y la exaltación de las funciones eucarísticas y devocionales del altar
18.00 h.: Debate
18.20 h.: Descanso
18.45 h.: César García de Castro / Museo Arqueológico de Asturias La confección de los relicarios en el Reino de Asturias. De la Cruz de la Victoria al Arca Santa (Catedral de Oviedo)
19.45 h.: Debate

Saturday, Otober 1, Palencia, Centro cultural Provincial
Presidencia de sesión: María V. Herráez / Universidad de León
10.0 h.: Bissera Pentcheva / Standford University
 Glittering Eyes: Animation in the Byzantine Eikon and the Romanesque Imago
11.00 h.: Descanso
11.30 h.: Marc Sureda / Museu episcopal de Vic-SCEL
Juxta septem dona sancti Spiritus. Ritual de dedicación y diseño del espacio sagrado (siglos XI-XII)
12.30 h.: Comunicación
12.50 h.: Debate
16.00 h.: Excursión facultativa a la catedral de Palencia, San Martín de Frómista y Olleros de Pisuerga.

Sunday, October 2, Monasterio Sta. María la Real
Presidencia de Sesión: Fernando Gutiérrez Baños / Universidad de Valladolid
09.30 h.: Vincent Dsbiais / CNRS-CESCM
Templo, tiempo, tempo. El silencio en la iglesia románica
10.30 h.: Comunicación
10.50 h.: Debate
11.10 h.: Descanso
11.40 h.: Comunicación
12.00 h.: Ponencia de clausura: Herbert Kessler / Johns Hopkins University Constructing Sacrality in Images of the Host
13.00 h.: Debate
13.15 h: Síntesis y perspectivas del VI Coloquio Ars Mediaevalis Gerardo Boto / Universitat de Girona
13.45 h.: Clausura y entrega de certi cados a los asistentes

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.

Premessa

PAOLO PIVA: L’arte medievale e il suo contesto

Introduzione

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)

Conclusione

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: The Transept and its Upper Levels in the High Medieval Church (Lausanne, 20-21 April 2015)

Winchester Cathedral transept

Winchester Cathedral transept

The Transept and its Upper Levels in the High Medieval Church: Towards a New Functional Approach (Architecture, Decor, Liturgy and Sound)

International and Interdisciplinary Conference – Lausanne, 20th-21st of April 2015

 Abstract

This conference is jointly organized by the Catholic University of Angers (Faculty of Humanities) and the University of Lausanne (Department of History of Art). It aims to analyse in greater detail the spaces of the transept and to explore their relation(s) with the choir/heart of the church. This two-day international and interdisciplinary symposium will work towards bringing together and assessing the results, often dispersed, of past and present research, building upon debates involving specialists from multiple backgrounds and finishing with a round table which will propose a summary of the papers and explore further insights into new research directions.

Project

The studies of Carol Heitz on Carolingian westworks have shown that this specific space, the upper level of which communicates with the nave through large tribunes, used to have a liturgical function, generally associated with the feast of Easter. Similarily, from the second quarter of the 10th Century onwards, the Gorze and Fleury reform initiated liturgical innovations necessitating the reconstruction or transformation of churches, which entailed rearranging or enlarging chapels at the eastern or western part of the building.

The fact that, in the reformed churches, these renovated liturgical spaces opened on the nave or the choir from a tribune, allowed for some categories of celebrations – the nature of which is not always clearly identified – to provide the occasion for part of the choir monks to stand in these upper levels and respond by their singing to the rest of the community gathered lower down. This architectural typology was shared by many monastic churches as well as cathedral churches in the wake of the reform, without being ubiquitous: for example, clunisian churches usually lacked tribunes overlooking the transept.

As to the upper levels of the transept, their function is not necessarily cultual (e.g. Cuxà), and if they sometimes communicate with the rest of the church (e.g. Saint-Chef), they are also likely to remain separate (Aoste). In some cases, where these upper levels are especially elaborate and open (e.g. Bayeux), the possibility of their use by the laity for a show of power cannot be discarded.

Throughout the High Middle Ages, the development of the East end of churches – enlarged choir with long transepts and a flowering of lateral chapels, sometimes with matching upper level – coincides with the partial or total abandonment of the West end. Occasionally, as at Saint-Remi of Reims or at the cathedral of Rouen, the East even assumes some of the functions devolved to the West. This reflects a process of hyper-sacralisation of the East end of the church, which was already noticeable in the 10th Century but was encouraged to grow under the Gregorian Reform, because it allowed a unification of the ecclesial space, a valorisation of the eucharistic celebration by concentrating the liturgy around the main altar, as well as a more distinct spatial separation of clergy and laity. A rood screen separates the celebrants in the choir from the assembly in the nave. A barrier or differences in levels may prolong, in the transepts, the limit of the area reserved for the clergy.

In a similar way to the architecture and the liturgy, the painted and/or sculpted decoration of the church reinforces the axial West-East dynamic across the ecclesiastical building, and serves to showcase the most sacred parts of the building: the richly decorated East frequently offers a contrast to the nakedness of the nave. At the same time, the decorative elements of the transept may function as the revealing agent for other paths of circulation, for example a transversal pathway uniting both ends of the transept (e.g. Château-Gontier).

In this spirit, we would like to interrogate the manner in which the transept and its upper levels contribute to the valorisation of the sanctuary, valorisation which can be made apparent by the visual effects of the decor as well as by the sound of singing from the upper levels, and which is embodied in the architecture of the tribunes for all to see.

Frame and directions of research

Papers should deal with the origins of this phenomenon in the Carolingian period and its development throughout the High Middle Ages. No geographical limits have been set for this international conference: if upper levels in the transept appear more frequently in some areas than in others, their absence in some contexts or locations may also be a source of interest.

In order to ensure an interdisciplinary dimension to this conference, we appeal to every domain of Medieval studies: historians, art historians, specialists of liturgy, construction specialists, archæologists, musicologists, etc., are invited to contribute to a better understanding of the function of tribunes, and of the modalities of interaction between central liturgical spaces, peripherical spaces and the ecclesial building.

Papers may deal with this central topic following a wide range of approaches, which may belong, but are not limited, to the following:

  • Typology of building rearrangements in the space of the transept
  • Place of the laity and the clergy in the use of the transept and its upper levels
  • Customary liturgy and ceremonies associated with these spaces
  • Consequences of reform(s) and of their specific liturgy on the architecture of churches
  • Role of the decor in revealing the function of these spaces
  • Decor, ritual and sound as performative factors involved in the defining of relations between spaces within the church on the one hand, and of relations between the coexisting communities, the observing and the observed, on the other hand.

Practical details for paper proposal

Proposals are for 20-minute papers and should not exceed 300 words, either in French or English. They will be accompanied by a short curriculum vitæ. Both documents should be sent jointly to barbara.franze@unil.ch and nathalie.leluel@uco.fr before the 15th of December 2014.

The conference will take place at the University of Lausanne on Monday, the 20th of April and Tuesday, the 21st of April 2015.

Results of the CFP will be announced on the 19th of January 2015 at the latest.

Scientific committee
Barbara Franzé, University of Lausanne (Switzerland)
Nathalie Le Luel, Catholic University of Angers (France)