Notes on Contributors

Tina Waldeier Bizzarro is Professor of the History of Art at Rosemont College, Pennsylvania, where she has taught the history of art since she received her Ph.D. from Bryn Mawr College in 1985. She has also been attached to Villanova University for the last 20 years – in the Irish Studies Program, teaching courses on the Art of Ireland and also in the Russian Studies Program, having designed courses on the meaning and making of icons. She has lectured widely and published on the history of medieval architectural criticism through the second decade of the nineteenth century (Romanesque Architectural Criticism: A Prehistory [1992]) and is preparing a second, pendant critical volume dealing with concepts of the medieval through World War I. She has been a Commonwealth Speaker for the Pennsylvania Humanities Council, and also annually directs and teaches in her month-long Summer Program in Sicily, based in Messina. She has been a Fulbright Scholar in Sicily from February through June 2006, working on a book on the Roadside Shrines of Sicily.

Bruno Boerner received his Ph.D. from the Univerversity of Fribourg, Switzerland, in 1994. He is currently Professor of Art History at the Technische Universität, in Dresden. His publications on medieval art include: Par caritas par meritum, Studien zur Theologie des gotischen Weltgerichtsportals in Frankreich-am Beispiel des mittleren Westeingangs von Notre-Dame in Paris (1998); “Réflexions sur les rapports entre la scholastique naissante et les programmes sculptés du XIIIe siècle,” in Yves Christe, ed., De l’art comme mystagogie, Actes du Colloque de la Fondation Hardt tenu à Genève du 13 au 16 février 1994, Civilisation Médiévale III (1996), pp. 55–69; “Eschatologische Perspektiven in mittelalterlichen Portalprogrammen,” Miscellanea Mediaevalia 22 (2001), pp. 301–20.

Michelle P. Brown, FSA, was Curator of Illuminated Manuscripts at the British Library, London, for more than 17 years and now fronts its regional outreach program. She is Visiting Professor at the Institute of Medieval Studies at Leeds University and a Senior Research Fellow at the Courtauld Institute and the School of Advanced Studies at the University of London. She is also a Lay Canon and Member of Chapter at St Paul’s Cathedral. She has lectured and published widely on medieval history, art history, and manuscript studies, has curated several major exhibitions, and had co-responsibility for setting up the exhibition galleries at the new British Library building at St Pancras in 1998. Her publications include: A Guide to Western Historical Scripts from Antiquity to 1600 (1990; rev. edns. 1994, 1999); Understanding Illuminated Manuscripts: a Glossary of Technical Terms (1994); and The Lindisfarne Gospels: Society, Spirituality and the Scribe (2003).

Martin Büchsel is Professor of Art History at the Kunstgeschichtliches Institut of the University of Frankfurt, a member of the Mediävistischen Arbeitskreises of the Herzog August Bibliothek Wolfenbüttel, and Chair of the “Historische Emotionsforschung” project. He has published on early Christian art, early medieval art, and Gothic art (most recently, Die Entstehung des Christusporträts. Bildarchäologie statt Bildhypnose [2003–4]), as well as in the area of philosophy (doctoral dissertation, “Die Kategorie der Substanz in der Kritik der reinen Vernunft”).

Brigitte Buettner is Priscilla Paine Van der Poel Associate Professor of Art History at Smith College. Her areas of research include late medieval secular manuscripts, Valois court culture, female patronage, and, now, medieval precious arts. In addition to various articles, she is the author of Boccaccio’s “Des cleres et nobles femmes”: Systems of Signification in an Illuminated Manuscript (1996), and is currently preparing a translation of Guillebert de Mets’ description of Paris (with Michael T. Davis) as well as a study on the meanings and uses of precious stones in the Middle Ages.

Jill Caskey is Associate Professor of Fine Art at the University of Toronto. She is the author of Art and Patronage in the Medieval Mediterranean: Merchant Culture in the Region of Amalfi (2004), as well as numerous articles that have appeared in European and North American publications. Recently, she has received research grants from the Getty Grant Program and the Social Science and Humanities Research Council of Canada. She is also a Fellow of the American Academy in Rome.

Madeline Harrison Caviness is Mary Richardson Professor and Professor of Art History at Tufts University. Among her numerous books and articles are: Medieval Art in the West and its Audience (2001); Visualizing Women in the Middle Ages: Sight, Spectacle and Scopic Economy (2001); and Reconfiguring Medieval Art: Difference, Margins, Boundaries (2001). She is currently President of the International Council of Philosophy and Humanistic Studies (CIPSH), and a past President of the International Academic Union (UAI, 1998–2001).

Adam S. Cohen is Assistant Professor in the Department of Fine Art at the University of Toronto. His research has focused on Northern European art of the tenth and eleventh centuries, with publications that include The Uta Codex: Art, Philosophy and Reform in Eleventh-Century Germany (2000) and articles in Speculum, Gesta, and Scriptorium. He is currently writing a book on twelfth-century visual exegesis and ritual practice.

Thomas E. A. Dale is Professor of medieval art at the University of Wisconsin-Madison. His publications on Romanesque art include: Relics, Prayer and Politics in Medieval Venetia: Romanesque Mural Painting in the Crypt of Aquileia Cathedral (1997); “Monsters, Corporeal Deformities and Phantasms in the Romanesque Cloister of St-Michel de Cuxa,” Art Bulletin 83:3 (2001): 402–36; “Rudolf von Schwaben, the Individual and the Resurrected Body in Romanesque Portraiture,” Speculum 77:3 (2002): 707–43; and as editor/contributor with John Mitchell, Shaping Sacred Space and Institutional Identity in Romanesque Mural Painting. Essays in Honour of Otto Demus (2004). He is currently writing a book, provisionally entitled Romanesque Corporealities: The Body as Image and Dissimilitude in European Art, ca.1050–1215.

Peter Fergusson teaches in the Art Department at Wellesley College, where he holds the Theodora and Stanley Feldberg Chair in Art History. Aside from his interests in the Cistercians, he has also published on the architecture of the reform movement in England, and on nineteenth- and twentieth-century garden history. His Architecture of Solitude: Cistercian Abbeys in Twelfth Century England (1984) was awarded the Charles Rufus Morey Book Award of the College Art Association, and his Rievaulx Abbey: Community, Architecture, Memory (1999; with Stuart Harrison) was awarded the Alice Hitchcock Prize of the Architectural Historians of Great Britain, and the Haskins Medal of the Medieval Academy of America.

Eric Fernie is Professor and Director Emeritus of the Courtauld Institute of Art, University of London. His books include: The Architecture of the Anglo-Saxons (1983); An Architectural History of Norwich Cathedral (1993); Art History and its Methods (1995); and The Architecture of Norman England (2000). He has also published more than 50 papers in refereed journals.

Jaroslav Folda is N. Ferebee Taylor Professor of the History of Art at the University o f North Carolina. He has published on the art and architecture of the Crusaders in the Holy Land in a series of studies, which have appeared as books and articles, and essays and entries in exhibition catalogues. His book, Art of the Crusaders in the Holy Land: 1098–1187 (1995), was awarded the Haskins Medal by the Medieval Academy of America. His new book, Crusader Art in the Holy Land, from the Third Crusade to the Fall of Acre: 1187–1291 was published in 2005.

Paula Gerson is Professor and Chair of the Department of Art History at Florida State University. Her many years of research on the pilgrimage to Santiago de Compostela have resulted in three collaborative volumes: The Pilgrim’s Guide to Santiago de Compostela: A Gazetteer, with A. Shaver-Crandell and A. Stones (1995), and The Twelfth-century Pilgrim’s Guide to Santiago de Compostela, translation and critical edition, 2 vols., with J. Krochalis, A. Shaver-Crandell, and A. Stones (1998). She has also worked extensively on issues related to the abbey church of St Denis. She was a contributor and the editor of the fundamental volume Abbot Suger and Saint- Denis, A Symposium (1986). She is currently completing an article on Abbot Suger’s Great Cross.

Cynthia Hahn is Gulnar K. Bosch Professor of Art History at Florida State University. She has published two books on saints’ lives in manuscripts, including Portrayed on the Heart (2001). She is presently preparing a study of Medieval Reliquaries to c. AD 1204.

Anne D. Hedeman is Professor of Medieval Art History at the University of Illinois. Her research centers on French thirteenth- to fifteenth-century illuminated manuscripts and has concerned royal patronage, illuminations of Mirrors of Princes, and the relationships between the first French humanists and the arts around 1400. Her books include: The Royal Image: Illustrations of the Grandes chroniques de France, 1270–1422 (1991); Of Counselors and Kings: Three Versions of Pierre Salmon’s Dialogues (2001); and a book to be published by the Getty Center, Boccaccio in Context: Laurent de Premierfait and the “De cas de nobles hommes et femmes.”

Colum Hourihane is Director of the Index of Christian Art at Princeton University. He received his Ph.D. in Art History from the Courtauld Institute of Art in 1984 for a study on Gothic Irish art, which was subsequently published as Gothic Art in Ireland 1169–1550: Enduring Vitality (2003). His most recent publication is an examination of the role and iconography of the processional cross in late medieval England: The Processional Cross in Late Medieval England, The “Dallye Cross” (2004). He is currently working on a monograph on Pontius Pilate in medieval art.

Christopher G. Hughes is a Research Associate at the Getty Research Institute. He received his Ph.D. in English from Princeton in 1995 and his Ph.D. in Art History from Berkeley in 2000. He taught art history at UCLA and USC before taking his current position at the Getty. He is currently preparing a book-length study on biblical typology and early Gothic art.

Laura Kendrick, Professor at the Université de Versailles, is the author of Animating the Letter: The Figurative Embodiment of Writing from Late Antiquity to the Renaissance (1999) and several shorter studies on the relationship between medieval texts and the visual aspects of their manuscript contexts.

Herbert L. Kessler is Professor of the History of Art at Johns Hopkins University. He has written more than 125 articles and reviews and has published the following books: The Illustrated Bibles from Tours (1977); The Cotton Genesis (with Kurt Weitzmann; 1986); The Frescoes of the Dura Synagogue and Christian Art (with Kurt Weitzmann; 1990); Studies in Pictorial Narrative (1994); The Poetry and Paintings in the First Bible of Charles the Bald (with Paul E. Dutton; 1997); The Holy Face and the Paradox of Representation (with Gerhard Wolf; 1998); Rome 1300: On the Path of the Pilgrim (with Johanna Zacharias; 2000); Spiritual Seeing: Picturing God’s Invisibility in Medieval Art (2000); Old St. Peter’s and Church Decoration in Medieval Italy (2002); and Seeing Medieval Art (2004).

Dale Kinney is Professor of History of Art and Dean of the Graduate School of Arts and Sciences, Bryn Mawr College. She has published numerous studies of spolia as a critical concept and as an architectural practice in medieval Italy. Other recent publications include essays on the semiotics of the early Christian basilica (Acta ad archaeologiam et artium historiam pertinentia, n.s. 1, 15 [2001]); the medieval reception of the equestrian statue of Marcus Aurelius (Word & Image, 18 [2002]); and a visual analysis of the apse mosaic of Santa Maria in Trastevere (Reading Medieval Images [2002]).

Brigitte Kurmann-Schwarz is a research fellow at the Swiss Center for Research and Information on Stained Glass in Romont, Switzerland, and teaches at the University of Zürich. She is currently President of the International Committee of the Corpus Vitrearum, a member of the Swiss National Committee of the Corpus Vitrearum, and an associate member of the French National Committee. She is the author of many books and articles, which include studies on medieval and modern stained glass, late medieval sculpture, and more general problems such as conservation and restoration, courtly art, and issues of research policy.

Suzanne Lewis is Professor Emerita at Stanford University, and a Fellow of the Medieval Academy of America. She is the author of many articles and reviews, as well as several books: The Art of Matthew Paris in the Chronica Majora (1987); Reading Images: Narrative Discourse and Reception in the Thirteenth-Century Illuminated Apocalypse (1995); The Rhetoric of Power in the Bayeux Tapestry (1998); and Apocalypsis Gulbenkian (with Nigel Morgan; 2002). As Andrew Mellon Research Fellow, 2004–6, she is currently working on a new book, Illuminating the End in Thirteenth-Century Apocalypses, which will be followed by Picturing Visions: The Illustrated Apocalypse in the Early Middle Ages, c.800–1200.

Pierre Alain Mariaux is Assistant Professor at the Institut d’histoire de l’art at the Université de Neuchâtel, Switzerland. He is the author of “Warmond d’Ivrée et ses images. Politique et création iconographique autour de l’an mil” (2002) and of “Deo operante. Le travail de l’art à l’époque romane. Etudes sur l’image de l’artiste, IXe–XIIe siècle” (forthcoming). He is currently working on a book-length study of church treasure, its history and functions.

Robert A. Maxwell is Assistant Professor of the History of Art at the University o f Pennsylvania. He has published articles on illuminated manuscripts, Romanesque sculpture, and architecture, as well as on medieval art’s historiography (Art History, 2003). A forthcoming book, titled The Art of Urbanism in Medieval France, examines the role of monumental art in shaping the Romanesque cityscape.

Stephen Murray is Professor of Medieval Art History at Columbia University and currently serves as Director of the Media Center for Art History, Archaeology, and Historic Preservation. His publications include books on the cathedrals of Amiens, Beauvais, and Troyes; his current work is on medieval sermons, story-telling in Gothic, and the Romanesque architecture of the Bourbonnais. His field of teaching includes Romanesque and Gothic art, particularly involving the integrated understanding of art and architecture within a broader framework of economic and cultural history. He is currently engaged in projecting his cathedral studies through the electronic media using a combination of three-dimensional simulation, digital imaging, and video.

Tassos C. Papacostas is a Research Associate on a British Academy project based at King’s College London, on the prosopography of the Byzantine world. He is the author of, among others, “Secular Land-holdings and Venetians in 12th-century Cyprus”, Byzantinische Zeitschrift 92 (1999): 479–501; “A Tenth-Century Inscription from Syngrasis, Cyprus,” Byzantine and Modern Greek Studies 26 (2002): 42–64; “Architecture et communautés étrangères à Chypre, XIe–XIIe siècles”, in Y. Portier, ed., Identités croisées en un milieu méditerranéen: le cas de Chypre (forthcoming); and “Middle Byzantine Nicosia,” in a volume on the history of the city edited by D. Michaelides (forthcoming).

Elizabeth Carson Pastan is Associate Professor of Art History at Emory University. Her scholarship includes numerous articles on medieval stained glass and its reception, and these have appeared in such periodicals as Speculum, Gesta, Word & Image, and the Journal of the Society of Architectural Historians. In addition, she has worked extensively in museum collections and has contributed entries to Gothic Sculpture in America, the Museums of the Midwest as well as Stained Glass before 1700 in the Collections of the Midwest States. Her book, Les Vitraux du choeur de la cathédrale de Troyes (XIIIe siècle), co-authored with Sylvie Balcon, is the first study of stained glass by an American scholar solicited for publication by the French Corpus Vitrearum (2006).

Conrad Rudolph is Professor of Medieval Art History at the University of California, Riverside. He has held Guggenheim, J. Paul Getty, and Mellon research fellowships. He is the author of: The “Things of Greater Importance”: Bernard of Clairvaux’s Apologia and the Medieval Attitude Toward Art (1990); Artistic Change at St-Denis: Abbot Suger’s Program and the Early Twelfth-Century Controversy over Art (1990); Violence and Daily Life: Reading, Art, and Polemics in the Cîteaux Moralia in Job (1997); “First, I Find the Center Point”: Reading the Text of Hugh of Saint Victor’s The Mystic Ark (2004); and Pilgrimage to the End of the World: The Road to Santiago de Compostela (2004) (the latter being an account of his experience undertaking the grueling medieval pilgrimage on foot from Le Puy in south-central France to Santiago de Compostela in northwestern Spain, a journey of two and a half months and a thousand miles). He is currently at work on The Mystic Ark: Hugh of Saint Victor and the Multiplication and Systematization of Imagery in the Twelfth Century.

Linda Seidel is Hanna Holborn Gray Professor Emerita in the Department of Art History at the University of Chicago. Her books include: Songs of Glory: The Romanesque Facades of Aquitaine (1981); Jan van Eyck’s Arnolfini Portrait: Stories of an Icon (1993); and Legends in Limestone: Lazarus, Gislebertus and the Cathedral of Autun (1999).

Marie-Thérèse Zenner is an independent scholar. In 1984, under the inspiration of Jean Gimpel and guidance of Lynn White, Jr., she co-founded AVISTA (<www.avista.org>), an international society for promoting cross-disciplinary studies in medieval technology, science, architecture, and art. She is the editor of Villard’s Legacy. Studies in Medieval Technology, Science and Art in Memory of Jean Gimpel, AVISTA Studies in the History of Medieval Technology, Science, and Art, vol. 2 (2004). Her publications on architectural layout, such as “Imaging a Building. Latin Euclid and Practical Geometry,” in Word, Image, Number. Communication in the Middle Ages (2002) and “Villard de Honnecourt and Euclidean Geometry,” Nexus Network Journal 4.4 (Autumn 2002) were made possible by a 1996–7 J. Paul Getty Postdoctoral Fellowship for the study of medieval quantified sciences.