Feminae: Medieval Women and Gender Index

269 Record(s) Found in our database

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1. Record Number: 32155
Author(s): Nevola, Fabrizio,
Contributor(s):
Title : A Short Note for Francesco di Giorgio Martini's Madonna of the Earthquakes (1467)

Source: Renaissance Studies in Honor of Joseph Connors. Edited by Machtelt Israëls and Louis A. Waldman . Villa i Tatti; Harvard University Press, 2013. Pages 213 - 219.
Year of Publication: 2013.

2. Record Number: 29189
Author(s): Prado-Vilar, Francisco,
Contributor(s):
Title : Iudeus sacer: Life, Law and Identity in the "State of Exception" Called "Marian Miracle"

Source: Judaism and Christian Art: Aesthetic Anxieties from the Catacombs to Colonialism. Edited by Herbert L. Kessler and David Nirenberg . University of Pennsylvania Press, 2011. Pages 115 - 142.
Year of Publication: 2011.

3. Record Number: 29190
Author(s): Kupfer, Marcia.
Contributor(s):
Title : Abraham Circumcises Himself: A Scene at the Endgame of Jewish Utility to Christian Art

4. Record Number: 29257
Author(s): Neff, Amy,
Contributor(s):
Title : The Humble Man's Wedding: Two Late Thirteenth-Century Franciscan Images of the "Miracle at Cana" : [The author analyzes two Franciscan-inspired paintings of the Miracle at Cana, a fresco in the Upper Church of San Francesco in Assisi and a full-page illustration in the “Supplicationes variae,” a devotional manual. Neff traces iconography and theolog

Source: Gothic Art and Thought in the Later Medieval Period: Essays in Honor of Willibald Sauerländer. Edited by Colum Hourihane . Index of Christian Art, Department of Art and Archaeology, Princeton University in association with Penn State University Press, 2011. Pages 292 - 323.
Year of Publication: 2011.

5. Record Number: 27573
Author(s): Sinkevic, Ida,
Contributor(s):
Title : Fresco-Icons in Royal Portraits of Queen Tamar

Source: Byzantine Studies Conference , 35., ( 2009): Pages 26 - 26.
Year of Publication: 2009.

6. Record Number: 24050
Author(s): Smith, Kathryn A.
Contributor(s):
Title : Book, Body, and the Construction of Self in the Taymouth Hours [The author analyzes miniatures and bas de page illustrations in a book of hours made for an English royal woman in the 1330s. Smith finds evidence of models of appropriate devout behavior for the laity. The portrait of the book owner at prayer during mass shows her with hands extended and the book of hours at her side. Title note supplied by Feminae.]

Source: Negotiating Community and Difference in Medieval Europe: Gender, Power, Patronage, and the Authority of Religion in Latin Christendom. Edited by Katherine Allen Smith and Scott Wells Studies in the History of Christian Traditions . Brill, 2009. Pages 173 - 204.
Year of Publication: 2009.

7. Record Number: 23299
Author(s): Dunlop, Anne
Contributor(s):
Title : The Dominicans and Cloistered Women: The Convent of Sant'Aurea in Rome

Source: Early Modern Women: An Interdisciplinary Journal , 2., ( 2007): Pages 43 - 71.
Year of Publication: 2007.

8. Record Number: 20001
Author(s):
Contributor(s):
Title : Reading the Annunciation

Source: Art History , 30., 3 (June 2007): Pages 349 - 363.
Year of Publication: 2007.

9. Record Number: 28624
Author(s): Kabala, Irene,
Contributor(s):
Title : Dressing the Hodegetria in Czestochowa [In the late fourteenth century Pauline brothers took custody of a painting of the Virgin and Child at their monastery on Jasna Góra in Poland. The Virgin holds the Child with her left arm and points toward him, a motif known as the Hodegetria or "She Who Points the Way" named for a famous prototype which allegedly belonged to the Hodegon Monastery in Constantinople and dated to the pre-iconoclastic era. In point of fact the motif became popular in the 11th century and was given a legendary origin. Title note supplied by Feminae.]

Source: Word and Image: A Journal of Verbal/Visual Enquiry , 22., 3 ( 2006): Pages 275 - 284.
Year of Publication: 2006.

10. Record Number: 11759
Author(s): Hayum, Andrée
Contributor(s):
Title : A Renaissance Audience Considered: The Nuns at S. Apollonia and Castagno's "Last Supper" [The author explores the possible meanings of the Castagno fresco for the nuns who commissioned the work for their refectory in the monastery of Santa Apollonia in Florence. Hayum notes Castagno's dramatic effects in the scale of figures and the spatial illusion. This kind of immediacy fits with the numerous decoration in the monastery representing nuns recieving blessings from Saint Apollonia and praying before Christ on the crucifix. Title note supplied by Feminae.]

Source: Art Bulletin , 88., 2 ( 2006): Pages 243 - 266.
Year of Publication: 2006.

11. Record Number: 20149
Author(s): Troup, Cynthia
Contributor(s):
Title : Art History and the Resistant Presence of a Saint - The chiesa vecchia Frescoes at Rome's Tor de' Specchi [Attilio Rossi was the first art historian to write in depth about the fresco cycle at Tore de' Specchi illustrating the life of Frances of Rome. These images were painted c. 1468 by Antoniazzo Romano or artists associated with him for the Oblates of Santa Francesca Romana. Rossi treated the images in rhetorical terms as illustrating the triumph of the saint through the depiction of the saint's life. Title note supplied by Feminae.]

Source: Rituals, Images, and Words: Varieties of Cultural Expression in Late Medieval and Early Modern Europe. Edited by F. W. Kent and Charles Zika Late Medieval Early Modern Studies . Brepols, 2005. Renaissance Quarterly , 58., 2 (Summer 2005): Pages 119 - 145.
Year of Publication: 2005.

12. Record Number: 20150
Author(s): Anderson, Jaynie
Contributor(s):
Title : Gardens of Love in Venetian Painting of the Quattrocento [The author reconstructs and interprets a set of Venetian paintings concerned with a garden of love. The imagery is related to both literary and biblical texts. Among them are pictures and texts about Helen of Troy. The paintings provide fragmentary evidence of lay tastes for images related to love and lovers. Title note supplied by Feminae.]

13. Record Number: 14569
Author(s): Powell, Morgan
Contributor(s):
Title : Making the Psalter of Christina of Markyate (The St. Albans Psalter)

Source: Viator , 36., ( 2005): Pages 293 - 335.
Year of Publication: 2005.

14. Record Number: 11456
Author(s): Tilghman, Carla.
Contributor(s):
Title : Giovanna Cenami's Veil: A Neglected Detail [The author analyzes the woman's veil in Van Eyck's "Wedding of Arnolfini." Evidence in other artworks suggests that this ruffled veil had its heyday in the mid-to-late fourteenth century. In 1434 Van Eyck may have used the old fashioned veil to signal a ceremonial occasion in which the betrothed young woman by her headress and clothing conveyed dignity and a prosperous social status. Tilghman wove some linen samples to determine the best methods for making ruffled edges. The veil would have had to be a single length without seams approximately six yards long. It would probably have been a specialty item and would have been costly. Tilghman speculates that it might have been a family treasure passed down to Giovanna Cenami. Title note supplied by Feminae.].

Source: Medieval clothing and textiles. Vol. 1. Edited by Robin Netherton and Gale R Owen-Crocker . Boydell Press, 2005. Viator , 36., ( 2005): Pages 155 - 172.
Year of Publication: 2005.

15. Record Number: 14022
Author(s):
Contributor(s):
Title : A Spectacular Celebration of the Assumption in Siena

Source: Renaissance Quarterly , 58., 2 (Summer 2005): Pages 435 - 463.
Year of Publication: 2005.

16. Record Number: 14140
Author(s): Baskins, Cristelle L.
Contributor(s):
Title : Scenes from a Marriage : Hospitality and Commerce in Boccaccio's "Tale of Saladin and Torello" [The author reads the panel paintings of a story from Boccaccio in terms of both gender and economics. Adalieta, the wife of Torello, gives him gifts (rather than vice versa as was customary). The Saracen figures in the story need to be domesticated, with

Source: The Medieval Marriage Scene: Prudence, Passion, Policy. Edited by Sherry Roush and Cristelle L. Baskins . Arizona Center for Medieval and Renaissance Studies, 2005. Renaissance Quarterly , 58., 2 (Summer 2005): Pages 81 - 99.
Year of Publication: 2005.

17. Record Number: 14121
Author(s): Lorentz, Philippe.
Contributor(s):
Title : Children's Portraits: Between Politics and Family Memories [The author briefly surveys portraits done in the late medieval period, looking most closely at paintings of Margaret of Austria. In some cases the portraits were made to be sent to potential husbands in marriage negotiations. Title note supplied by Femin

Source: Women of Distinction: Margaret of York | Margaret of Austria. Edited by Dagmar Eichberger . Brepols, 2005. Renaissance Quarterly , 58., 2 (Summer 2005): Pages 114 - 123.
Year of Publication: 2005.

18. Record Number: 11453
Author(s): Owen-Crocker, Gale R.
Contributor(s):
Title : Pomp, Piety, and Keeping the Woman in Her Place: The Dress of Cnut and Aelfgifu-Emma [The author analyzes a manscript miniature which depicts King Cnut and his wife Emma (whose Anglo-Saxon name was Aelfgifu) flanking an altar with a cross. Owen-Crocker argues that the clothing and positions of the two figures serve to subordinate Emma to her husband. Title note supplied by Feminae.].

Source: Medieval clothing and textiles. Vol. 1. Edited by Robin Netherton and Gale R Owen-Crocker . Boydell Press, 2005. Renaissance Quarterly , 58., 2 (Summer 2005): Pages 41 - 52.
Year of Publication: 2005.

19. Record Number: 13760
Author(s): Campbell, Lorne and Yvonne Szafran
Contributor(s):
Title : The Portrait of Isabella of Portugal, Duchess of Burgundy, in the J. Paul Getty Museum [The authors argue that the portrait was based on Rogier van der Weyden's donor portrait of Isabel done for the altarpiece given to the Portugese monastery of Batalha. An assistant painted the panel portrait perhaps around 1450 without the skill or sensitivity of van der Weyden. The painting evidently passed to Isabel's great-granddaughter, Margaret of Austria, where it was given more magnificent clothing and jewels around 1530. An inscription was added perhaps around 1600 identifying the woman as a sibyl. Title note supplied by Feminae.].

Source: Burlington Magazine , 146., 1212 (March 2004): Pages 148 - 157.
Year of Publication: 2004.

20. Record Number: 14630
Author(s): Elliott, Janis and Cordelia Warr
Contributor(s):
Title : Introduction [The authors briefly survey Angevin patronage, the nuns' practices, the pictorial program, and the architectural scheme of the church of Santa Maria Donna Regina in Naples. Title note supplied by Feminae.].

Source: The Church of Santa Maria Donna Regina: Art, Iconography, and Patronage in Fourteenth-Century Naples. Edited by Janis Elliott and Cordelia Warr . Ashgate, 2004. Burlington Magazine , 146., 1212 (March 2004): Pages 1 - 12.
Year of Publication: 2004.

21. Record Number: 10846
Author(s): Wolfthal, Diane.
Contributor(s):
Title : Picturing Same-Sex Desire: The Falconer and His Lover in Images by Petrus Christus and the Housebook Master [The author argues that the same-sex couple in the painting by Petrus Christus is intended as a negative example in comparison with the betrothed man and woman buying a ring. However, the drypoint print of the falconer shows a same-sex couple in a positive light. Title note supplied by Feminae.].

Source: Troubled Vision: Gender, Sexuality, and Sight in Medieval Text and Image. Edited by Emma Campbell and Robert Mills . Palgrave Macmillan, 2004. Burlington Magazine , 146., 1212 (March 2004): Pages 17 - 46.
Year of Publication: 2004.

22. Record Number: 10830
Author(s): Hamburger, Jeffrey F.
Contributor(s):
Title : The "Various Writings of Humanity": Johannes Tauler on Hildegard of Bingen's "Scivias" [The author analyzes Tauler's sermon delivered in Cologne to the Dominican nuns of St. Gertrude's in 1339. The sermon concerns in part an image in the nuns' refectory which was a copy of an illustration from Hildegard's "Scivias." Hamburger argues that Tauler adapts her visions to his particular needs, both as a mystic and a preacher. Title note supplied by Feminae.].

Source: The Voice of Silence: Women's Literacy in a Men's Church. Edited by Thérèse de Hemptinne and María Eugenia Góngora Medieval Church Studies . Brepols, 2004. Studies in Iconography , 25., ( 2004): Pages 167 - 191. Printed in an extended version in Visual Culture and the German Middle Ages. Edited by Kathryn Starkey and Horst Wenzel. Palgrave Macmillan, 2005. New Middle Ages series. Pages 161-205.
Year of Publication: 2004.

23. Record Number: 11530
Author(s): Bourdua, Louise.
Contributor(s):
Title : Guariento's Crucifix for Maria Bovolini in San Francesco, Bassano: Women and Franciscan Art in Italy During the Later

Source: Pope, Church and City: Essays in Honour of Brenda M. Bolton. Edited by Frances Andrews, Christoph Egger and Constance M. Rousseau Medieval Mediterranean . Brill, 2004. Studies in Iconography , 25., ( 2004): Pages 309 - 323.
Year of Publication: 2004.

24. Record Number: 13779
Author(s): Ferzoco, George.
Contributor(s):
Title : The Massa Marittima Mural [The Massa Marittima mural, discovered in 2000 on the site of a public fountain, has been interpreted, because of the presence of imperial eagles, as a piece of pro-Empire Ghibelline art. Yet the presence of a woman being sodomized beneath an eagle sugges

Source: Il murale di Massa Marittina. George Ferzoco Toscana Studies . 2004. Studies in Iconography , 25., ( 2004): Pages 71 - 92. [In Italian on pp.29-50]
Year of Publication: 2004.

25. Record Number: 18562
Author(s): Bacci, Michele
Contributor(s):
Title : Kathreptis, o la Veronica della Vergine [The author explores the iconography of the mother of God from Byzantine and early Russian motifs to late medieval Italian images. The Aracoeli Madonna was the most imporant of the Western pictures of the virgin attributed to the evangelist Luke. Title note supplied by Feminae.]

Source: Iconographica , 3., ( 2004): Pages 11 - 37.
Year of Publication: 2004.

26. Record Number: 18563
Author(s): Argenziano, Raffaele
Contributor(s):
Title : Corpi santi e immagini nella Siena medievale: L'iconografia dei sepolcri di Gioacchino da Siena e di Aldobrandesca Ponzi [This article analyzes the tombs and decorations of two Sienese saints, one of whom is Aldobrandesca Ponzi, a tertiary member of the Humiliati order. Title note supplied by Feminae.]

Source: Iconographica , 3., ( 2004): Pages 48 - 61.
Year of Publication: 2004.

27. Record Number: 20787
Author(s): Fleck, Cathleen A
Contributor(s):
Title : Blessed the eyes that see those things you see: The Trecento Choir Frescoes at Santa Maria Donnaregina in Naples [Describes the events depicted in the fresco cycles of the monastery, and makes connections between the relationship of the nun's agency as viewer of the frescoes to her relationship with the male mendicant orders of the monastery. Also examines how the content of the frescoes alludes to increases in women's literacy in Naples during this period. Title note supplied by Femiane.].

Source: Zeitschrift für Kunstgeschichte , 67., ( 2004): Pages 201 - 224.
Year of Publication: 2004.

28. Record Number: 20789
Author(s): Stanbury, Sarah
Contributor(s):
Title : The clock in Filippino Lippi's Annunciation Tondo [Investigates the significance of Lippi's inclusion of a mechanical clock in his painting of the Annunciation in Gimignano through comparative analysis of contemporary works by Ghirlandaio and Botticelli. Issues of the cultural transition from feudal to merchant economy and domestic order are discussed, and the significance of the clock as a memento mori is disputed. Title note supplied by Feminae.]

Source: Studies in Iconography , 25., ( 2004): Pages 197 - 219.
Year of Publication: 2004.

29. Record Number: 14635
Author(s): Bruzelius, Caroline.
Contributor(s):
Title : The Architectural Context of Santa Maria Donna Regina [The author briefly surveys three aspects of the church's architecture: the organization of the spaces, the particular needs of Clarissan churches, and the development of the church's design in relation to other Neapolitan churches, especially the cathedral with the tomb of Charles I. Title note supplied by Feminae.].

Source: The Church of Santa Maria Donna Regina: Art, Iconography, and Patronage in Fourteenth-Century Naples. Edited by Janis Elliott and Cordelia Warr . Ashgate, 2004. Studies in Iconography , 25., ( 2004): Pages 79 - 92.
Year of Publication: 2004.

30. Record Number: 11407
Author(s): Lifshitz, Felice.
Contributor(s):
Title : The Persistence of Late Antiquity: Christ as Man and Woman in an Eighth-Century Miniature [The author discusses a miniature in which she argues that Christ is portrayed twice, once as the crucified Jesus and beneath as a female blessing figure. Lifshitz connects this to an intellectual milieu in which aristocratic women in monastic double houses were used to having spiritual authority. Furthermore they had access to late antique sources with similar outlooks including the Priscillianist tractates and the "Apocryphal Acts of the Apostles." Title note supplied by Feminae.]

Source: Medieval Feminist Forum , 38., (Winter 2004): Pages 18 - 27.
Year of Publication: 2004.

31. Record Number: 14636
Author(s): Yakou, Hisashi.
Contributor(s):
Title : Contemplating Angels and the "Madonna of the Apocalypse" [The author briefly discusses antecedents for the nuns' elevated choir and then turns to the church's frescoes. Yakou in particular focuses on the "Angelic Choirs" and the "Madonna of the Apocalypse" in terms both of iconography and meditative use by the Clarissan nuns. Title note supplied by Feminae.].

Source: The Church of Santa Maria Donna Regina: Art, Iconography, and Patronage in Fourteenth-Century Naples. Edited by Janis Elliott and Cordelia Warr . Ashgate, 2004. Medieval Feminist Forum , 38., (Winter 2004): Pages 93 - 107.
Year of Publication: 2004.

32. Record Number: 14639
Author(s): Warr, Cordelia.
Contributor(s):
Title : The "Golden Legend" and the Cycle of the "Life of Saint Elizabeth of Thuringia-Hungary" [The author briefly traces various lives of Saint Elizabeth as sources for the cycle of paintings in Santa Maria Donna Regina. Warr also argues that as patron Mary of Hungary was involved in the project's plans especially for those paintings that honored her great-aunt Elizabeth and celebrated the sanctity of the Arpád and Anjou lines. Title note supplied by Feminae.].

33. Record Number: 14638
Author(s): Hoch, Adrian S.
Contributor(s):
Title : The "Passion Cycle": Images to Contemplate and Imitate amid Clarissan "clausura" [The author argues that the passion cycle in the church of Santa Maria Donna Regina emphasized an "imitatio Mariae," a devotion to the Eucharist, and Franciscan concerns for female viewers. Title note supplied by Feminae.].

34. Record Number: 20788
Author(s):
Contributor(s):
Title : Immersed in Things of the Body: Humor and Meaning in the Annunciation by Filippo Lippi [Examines the background figures in Lippi's Annunciation at the Palazzo Barberini and the significance of their gesture and movement as an iconographic foil to the interaction between Mary and the Archangel Gabriel; examines the parallels between the work's composition and the use of humor in contemporary drama in illustrating themes of Christ's incarnation. Title note supplied by Feminae.]

Source: Studies in Iconography , 25., ( 2004): Pages 173 - 196.
Year of Publication: 2004.

35. Record Number: 10857
Author(s): Salih, Sarah.
Contributor(s):
Title : The Medieval Looks Back: A Response to "Troubled Vision" [Salih provides a brief case study of manuscript illuminations of monsters from a copy of "Mandeville's Travels." She argues that the hyper-masculinity of the naked giants defines them as other, bereft of culture and social order. Title note supplied by Feminae.].

Source: Troubled Vision: Gender, Sexuality, and Sight in Medieval Text and Image. Edited by Emma Campbell and Robert Mills . Palgrave Macmillan, 2004. Studies in Iconography , 25., ( 2004): Pages 223 - 231.
Year of Publication: 2004.

36. Record Number: 11011
Author(s): Muir, Carolyn Diskant.
Contributor(s):
Title : Bride or Bridegroom? Masculine Identity in Mystic Marriages [The author briefly examines two cases, those of Heinrich Seuse and Saint Hermann Joseph. Muir argues that men were less likely to report mystic marriage than women, but they had a wider range of experiences. Most notably they took on both masculine and feminine identities simultaneously. Title note supplied by Feminae.].

Source: Holiness and Masculinity in the Middle Ages. Edited by P. H. Cullum and Katherine J. Lewis . Religion and Culture in the Middle Ages Series. University of Wales Press, 2004. Studies in Iconography , 25., ( 2004): Pages 58 - 78.
Year of Publication: 2004.

37. Record Number: 14640
Author(s): Elliott, Janis.
Contributor(s):
Title : The "Last Judgement": The Cult of Sacral Kingship and Dynastic Hopes for the Afterlife [The author argues that Queen Mary of Hungary used her royal patronage to create an iconography that was personally meaningful to her as well as an embodiment of the dynastic concerns of the Angevin house. Title note supplied by Feminae.].

38. Record Number: 14641
Author(s): Gardner, Julian.
Contributor(s):
Title : Santa Maria Donna Regina in its European Context [The author argues for Santa Maria Donna Regina's importance as a royal monastery for women. Other contemporary examples like Longchamps and Poissy do not survive. Furthermore, Mary of Hungary's tomb and the extensive fresco program incorporate complex dynastic and sacred themes. Title note supplied by Feminae.].

39. Record Number: 14637
Author(s): Fleck, Cathleen A
Contributor(s):
Title : To exercise yourself in these things by continued contemplation: Visual and Textual Literacy in the Frescoes at Santa Maria Donna Regina [The author argues that the Donna Regina fresco program was planned to enhance the resident nuns' understanding and meditation on the tenets of the faith. Furthermore many of the nuns would have had a visual literacy as well as a textual literacy to understand the sophisticated iconography and the Latin inscriptions. The nuns also would need to summon up relevant Biblical texts and other readings from memory. Title note supplied by Feminae.].

40. Record Number: 10455
Author(s): Levy, Allison.
Contributor(s):
Title : Augustine's Concessions and Other Failures: Mourning and Masculinity in Fifteenth-Century Tuscany [The author examines paintings of St. Augustine mourning his mother along with excerpts from his "Confessions," and humanist funeral orations. Levy argues that female mourning in public was suppressed in favor of controlled, masculine commemorations in Latin. Title note supplied by Feminae.].

Source: Grief and Gender: 700-1700. Edited by Jennifer C. Vaught with Lynne Dickson Bruckner . Palgrave Macmillan, 2003. Artibus et Historiae , 48., ( 2003): Pages 81 - 94.
Year of Publication: 2003.

41. Record Number: 12879
Author(s): Marchand, Eckart.
Contributor(s):
Title : Monastic "Imitatio Christi": Andrea del Castagno's "Cenacolo di S. Apollonia"

Source: Artibus et Historiae , 47., ( 2003): Pages 31 - 50.
Year of Publication: 2003.

42. Record Number: 10783
Author(s): Jones, Leslie C. and Jonathan J. G. Alexander
Contributor(s):
Title : The Annunciation to the Shepherdess [The authors explore the representation of shepherdesses in fifteenth century deluxe books of hours. There are a variety of types including eroticized figures, pious saint-like young women, and disorderly peasant dancers. The authors suggest that in many cases differences in social class are being emphasized for noble owners (both male and female) of these books of hours. Title note supplied by Feminae.].

Source: Studies in Iconography , 24., ( 2003): Pages 165 - 198.
Year of Publication: 2003.

43. Record Number: 10903
Author(s): Schowalter, Kathleen S.
Contributor(s):
Title : The Ingeborg Psalter: Queenship, Legitimacy, and the Appropriation of Byzantine Art in the West [Ingeberg of Denmark married Philippe Auguste, but he repudiated her the following day. She insisted on her legitimacy for twenty years before being restored. Schowalter argues that her psalter models itself on the one belonging to Queen Melisande and that changes in the iconography were made deliberately to emphasize Ingeborg's queenship including representations of anointing and coronation. Title note supplied by Feminae.].

Source: Capetian Women. Edited by Kathleen Nolan . Palgrave Macmillan, 2003. Studies in Iconography , 24., ( 2003): Pages 99 - 135.
Year of Publication: 2003.

44. Record Number: 8713
Author(s):
Contributor(s):
Title : Hyr Wombe Insaciate: The Iconography of the Feminised Monster [The author examines woodcuts and a painting in which the monsters are both feminized and sexualized. The author argues that they refer to a type of femininity that is both sexual and bestial. Title note supplied by Feminae.].

Source: Studies on Medieval and Early Modern Women: Pawns or Players? Edited by Christine Meek and Catherine Lawless . Four Courts Press, 2003. Studies in Iconography , 24., ( 2003): Pages 177 - 196.
Year of Publication: 2003.

45. Record Number: 10906
Author(s): Hamilton, Tracy Chapman
Contributor(s):
Title : Queenship and Kinship in the French "Bible moralisée": The Example of Blanche of Castile and Vienna ÖNB 2554 [The author argues that the manuscript was commissioned by Blanche possibly during the early period of her regency. The repeated images of childbirth and Sainte Église in the illuminations emphasize Blanche's particular rights as mother and authorized regent. Title note supplied by Feminae.].

Source: Capetian Women. Edited by Kathleen Nolan . Palgrave Macmillan, 2003. Studies in Iconography , 24., ( 2003): Pages 177 - 208.
Year of Publication: 2003.

46. Record Number: 12880
Author(s): Michalski, Sergiusz.
Contributor(s):
Title : Venus as Semiramis: A New Interpretation of the Central Figure of Botticelli's "Primavera"

Source: Artibus et Historiae , 48., ( 2003): Pages 213 - 222.
Year of Publication: 2003.

47. Record Number: 9056
Author(s): Williamson, Beth.
Contributor(s):
Title : Liturgical Image or Devotional Image? The London "Madonna of the Firescreen" [The author examines this midfifteenth century panel of Virgin and Child and argues that it was intended for devotional use. The viewer would be drawn to contemplate the mystery of the Incarnation through subtle reminders like the breast milk of the Virgin and the Christ child's genitals. Title note supplied by Feminae.].

Source: Objects, Imafges, and the Word: Art in the Service of the Liturgy. Edited by Colum Hourihane . Index of Christian Art, Department of Art and Archaeology, Princeton University in association with Princeton University Press, 2003. Artibus et Historiae , 48., ( 2003): Pages 298 - 318.
Year of Publication: 2003.

48. Record Number: 10908
Author(s): Stanton, Anne Rudloff.
Contributor(s):
Title : Isabelle of France and Her Manuscripts, 1308-58 [The manuscripts range in time across the queen's career. Some appear to have been used as readings for her children, while others were psalters and books of hours for Isabelle's private devotions. Women feature prominently in the illuminations, and political issues, such as Edward's shortcomings as a king, apparently are also a preoccupation. Title note supplied by Feminae. ].

Source: Capetian Women. Edited by Kathleen Nolan . Palgrave Macmillan, 2003. Artibus et Historiae , 48., ( 2003): Pages 225 - 252.
Year of Publication: 2003.

49. Record Number: 11434
Author(s): Dunlop, Anne.
Contributor(s):
Title : Flesh and the Feminine: Early-Renaissance Images of the Madonna with Eve at Her Feet

Source: Oxford Art Journal , 25., 2 ( 2002): Pages 127 - 147.
Year of Publication: 2002.

50. Record Number: 12272
Author(s): Zeman, Georg.
Contributor(s):
Title : Eine altniederländische Silberstiftzeichnung und ihre Bedeutung für Jan van Eycks Dresdner Marienaltar [The author explains the relationship between van Eyck's drawing "Madonna with Child" (Leipzig) and the triptych Altar of St. Mary (Dresden), suggesting a draft drawing. Title note supplied by Feminae.].

Source: Zeitschrift für Kunstgeschichte , 65., 1 ( 2002): Pages 91 - 104.
Year of Publication: 2002.

51. Record Number: 9499
Author(s): Newman, Marsha.
Contributor(s):
Title : Christian Cosmology in Hildegard of Bingen's Illuminations [The author argues that Hildegard used her knowledge of natural forces to express spiritual truths. Her illuminations of mandalas, symmetrical images framed by circular borders, represent her visions and frequently depict multiple planes of existence. Title note supplied by Feminae.].

Source: Logos: A Journal of Catholic Thought and Culture (Full Text via Project Muse) 5, 1 (Winter 2002): 41-61. Link Info
Year of Publication: 2002.

52. Record Number: 6232
Author(s): Wolfthal, Diane.
Contributor(s):
Title : Picturing Same-Sex Desire: The Falconer and his Lover by Petrus Christus and the Housebook Master

Source: Seeing Gender: Perspectives on Medieval Gender and Sexuality. Gender and Medieval Studies Conference, King's College, London, January 4-6 2002. Conference program available online.
Year of Publication: 2002.

53. Record Number: 10075
Author(s): Knauer, Elfrieda Regina.
Contributor(s):
Title : Portrait of a Lady? Some Reflections on Images of Prostitutes from the Later Fifteenth Century [The author concentrates on a painting of a woman attributed to Jacometto Veneziano (now in the Philadelphia Museum of Art). She argues that the woman is a prostitute, and that the artist emphasizes her thinning hair, wrinkles, and other defects associated with prostitution. The author suggests that the inscription on the back of the panel should be translated as: "The whore dedicated herself to wantonness, license, lewdness." Title note supplied by Feminae.].

Source: Memoirs of the American Academy in Rome , 47., ( 2002): Pages 95 - 117.
Year of Publication: 2002.

54. Record Number: 10659
Author(s): Murphy, Kevin J.F.
Contributor(s):
Title : Lilium inter spinas: Bianca Spini and the Decoration of the Spini Chapel in Santa Trinita [The author argues that Bianca, the widowed daughter of a wealthy and powerful member of the Spini family, commissioned an altarpiece for the family chapel with references to her personal identity. As a widow who evidently chose not to remarry, Bianca struggled with her husband's family for restitution of her dowry. The frequent suspicions about unmarried women's virtue seem to be answered in the Spini altarpiece painting of the Assumption by the Virgin's purity and authority. Title note supplied by Feminae.]

Source: Italian History and Culture , 8., ( 2002): Pages 51 - 65.
Year of Publication: 2002.

55. Record Number: 10981
Author(s): Stanton, Anne Rudloff.
Contributor(s):
Title : The Psalter of Isabelle, Queen of England 1308-1330: Isabelle as the Audience [The illustrated psalter was produced as a gift for the young queen sometime between her betrothal and marriage. It presents Biblical role models for the edification of the queen. Stanton argues that the psalter is particularly noteworthy for its emphasis on official, maternal roles and for its use of bilingual texts. Title note supplied by Feminae.].

Source: Word and Image , 18., 1 (January-March 2002): Pages 1 - 27.
Year of Publication: 2002.

56. Record Number: 11418
Author(s): Klaniczay, Gábor
Contributor(s):
Title : Le stigmate di santa Margherita d'Ungheria: immagini e testi [The earliest sources for Margaret of Hungary, a princess who became a Dominican nun, do not mention her stigmata. Reports of her reciept of the Stigmata were rejected by Tommaso Caffarini, but defenders of the story can be found as late as the sixteenth century. The earliest depictions of Margaret usually lack the stigmata, but a royal crown often is shown at her feet or on her head. Dominican claims to stigmatics threatened Franciscan ideas of their founder as "another Christ" ("alter Christus"), and questions about Margaret became intertwined with disputes over the stigmata of Catherine of Siena. Title note supplied by Feminae.].

Source: Iconographica , 1., ( 2002): Pages 16 - 31.
Year of Publication: 2002.

57. Record Number: 7252
Author(s): Sheingorn, Pamela.
Contributor(s):
Title : Joseph the Carpenter's Failure at Familial Discipline [The author examines representations of Joseph in some fourteenth century texts and illustrations concerning apocryphal stories of the flight into Egypt. He is presented very negatively both as a Jew and a member of the lower class. His masculinity is even further questioned because he cannot protect his family nor can he assert his patriarchal authority over his wife and child. Title note supplied by Feminae.].

Source: Insights and Interpretations: Studies in Celebrations of the Eighty-Fifth Anniversary of the Index of Christian Art. Edited by Colum Hourihane . Index of Christian Art, Department of Art and Archaeology, Princeton University in association with Princeton University Press, 2002. Pages 156 - 167.
Year of Publication: 2002.

58. Record Number: 9361
Author(s): Corrie, Rebecca W.
Contributor(s):
Title : Constantinople, Siena, and the Polesden Lacy Triptych: An Angevin Commission for a Crusader Empress

Source: Byzantine Studies Conference. Abstracts of Papers , 28., ( 2002): Pages 39 - 40.
Year of Publication: 2002.

59. Record Number: 12273
Author(s): von Perger, Mischa.
Contributor(s):
Title : Wer pflückt die Rose? Beschriftete Heiligenschine bei Martin Schongauer [Author deciphers and interprets texts on halos in two of Schongauer's works. Title note supplied by Feminae.].

Source: Zeitschrift für Kunstgeschichte , 65., 3 ( 2002): Pages 400 - 410.
Year of Publication: 2002.

60. Record Number: 6636
Author(s): Easton, Martha.
Contributor(s):
Title : Pain, Torture, and Death in the Huntington Library "Legenda aurea" [The author analyzes the manuscript illuminations representing the torture and executions of male and female martyrs, arguing that the binary system of gender was frequently transcended].

Source: Gender and Holiness: Men, Women, and Saints in Late Medieval Europe. Edited by Samantha J. E. Riches and Sarah Salih . Routledge, 2002. Byzantine Studies Conference. Abstracts of Papers , 28., ( 2002): Pages 49 - 64.
Year of Publication: 2002.

61. Record Number: 7248
Author(s): Bennett, Adelaide.
Contributor(s):
Title : Mary Magdalen's Seven Deadly Sins in a Thirteenth-Century Liège Psalter-Hours [The author explores the figure of a woman with an unguent jar who is holding seven disks spelling out "SALIGIA" (the initial letters of the seven vices) whom the author identifies as Mary Magdalene. Earlier Mary Magdalene was portrayed with seven demons fleeing from her body. In the thirteenth century this became associated with the seven deadly sins as Mary Magdalene's role as a penitent, converted sinner was emphasized. Title note supplied by Feminae.].

62. Record Number: 7249
Author(s): Drewer, Lois.
Contributor(s):
Title : Jephthah and His Daughter in Medieval Art: Ambiguities of Heroism and Sacrifice [The author argues that the meaning of Jephthah's daughter's sacrifice fluctuates widely in medieval art and exegesis. The Biblical warrior Jephthah rashly promises God that he will offer in sacrifice the first person who greets him when he returns home after his victory over the Ammonites. Jephthah's daughter's death is figured as a type of the eucharist, a brave hero willing to give her life for her people, a virgin dedicated to God (sometimes walled into an anchorhold rather than killed) and, negatively, as synagogue concerned with worldly attractions. Title note supplied by Feminae.].

63. Record Number: 7250
Author(s): Golden, Judith K.
Contributor(s):
Title : Images of Instruction, Marie de Bretagne, and the Life of St. Eustace as Illustrated in British Library Ms. Egerton 745 [The author argues that Egerton 745 was commissioned by Marie de Bretagne, daughter of a duke of Brittany and granddaughter of a king and queen of England (hence the saints' lives included for two Breton saints and Edward the Confessor). She had the manuscript prepared for her son, choosing to emphasize role models, especially Saint Eustace, who were good husbands, fathers, and Christians. The Appendix lists and describes twenty-two works of art that represent the cycle of St. Eustace's life. Also included is a table that charts the various episodes represented in the twenty-two art works. Title note supplied by Feminae.].

64. Record Number: 7251
Author(s): Guest, Gerald B.
Contributor(s):
Title : Picturing Women in the First "Bible moralisée" ["It is the goal of this article to extend the work of Chapman and Lowden through an examination of the iconography of women in what is likely the first "Bible moralisée," Ö.N.B. 2554. Beyond this, I wish to consider how a "Bible moralisée" might have been read by a royal woman in the first half of the thirteenth century and what this might tell us about the manuscripts as artistic projects." Page 108].

65. Record Number: 7870
Author(s):
Contributor(s):
Title : Chastity, Love, and Marriage in the Margins of the "Wharncliffe Hours" [The author argues that the marginal illustrations in the "Wharncliffe Hours" represent the theme of marriage and its moral opposites including lust and rape. Title note supplied by Feminae.].

Source: Reading Texts and Images: Essays on Medieval and Renaissance Art and Patronage in Honour of Margaret M. Manion. Edited by Bernard J. Muir . University of Exeter Press, 2002. Byzantine Studies Conference. Abstracts of Papers , 28., ( 2002): Pages 201 - 220.
Year of Publication: 2002.

66. Record Number: 6204
Author(s): Borland, Jennifer
Contributor(s):
Title : Subverting Tradition: The Transformed Female in Hildegard of Bingen's Scivias

Source: Seeing Gender: Perspectives on Medieval Gender and Sexuality. Gender and Medieval Studies Conference, King's College, London, January 4-6, 2002. . 2002. Byzantine Studies Conference. Abstracts of Papers , 28., ( 2002):
Year of Publication: 2002.

67. Record Number: 7272
Author(s): Caviness, Madeline H.
Contributor(s):
Title : Hildegard of Bingen: Some Recent Books [The author writes a review essay concerning three new books about Hildegard: Sabina Flanagan, "Hildegard of Bingen, 1098-1179" (Second edition, 1998), Lieselotte E. Saurma-Jeltsch, "Die Miniaturen im 'Liber Scivias' der Hildegard von Bingen" (1998) and Kiko Suzuki, "Bildgewordene Visionen oder Visionserzählungen" (1998). Title note supplied by Feminae.].

Source: Speculum , 77., 1 (January 2002): Pages 113 - 120.
Year of Publication: 2002.

68. Record Number: 8852
Author(s): Baskins, Cristelle L.
Contributor(s):
Title : (In)Famous Men: The Continence of Scipio and Formations of Masculinity in Fifteenth-Century Tuscan Domestic Painting [The author explores the representation of Scipio Africanus in Florentine "cassoni" paintings on wedding furniture and argues for a range of masculinities. Some paintings celebrate his sexual restraint with Scipio returning the captured princess to her betrothed. However, other paintings present him as a conqueror with booty, an exemplar of masculine financial and political success for the bridegroom viewer. Title note supplied by Feminae.].

Source: Studies in Iconography , 23., ( 2002): Pages 109 - 136.
Year of Publication: 2002.

69. Record Number: 8425
Author(s): Bourdua, Louise.
Contributor(s):
Title : Altichiero's "Anchona" for Margareta Lupi: A Context for a Lost Painting [The author uses documents, including an expense list for Margareta's trousseau, to establish the existence of the now-lost painting and the relationships around the condottiere Bonifacio Lupi. He commissioned the small panel painting by Altichiero for Ma

Source: Burlington Magazine , 144., 1190 (May 2002): Pages 291 - 293.
Year of Publication: 2002.

70. Record Number: 8089
Author(s): Price, Merrall Llewelyn.
Contributor(s):
Title : Imperial Violence and the Monstrous Mother: Cannibalism at the Siege of Jerusalem [The author explores the popular tale of Maria of Jerusalem who ate her own infant during a siege of Jerusalem. The author is interested in her as both a double and opposite of the Virgin Mary whose son was also sacrificed. Title note supplied by Feminae.].

Source: Domestic Violence in Medieval Texts. Edited by Eve Salisbury, Georgiana Donavin, and Merrall Llewelyn Price . University Press of Florida, 2002. Burlington Magazine , 144., 1190 (May 2002): Pages 272 - 298.
Year of Publication: 2002.

71. Record Number: 6221
Author(s): L'Estrange, Elizabeth.
Contributor(s):
Title : Incarnations and Confinements: the (in)visibility of childbirth in some late-medieval sources

Source: Seeing Gender: Perspectives on Medieval Gender and Sexuality. Gender and Medieval Studies Conference, King's College, London, January 4-6, 2002. . 2002. Burlington Magazine , 144., 1190 (May 2002):
Year of Publication: 2002.

72. Record Number: 6639
Author(s): Gill, Miriam.
Contributor(s):
Title : Female Piety and Impiety: Selected Images of Women in Wall Paintings in England After 1300 [The author examines paintings on three themes: Saint Anne teaching the Virgin to read, the warning to gossips, and the seven corporal works of mercy; the three mural subjects all comment on desirable female behavior].

Source: Gender and Holiness: Men, Women, and Saints in Late Medieval Europe. Edited by Samantha J. E. Riches and Sarah Salih . Routledge, 2002. Burlington Magazine , 144., 1190 (May 2002): Pages 101 - 120.
Year of Publication: 2002.

73. Record Number: 8090
Author(s): Laskaya, Anne.
Contributor(s):
Title : The Feminized World and Divine Violence: Texts and Images of the Apocalypse [The author argues that the illustrations in late medieval Apocalypse books present a triumphant militant masculinity opposed to a variety of feminized threats including the Great Whore of Babylon, monsters, and even the verdant earth. Title note supplied by Feminae.].

74. Record Number: 8423
Author(s): Gilbertson, Leanne.
Contributor(s):
Title : The Vanni Altarpiece and the Relic Cult of Saint Margaret: Considering a Female Audience [The author argues that the altarpiece, originally in the cathedral of Montefiascone, was associated with the saint's tomb there. The altarpiece highlights St. Margaret's role as a helper to women in childbirth. Title note supplied by Feminae.].

Source: Decorations for the holy dead: visual embellishments on tombs and shrines of saints. Edited by Stephen Lamia and Elizabeth Valdez del Álamo International Medieval Research . Brepols, 2002. Burlington Magazine , 144., 1190 (May 2002): Pages 179 - 190.
Year of Publication: 2002.

75. Record Number: 7872
Author(s): Eichberger, Dagmar.
Contributor(s):
Title : Close Encounters with Death: Changing Representations of Women in Renaissance Art and Literature [The author traces the changes in Dance of Death cycles with some emphasizing women's life cycle phases while others are concerned with the female body and sexuality. Title note supplied by Feminae.].

Source: Reading Texts and Images: Essays on Medieval and Renaissance Art and Patronage in Honour of Margaret M. Manion. Edited by Bernard J. Muir . University of Exeter Press, 2002. Burlington Magazine , 144., 1190 (May 2002): Pages 273 - 296.
Year of Publication: 2002.

76. Record Number: 5907
Author(s): Schmidt, Victor M.
Contributor(s):
Title : Painting and Individual Devotion in Late Medieval Italy: The Case of Saint Catherine of Alexandria because Catherine of Alexandria is ill-documented, possibly even legendary, ample room was left for invention by hagiographers; the tale of Catherine's conversion and mystical marriage to Christ is not in the earliest Latin or Greek sources; these stories are documented first in Italy, and they soon had an influence on artistic depictions of this popular saint; the same motif of mystical marriage appears in the lives of Italian women saints beginning in the fourteenth century; it is difficult to tell whether the Catherine story influenced these women or their mystical piety influenced the hagiographers who wrote about Catherine].

Source: Visions of Holiness: Art and Devotion in Renaissance Italy. Edited by Andrew Ladis and Shelley E. Zuraw . Georgia Museum of Art, University of Georgia, 2001. Art History , 24., 2 (April 2001): Pages 21 - 36.
Year of Publication: 2001.

77. Record Number: 5908
Author(s): Smith, Janet G.
Contributor(s):
Title : Santa Umiltà of Faenza: Her Florentine Convent and Its Art [in the early 16th century the Florentines destroyed the monastery of San Giovanni Evangelista, outside the walls, to improve the city's defenses; this house had been founded by the Vallombrosan nun Umiltà of Faenza; much of its surviving art depicts Umiltà with a weasel, the enemy of the serpent, symbol of evil; this animal was displaced in later art by a book, and that too vanished in Counter-Reformation depictions of Umiltà, in which she becomes a generic saint without distinguishing symbols].

78. Record Number: 5909
Author(s): Czarnecki, James G.
Contributor(s):
Title : Giovanni del Biondo's "Standing Madonna and Child": An Image of Mercy in the Late Trecento [the image of Madonna and Child is related to Mary's intercessory role; a standing Madonna, however, usually is depicted at burial sites; all of these standing images evoke Mary's personification of mercy shown to sinners, seeking mercy for the deceased person].

79. Record Number: 5910
Author(s): Zuraw, Shelley E.
Contributor(s):
Title : The Efficacious Madonna in Quattrocento Rome: Spirituality in the Service of Papal Power [depictions of Madonna and Child in Renaissance Rome are more stately and remote than those done contemporaneously in Florence; a partial explanation is the continuous Roman tradition of iconic painting tied to images ascribed to Saint Luke as painter; another factor is the formality of the papal court; contemporaneous Florentine paintings are more intimate because they are designed for families, even the most powerful households in the city; Florentine motifs can be found borrowed in Rome by the more adventurous artists].

80. Record Number: 5911
Author(s): Solberg, Gail E.
Contributor(s):
Title : The "Madonna Avvocata" Icon at Orte and Geography [cities near Rome and in the papacy's political orbit imitated the processions and artistic styles of the Eternal City; Orte, however, was between Rome and Spoleto, with political ties to both; the "Madonna Avvocata" done by the Sienese painter Taddeo di Bartolo borrows from both the Roman "San Sisto Madonna" and an image in Spoleto that resembles the Byzantine depiction of Mary called the hagiosopitissa. The choice of Taddeo to paint this image reflects a deliberate choice of Orte's leaders to acknowledge both Roman and Umbrian influences on their city].

81. Record Number: 5912
Author(s): Ladis, Andrew.
Contributor(s):
Title : The Music of Devotion: Image, Voice, and the Imagination in a "Madonna of Humility" by Domenico di Bartolo [Domenico di Bartolo adapted for his painting "Madonna of Humility" the Sienese practice of attaching jewelry to works of art; this reflected Marian titles like "star of the sea" and "precious gem," with their luminous implications; Domenico also made great use of musical imagery, with its liturgical references].

82. Record Number: 6239
Author(s): Gaunt, Simon B.
Contributor(s):
Title : The Women Patrons of Neri di Bicci [The author surveys the works that ten secular women commissioned from the painter Neri di Bicci between 1453 and 1475; the author analyzes the group of women in terms of marital status and social class and compares them with the men who requested art wor

Source: Beyond Isabella: Secular Women Patrons of Art in Renaissance Italy. Edited by Sheryl E. Reiss and David G. Wilkins . Sixteenth Century Essays and Studies, Volume 54. Truman State University Press, 2001. Zeitschrift für Kunstgeschichte , 65., 3 ( 2002): Pages 51 - 75.
Year of Publication: 2001.

83. Record Number: 6033
Author(s): Dunlop, Anne.
Contributor(s):
Title : Masculinity, Crusading, and Devotion: Francesco Casali's Fresco in the Trecento Perugian "Contado"

Source: Speculum , 76., 2 (April 2001): Pages 315 - 336.
Year of Publication: 2001.

84. Record Number: 11161
Author(s): Waugh, Robin.
Contributor(s):
Title : Aelfgifu/Emma and the Reader's Desire

Source: Old English Newsletter , 34., 3 (Spring 2001): Appendix A: Abstracts of Papers in Anglo-Saxon Studies. Conference paper presented at the International Medieval Congress, University of Leeds, July 9-12, 2001, Session 1016: "Concerning Interpretation and Overinterpretation I
Year of Publication: 2001.

85. Record Number: 5721
Author(s): Landini, Roberta Orsi and Mary Westerman Bulgarella
Contributor(s):
Title : Costume in Fifteenth-Century Florentine Portraits of Women

Source: Virtue and Beauty: Leonardo's "Ginevra de'Benci" and Renaissance Portraits of Women." Catalog of an exhibition held Sept. 30, 2001-Jan. 6, 2002 at the National Gallery of Art. Edited by David Alan Brown et al.; with contributions by Elizabeth Cropper and Eleonora Luciano. . National Gallery of Art in association with Princeton University Press, 2001. Zeitschrift für Kunstgeschichte , 65., 3 ( 2002): Pages 88 - 97.
Year of Publication: 2001.

86. Record Number: 6403
Author(s):
Contributor(s):
Title : The Origin of Special Veneration of the Mother of God at the Trinity-Sergius Monastery: The Iconographical Evidence [the author argues that some form of special veneration of the Virgin Mary began at the Trinity Monastery in the first half of the fifteenth century; the representation of Mary appearing to Sergius and offering her protection did not take on a standard form during the late Middle Ages].

Source: Russian History , 28., 40182 ( 2001): Pages 303 - 314. Festschrift for Thomas S. Noonan
Year of Publication: 2001.

87. Record Number: 8959
Author(s): McGrady, Deborah
Contributor(s):
Title : Reinventing the "Roman de la Rose" for a Woman Reader: The Case of Ms. Douce 195 [The author argues that the illuminator Robinet Testard changed the traditional "Roman de la Rose" illustrations for a noble woman, Louise of Savoie. Some of the images question the misogyny in the text with one cycle showing outright disapproval of the jealous husband who beats his wife. Other illustrations show women as the surveyors of events rather than objects of the male gaze. Title note supplied by Feminae.].

Source: Journal of the Early Book Society for the Study of Manuscripts and Printing History , 4., ( 2001): Pages 202 - 227. Issue Title: Women and Book Culture in Late Medieval and Early Modern France
Year of Publication: 2001.

88. Record Number: 5720
Author(s): Woods-Marsden, Joanna.
Contributor(s):
Title : Portrait of the Lady, 1430- 1520 [the author traces the development of the patrician female ideal; portrait forms evolved very rapidly from the profile that suggested self-control and inaccessibility to the intimate frontal pose; the author argues that the change was due in part to the influence of humanism with its emphasis on the individual and subjectivity].

Source: Virtue and Beauty: Leonardo's "Ginevra de'Benci" and Renaissance Portraits of Women." Catalog of an exhibition held Sept. 30, 2001-Jan. 6, 2002 at the National Gallery of Art. Edited by David Alan Brown et al.; with contributions by Elizabeth Cropper and Eleonora Luciano. . National Gallery of Art in association with Princeton University Press, 2001. Journal of the Early Book Society for the Study of Manuscripts and Printing History , 4., ( 2001): Pages 62 - 87.
Year of Publication: 2001.

89. Record Number: 5718
Author(s): Kent, Dale.
Contributor(s):
Title : Women in Renaissance Florence [the author gives a brief overview of the factors and attendant evidence that characterized the lives of Florentine noble women including marriage and the painted wedding chests (cassone), childbirth and the celebratory birth trays, clothing and sumptuary laws, religious devotion, and death].

Source: Virtue and Beauty: Leonardo's "Ginevra de'Benci" and Renaissance Portraits of Women." Catalog of an exhibition held Sept. 30, 2001-Jan. 6, 2002 at the National Gallery of Art. Edited by David Alan Brown et al.; with contributions by Elizabeth Cropper and Eleonora Luciano. . National Gallery of Art in association with Princeton University Press, 2001. Journal of the Early Book Society for the Study of Manuscripts and Printing History , 4., ( 2001): Pages 24 - 47.
Year of Publication: 2001.

90. Record Number: 6684
Author(s): Camille, Michael
Contributor(s):
Title : For Our Devotion and Pleasure: The Sexual Objects of Jean, Duc de Berry

Source: Art History , 24., 2 (April 2001): Pages 169 - 194.
Year of Publication: 2001.

91. Record Number: 6236
Author(s): Wilkins, David G.
Contributor(s):
Title : Introduction: Recognizing New Patrons, Posing New Questions [The author identifies secular women as important patrons of art whose identities and motivations need to be explored].

Source: Beyond Isabella: Secular Women Patrons of Art in Renaissance Italy. Edited by Sheryl E. Reiss and David G. Wilkins . Sixteenth Century Essays and Studies, Volume 54. Truman State University Press, 2001. Art History , 24., 2 (April 2001): Pages 1 - 17.
Year of Publication: 2001.

92. Record Number: 5693
Author(s): Villers, Caroline, Robert Gibbs, Rebecca Hellen and Annette King
Contributor(s):
Title : Simone dei Crocefissi's "Dream of the Virgin" in the Society of Antiquaries, London [The authors discuss the cleaning and restoration of the painting, arguing that the expensive pigments and care taken by the artist indicate an important commission, perhaps for a women's monastery in Bologna].

Source: Burlington Magazine , 142., 1169 (August 2000): Pages 481 - 486.
Year of Publication: 2000.

93. Record Number: 4595
Author(s): Miller, Mara.
Contributor(s):
Title : The Lady in the Garden: Subjects and Objects in an Ideal World [The author contrasts Japanse pictures of women in gardens (women authors, women writing, and women characters from women's writings) with those of medieval Europe in which women do not write in gardens].

Source: Crossing the Bridge: Comparative Essays on Medieval European and Heian Japanese Women Writers. Edited by Barbara Stevenson and Cynthia Ho . Palgrave, 2000. Byzantine Studies Conference. Abstracts of Papers , 26., ( 2000): Pages 189 - 211.
Year of Publication: 2000.

94. Record Number: 5446
Author(s): Chavasse, Ruth.
Contributor(s):
Title : The Virgin Mary: Consoler, Protector, and Social Worker in Quattrocento Miracle Tales [The author examines women's problems and needs as represented in such miracle texts as the late fifteenth century "Miracoli della Vergine Maria" and the poem by Lorenzo de' Oppizi, "Miracoli della Vergine della Carcere," a catalog of the miracles worked

Source: Women in Italian Renaissance Culture and Society. Edited by Letizia Panizza . European Humanities Research Centre, University of Oxford, 2000. Byzantine Studies Conference. Abstracts of Papers , 26., ( 2000): Pages 138 - 164.
Year of Publication: 2000.

95. Record Number: 6690
Author(s): Troncarelli, Fabio.
Contributor(s):
Title : Immagini di streghe nei manoscritti medievali [increased belief in witches in the late Middle Ages also involved more frequent illustration of them and their revels; lascivious human figures were combined with animal or demonic figures, often in orgiastic scenes; like Venus, lascivious witches were symbols of lust, in contrast to sacred love; satanic love magic was one of the crimes attributed to witches].

Source: Imaging Humanity/Immagini dell' umanità. Edited by John Casey, Mary Warnement, Jim Whelton, and Anne Wingenter . Bordighera, 2000. Byzantine Studies Conference. Abstracts of Papers , 26., ( 2000): Pages 79 - 92.
Year of Publication: 2000.

96. Record Number: 10643
Author(s): Dunlop, Anne.
Contributor(s):
Title : Once More on the Patronage of Ambrogio Lorenzetti's Frescoes at S. Galgano Montesiepi [In suggesting a new patron for the frescoes (a lay-brother associated with the monastery), Dunlop explores the Virgin Mary's role in the paintings done by Lorenzetti. The theme of calling and acceptance is represented both in the Annunciation and in the one scene from Galgano's life. Mary is also presented as the Queen of Heaven to her Cistercian knightly followers. Title note supplied by Feminae.].

Source: Zeitschrift für Kunstgeschichte , 63., ( 2000): Pages 387 - 403.
Year of Publication: 2000.

97. Record Number: 5146
Author(s): Plesch, Véronique.
Contributor(s):
Title : Enguerrand Quarton's "Coronation of the Virgin": This World and the Next, the Dogma and the Devotion, the Individual and the Community [The author argues that the painting in the Carthusian hospital chapel linked the Coronation with the Last Judgement to emphasize the importance of Mary's role as mediator, especially for those souls in purgatory].

Source: Historical Reflections/ Reflexions historiques , 26., 1 (Spring 2000): Pages 189 - 221.
Year of Publication: 2000.

98. Record Number: 5450
Author(s): Tinagli, Paola
Contributor(s):
Title : Womanly Virtues in Quattrocento Florentine Marriage Furnishings [the author examines how behavioral ideals for both new husbands and wives, as represented on cassoni, spalliere, and other furnishings given to the bridal couple, emphasized chastity, restraint, and other virtues that contributed to a well-ordered civic society].

Source: Women in Italian Renaissance Culture and Society. Edited by Letizia Panizza . European Humanities Research Centre, University of Oxford, 2000. Historical Reflections/ Reflexions historiques , 26., 1 (Spring 2000): Pages 265 - 284.
Year of Publication: 2000.

99. Record Number: 4499
Author(s): Everhart, Deborah.
Contributor(s):
Title : Anna Komnene, Learned Women, and the Book in Byzantine Art [The author examines the representation of women in art with books or scrolls and argues that it was probably influenced by the female members of the imperial family who valued and promoted learning].

Source: Anna Komnene and Her Times. Edited by Thalia Gouma-Peterson . Garland Publishing, 2000. Historical Reflections/ Reflexions historiques , 26., 1 (Spring 2000): Pages 125 - 156.
Year of Publication: 2000.

100. Record Number: 4872
Author(s):
Contributor(s):
Title : An Abbess and a Painter: Emilia Pannocchieschi d'Elci and a Fresco From the Circle of Simone Martini

Source: Renaissance studies : journal of the Society for Renaissance Studies , 14., 3 (September 2000): Pages 273 - 300.
Year of Publication: 2000.

101. Record Number: 4636
Author(s):
Contributor(s):
Title : Viewing and Commissioning Pietro Lorenzetti's Saint Humility Polyptych

Source: Journal of Medieval History , 26., 3 (September 2000): Pages 269 - 300.
Year of Publication: 2000.

102. Record Number: 5452
Author(s):
Contributor(s):
Title : Transformations of the "buona Gualdrada" Legend from Boccaccio to Vasari: A Study in the Politics of Florentine Narrative [the story was told that Gualdrada's father offered to order her to kiss the visiting Emperor Otho IV; she refused indignantly and reminded her father of his responsibilities to make a good marriage for her; for Boccaccio Gualdrada's act is a symbol of republican virtue, while for Vasari Gualdrada represents contemporary Florence and Cosimo de Medici, resisting the influence of Emperor Charles V].

Source: Women in Italian Renaissance Culture and Society. Edited by Letizia Panizza . European Humanities Research Centre, University of Oxford, 2000. Journal of Medieval History , 26., 3 (September 2000): Pages 401 - 420.
Year of Publication: 2000.

103. Record Number: 4685
Author(s):
Contributor(s):
Title : Learned Reading, Vernacular Seeing: Jacques Daret's "Presentation in the Temple"

Source: Art Bulletin (Full Text via JSTOR) 82, 3 (September 2000): 428-452. Link Info
Year of Publication: 2000.

104. Record Number: 4135
Author(s): Lawless, Catherine.
Contributor(s):
Title : A Widow of God? St. Anne and Representations of Widowhood in Fifteenth-century Florence

Source: Women in Renaissance and Early Modern Europe. Edited by Christine Meek . Four Courts Press, 2000. Pages 15 - 42.
Year of Publication: 2000.

105. Record Number: 4623
Author(s): Tarr, Roger P.
Contributor(s):
Title : Ecce Virgo Concipiet: The Iconography and Context of Duccio's London "Annunciation"

Source: Viator , 31., ( 2000): Pages 185 - 213.
Year of Publication: 2000.

106. Record Number: 8591
Author(s): Cowling, David.
Contributor(s):
Title : Verbal and Visual Metaphors in the Cambridge Manuscript of the "Douze dames de rhétorique" (1463) [The text developed as an exchange of correspondence between the young, eager Jean Robertet and the respected older poet Georges Chastelain. Several of the manuscript versions include elaborate illustrations. The author explores how the artist was able to express the involved metaphors and prompt an allegorical reading of the images. The Appendix presents the text and English translations of the "enseignes" or self-descriptions of the twelve ladies. Title note supplied by Feminae.].

Source: Journal of the Early Book Society for the Study of Manuscripts and Printing History , 3., ( 2000): Pages 94 - 118.
Year of Publication: 2000.

107. Record Number: 5408
Author(s): Collier, Jo-Kate.
Contributor(s):
Title : Cassoni: The Inside Story [The author argues that the nude paintings of men and women inside the cassoni lids were intended to arouse sexually the newly married husband and wife so that they would quickly produce a male heir].

Source: Renaissance Papers , ( 2000): Pages 1 - 11.
Year of Publication: 2000.

108. Record Number: 5361
Author(s): O'Brien, Maureen Anne.
Contributor(s):
Title : The Gynaeceum, the Kindergarten, and the Vienna Genesis: Biblical and Extra-Biblical Imagery in Folio 16r [The author addresses the question of the group of women and children in the illustration of Joseph and Potiphar's wife].

Source: Byzantine Studies Conference. Abstracts of Papers , 26., ( 2000): Pages 109 - 110.
Year of Publication: 2000.

109. Record Number: 4778
Author(s): Kleinmann, Dorothée, Michel Garcia, Cloulas Ivan and Nurith. Kenaan-Kedar
Contributor(s):
Title : Les peintures murales de Sainte-Radegonde de Chinon: À propos d'un article récent [Kleinmann and Garcia together comment on Kenaan-Kedar's earlier article, as does Cloulas, while Kenaan-Kedar reacts to the comments of the three].

Source: Cahiers de Civilization Médiévale , 42., ( 1999): Pages 397 - 399.
Year of Publication: 1999.

110. Record Number: 5587
Author(s): Rouse, Richard H. and Mary A. Rouse
Contributor(s):
Title : A "Rose" by Any Other Name: Richard and Jeanne de Montbaston as Illuminators of Vernacular Texts [Appendix 9A in Volume 2 presents a list of manuscripts including some for the king and nobility thought to be illustrated by Richard and Jeanne de Montbaston (fl. 1325- 1353); Appendix 9B Interpreting the "Gluures" in Manuscripts Illuminated by the Montbastons and Their Contemporaries explores possible meanings for the term "gluures" as recorded in various manuscripts counting initials or illuminations done with gold leaf].

Source: Manuscripts and Their Makers: Commercial Book Producers in Medieval Paris, 1200- 1500. By Richard H. and Mary A. Rouse. Harvey Miller Publishers, 1999. Volume One, pages 235-260.
Year of Publication: 1999.

111. Record Number: 3740
Author(s): Rigaux, Dominique.
Contributor(s):
Title : Women, Faith, and Image in the Late Middle Ages [The author explores the representations of female saints including Clare of Assisi, Catherine of Siena, and others; the discussion includes the kinds of iconography used and where the paintings were displayed].

Source: Women and Faith: Catholic Religious Life in Italy from Late Antiquity to the Present. Edited by Lucetta Scaraffia and Gabriella Zarri . Harvard University Press, 1999. Pages 72 - 82.
Year of Publication: 1999.

112. Record Number: 3787
Author(s): Horne, Peter.
Contributor(s):
Title : The Besotted King and His Adonis: Representations of Edward II and Gaveston in Late Nineteenth-Century England

Source: History Workshop Journal , 47., (Spring 1999): Pages 30 - 48.
Year of Publication: 1999.

113. Record Number: 3904
Author(s): Cohen, Adam S.
Contributor(s):
Title : The Art of Reform in a Bavarian Nunnery around 1000 [the author explores the efforts to reform Niedermünster, a noble foundation of canonesses, and turn it into a more strict Benedictine nunnery; the author uses surviving art and architecture, concentrating in particular on two manuscripts, the rule book and the Uta Codex, both of which feature illuminations of Niedermünster's reforming abbess, Uta.]

Source: Speculum , 74., 4 (October 1999): Pages 992 - 1020.
Year of Publication: 1999.

114. Record Number: 3952
Author(s): Smith, Kathryn A.
Contributor(s):
Title : The Neville of Hornby Hours and the Design of Literate Devotion

Source: Art Bulletin (Full Text via JSTOR) 81,1 (March 1999): 72-92. Link Info
Year of Publication: 1999.

115. Record Number: 4354
Author(s): Tkacz, Catherine Brown.
Contributor(s):
Title : Susanna as a Type of Christ [the author argues that from late antiquity Susanna was widely understood as a type of Christ with Susanna in the garden as a type of Christ in Gethsemane and Susanna before Daniel as a type of Christ before Pilate; Appendix A lists forty-four works of art representing Susanna as a Christological type and Appendix B lists thirty-nine primary texts presenting Susanna as a Christological type].

Source: Studies in Iconography , 20., ( 1999): Pages 101 - 153.
Year of Publication: 1999.

116. Record Number: 4361
Author(s): Hans-Collas, Ilona.
Contributor(s):
Title : Moselle- Une peinture murale gothique conservée dans l'ancien couvent des Récollets à Metz [The author briefly describes a badly damaged painting of the Annunciation in a Franciscan monastery (for friars) known as the Récollets].

Source: Bulletin Monumental , 157., ( 1999): Pages 301 - 303.
Year of Publication: 1999.

117. Record Number: 4433
Author(s): Dunkelman, Martha Levine.
Contributor(s):
Title : The Innocent Salome [the author argues that early painters, such as Giotto, depicted Salome as detached and passive; it is only with Donatello that Salome displays a moral conscience, showing distress at the fate of John the Baptist; in the sixteenth century Salome takes on the role of seductress and thereby assumes responsibility for the death of John the Baptist].

Source: Gazette des Beaux-Arts , 133., 1563 (avril 1999): Pages 173 - 180.
Year of Publication: 1999.

118. Record Number: 4434
Author(s): Kwakkelstein, Michael W.
Contributor(s):
Title : The Use of Sculptural Models by Italian Renaissance Painters: Leonardo da Vinci's "Madonna of the Rocks" Reconsidered in Light of His Working Procedures

Source: Gazette des Beaux-Arts , 133., 1563 (avril 1999): Pages 181 - 198.
Year of Publication: 1999.

119. Record Number: 7951
Author(s): Bolard, Laurent.
Contributor(s):
Title : Thalamus Virginis. Images de la "Devotio moderna" dans la peinture italienne du XVe siècle

Source: Revue de l'Histoire des Religions , 216., 1 (janvier-mars 1999): Pages 87 - 110.
Year of Publication: 1999.

120. Record Number: 3953
Author(s): Jacobus, Laura
Contributor(s):
Title : Giotto's "Annunciation" in the Arena Chapel, Padua [the Appendix reproduces a Latin text of the Annunciation "Cantatur evangelius cum ludo (Gospel singing with a play)]

Source: Art Bulletin (Full Text via JSTOR) 81,1 (March 1999): 93-107. Link Info
Year of Publication: 1999.

121. Record Number: 4387
Author(s): Irigaray, Luce.
Contributor(s):
Title : The Way of the Feminine [Irigaray examines four paintings from women's convents to come to an understanding of women's spirituality].

Source: New Trends in Feminine Spirituality: The Holy Women of Liège and Their Impact. Edited by Juliette Dor, Lesley Johnson, and Jocelyn Wogan-Browne Medieval Women: Texts and Contexts, 2. Brepols, 1999. Pages 315 - 328. Essay originally published as "La Voie du Féminin" in Le jardin clos de l'åme. L'imaginaire des religieuses dans les Pays-Bas du Sud, depuis le 13e siècle. Edited by Paul Vandenbroeck.
Year of Publication: 1999.

122. Record Number: 5689
Author(s): Cannon, Joanna
Contributor(s):
Title : The Stoclet "Man of Sorrows": A Thirteenth-century Italian Diptych Reunited [The author argues that the small panel formed a devotional diptych with a painting of the Virgin and Child; the author points out that the two panels engage each other and draw the viewer into the drama].

Source: Burlington Magazine (Full Text via JSTOR) 141, 1151 (February 1999): 107-112. Link Info
Year of Publication: 1999.

123. Record Number: 5567
Author(s): Walters, Lori J.
Contributor(s):
Title : Female Figures in the Illustrated Manuscripts of "Le conte du Graal" and its "Continuations": Ladies, Saints, Spectators, Mediators [the author argues that the authors, illuminators, scribes, and others who contributed to the text displayed differing interpretations of female characters depending in large part whether the story was considered a romance, a hagiography, or a combination of the two].

Source: Bulletin of the John Rylands University Library of Manchester , 81., 3 (Autumn 1999): Pages 7 - 54.
Year of Publication: 1999.

124. Record Number: 5697
Author(s): Bennett, Adelaide.
Contributor(s):
Title : A Woman's Power of Prayer Versus the Devil in a Book of Hours, of ca. 1300 [The author argues that the manuscript is highly personalized with an emphasis on the female owner's need to repent, fight sin, and oppose the devil; even in the hours of the Virgin the initials depict worldly pleasures to be avoided].

Source: Image and Belief: Studies in Celebration of the Eightieth Anniversary of the Index of Christian Art. Edited by Colum Hourihane . Index of Christian Art, Department of Art and Archaeology, Princeton University in association with Princeton University Press, 1999. Bulletin of the John Rylands University Library of Manchester , 81., 3 (Autumn 1999): Pages 89 - 108.
Year of Publication: 1999.

125. Record Number: 3954
Author(s): Gifford, E. Melanie.
Contributor(s):
Title : Van Eyck's Washington "Annunciation" : Technical Evidence for Iconographic Development

Source: Art Bulletin (Full Text via JSTOR) 81,1 (March 1999): 108-116. Link Info
Year of Publication: 1999.

126. Record Number: 4021
Author(s): Carrasco, Magdalena Elizabeth
Contributor(s):
Title : The Imagery of the Magdalen in Christina of Markyate's Psalter (St. Albans Psalter)

Source: Gesta (Full Text via JSTOR) 38, 1 (1999): 67-80. Link Info
Year of Publication: 1999.

127. Record Number: 5030
Author(s): Clifton, James,
Contributor(s):
Title : Gender and Shame in Masaccio's "Expulsion from the Garden of Eden" ["Here both gestures - Eve in covering her erogenous zones, Adam in leaving his exposed and in covering only his face - suggest that, in conformity with Italian mores, it is only the woman's sexuality that is at issue and that the sin associated with her sexuality dishonours the man. Adam's exposure does not dishonour him; rather it serves to draw the insistent distinction between men and women, fundamental to the honour-shame paradigm, which is manifested most recognizably in anatomy." (Page 650)].

Source: Art History , 22., 5 (December 1999): Pages 637 - 655.
Year of Publication: 1999.

128. Record Number: 3955
Author(s): Purtle, Carol J.
Contributor(s):
Title : Van Eyck's Washington "Annunciation" : Narrative Time and Metaphoric Tradition

Source: Art Bulletin (Full Text via JSTOR) 81,1 (March 1999): 117-125. Link Info
Year of Publication: 1999.

129. Record Number: 3055
Author(s): Randolph, Adrian W. B.
Contributor(s):
Title : Performing the Bridal Body in Fifteenth-Century Florence

Source: Art History , 21., 2 (June 1998): Pages 182 - 200.
Year of Publication: 1998.

130. Record Number: 3269
Author(s): Storey, Ann.
Contributor(s):
Title : A Theophany of the Feminine: Hildegard of Bingen, Elisabeth of Schönau, and Herrad of Landsberg [The author explores the female aspects of the divine that are found in the three women's writings and the illustrations accompanying Herrad's and Hildegard's works].

Source: Woman's Art Journal (Full Text via JSTOR) 19, 1 (Spring/Summer 1998):16-20. Link Info
Year of Publication: 1998.

131. Record Number: 4667
Author(s): Baker, Audrey M.
Contributor(s):
Title : Adam and Eve and the Lord God: The Adam and Eve Cycle of Wall Paintings in the Church of Hardham, Sussex

Source: Archaeological Journal , 155., ( 1998): Pages 207 - 225.
Year of Publication: 1998.

132. Record Number: 5957
Author(s): Jacobus, Laura
Contributor(s):
Title : Piety and Propriety in the Arena Chapel [the author argues that the "Early Life of the Virgin" frescoes in the Arena Chapel were intended in part to convey models of behavior to the wife, mother, and daughter of Enrico Scrovegni, the patron; using devotional works and secular conduct literature the author argues that the ideals for upper class women's behavior (modesty, chastity, courtliness, humility, charity, and attention to their husbands and families) were linked to piety and represented by Giotto in the images of the Virgin and other holy women].

Source: Renaissance studies : journal of the Society for Renaissance Studies , 12., 2 (June 1998): Pages 177 - 205.
Year of Publication: 1998.

133. Record Number: 4476
Author(s): Wolfthal, Diane.
Contributor(s):
Title : Douleur sur toutes autres: Revisualizing the Rape Script in the "Epistre Othea" and the "Cité des dames"

Source: Christine de Pizan and the Categories of Difference. Edited by Marilynn Desmond . University of Minnesota Press, 1998. Revue de l'Histoire des Religions , 216., 1 (janvier-mars 1999): Pages 41 - 70.
Year of Publication: 1998.

134. Record Number: 4448
Author(s): Hoch, Adrian S.
Contributor(s):
Title : Pictures of Penitence From a Trecento Neapolitan Nunnery

Source: Zeitschrift für Kunstgeschichte , 61., ( 1998): Pages 206 - 226.
Year of Publication: 1998.

135. Record Number: 5684
Author(s): Henry, Tom.
Contributor(s):
Title : New Documents for Signorelli's "Annunciation" at Volterra [in the Appendix the author provides transcriptions of three documents: Payments to Signorelli for the Volterra "Annunciation," 7 January 1490 to 13 May 1491; The Company of the Virgin Mary sell their old altarpiece, 4 June 1491- 21 April 1494; Ippolito Cigna's account of his restoration of the "Annunciation," published 1740- 1741].

Source: Burlington Magazine (Full Text via JSTOR) 140, 1144 (July 1998): 474-478. Link Info
Year of Publication: 1998.

136. Record Number: 5578
Author(s): Tejera Llano, Dionisia,
Contributor(s):
Title : The Portrayal of Female Sainthood in Renaissance San Gimignano: Ghirlandio's Frescoes of Santa Fina's Legend

Source: Artibus et Historiae , 19., 38 ( 1998): Pages 143 - 170.
Year of Publication: 1998.

137. Record Number: 5686
Author(s): Gordon, Dillian.
Contributor(s):
Title : Zanobi Strozzi's "Annunciation" in the National Gallery [the recently discovered signature on the "Annunciation" makes it easier to identify Strozzi's work from other pupils of Fra Angelico; the author compares Strozzi's "Annunciation" to others done around the same time by Fra Angelico and his workshop].

Source: Burlington Magazine (Full Text via JSTOR) 140, 1145 (August 1998): 517-524. Link Info
Year of Publication: 1998.

138. Record Number: 4365
Author(s):
Contributor(s):
Title : Nikephoros II Phokas and Theophanou in Cavusin: The Imperial Family as Model [The author argues that the portrait portrays the imperial couple, Nikephoros and Theophanou, flanked by his father and mother on one side; the intent was to memorialize the marriage along with that of the emperor's parents].

Source: Byzantine Studies Conference. Abstracts of Papers , 24., ( 1998): Pages 23 - 24.
Year of Publication: 1998.

139. Record Number: 3660
Author(s):
Contributor(s):
Title : The Rape of the Sabine Women on Quattrocento Marriage-Panels [the author argues that the theme of the rape of the Sabine women urged women to observe their duties of childbearing in a society seriously depopulated by multiple plague outbreaks].

Source: Marriage in Italy, 1300-1650. Edited by Trevor Dean and K. J. P. Lowe . Cambridge University Press, 1998. Byzantine Studies Conference. Abstracts of Papers , 24., ( 1998): Pages 66 - 82.
Year of Publication: 1998.

140. Record Number: 3056
Author(s):
Contributor(s):
Title : Women Under the Gaze: A Renaissance Genealogy

Source: Art History , 21., 4 (December 1998): Pages 565 - 590.
Year of Publication: 1998.

141. Record Number: 3319
Author(s): Kenaan-Kedar, Nurith.
Contributor(s):
Title : Aliénor: d'Aquitaine conduite en captivité. Les peintures murales, commémoratives de Sainte- Radegonde de Chinon

Source: Cahiers de Civilization Médiévale , 41., 164 (octobre-décembre 1998): Pages 317 - 330.
Year of Publication: 1998.

142. Record Number: 3989
Author(s): Caviness, Madeline.
Contributor(s):
Title : Artist: "To See, Hear, and Know All at Once" [Hildegard of Bingen as a creative artist].

Source: Voice of the Living Light: Hildegard of Bingen and Her World. Edited by Barbara Newman . University of California Press, 1998. Cahiers de Civilization Médiévale , 41., 164 (octobre-décembre 1998): Pages 110 - 124.
Year of Publication: 1998.

143. Record Number: 4352
Author(s): Williamson, Beth.
Contributor(s):
Title : The Virgin "Lactans" as Second Eve: Image of the "Salvatrix" [the author analyzes the iconography of a painting by Carlo da Camerino, depicting the Virgin nursing the infant Christ with Eve reclining below; Margaret Miles had argued that the painting juxtaposes Mary's goodness with Eve's sinful body (and the bodies of the female viewers); the author argues that the panel creates a "complex allegory not only of the Virgin's centrality to human redemption but also of Eve's crucial role in this process"].

Source: Studies in Iconography , 19., ( 1998): Pages 105 - 138.
Year of Publication: 1998.

144. Record Number: 4337
Author(s): Gerstel, Sharon E. J.
Contributor(s):
Title : Painted Sources for Female Piety in Medieval Byzantium [the author analyzes the depictions of female saints in Byzantine churches in order to deduce the roles that women played in the Church; women prayed for fertility and healthy children in chapels decorated with paintings of Saint Anne, and they mourned the dead in narthexes decorated with portraits of female saints].

Source: Dumbarton Oaks Papers (Full Text via JSTOR) 52 (1998): 89-111. Link Info
Year of Publication: 1998.

145. Record Number: 4353
Author(s): Paxson, James J.
Contributor(s):
Title : The Nether-Faced Devil and the Allegory of Parturition [The author argues that the representation of the devil with a face in place of its genitals draws on the allegory of childbirth and thereby demonizes the female sexual body].

Source: Studies in Iconography , 19., ( 1998): Pages 139 - 176.
Year of Publication: 1998.

146. Record Number: 5564
Author(s): Manion, Margaret M.
Contributor(s):
Title : An Unusual Image of the Assumption in a Fourteenth-Century Dominican Choir-Book [within the initial the Virgin sits beside Christ, leaning on his shoulder and holding his hand; the author argues that the close, tender relationship depicted draws upon the "Song of Songs"; this image of the Assumption was soon displaced by the majestic

Source: The Art of the Book: Its Place in Medieval Worship. Edited by Margaret M. Manion and Bernard J. Muir . University of Exeter Press, 1998. Studies in Iconography , 19., ( 1998): Pages 153 - 161.
Year of Publication: 1998.

147. Record Number: 3564
Author(s): Weed, Stanley E.
Contributor(s):
Title : My Sister, Bride, and Mother: Aspects of Female Piety in Some Images of the "Virgo Inter Virgines" [The author argues that art representing the Virgin among virgins carried multiple layers of symbolism; the art work examined was produced for an audience of nuns].

Source: Magistra , 4., 1 (Summer 1998): Pages 3 - 26.
Year of Publication: 1998.

148. Record Number: 3396
Author(s): Neff, Amy.
Contributor(s):
Title : The Pain of "Compassio": Mary's Labor at the Foot of the Cross

Source: Art Bulletin (Full Text via JSTOR) 80, 2 (June 1998): 254-273. Link Info
Year of Publication: 1998.

149. Record Number: 4223
Author(s): Hamburger, Jeffrey.
Contributor(s):
Title : The Picture Book of Madame Marie [The author discusses the devotional book of "Madame Marie" in light of two recent monographs devoted to it].

Source: Scriptorium , 52., 1 ( 1998): Pages 413 - 428.
Year of Publication: 1998.

150. Record Number: 5602
Author(s): Dallaj, Arnalda.
Contributor(s):
Title : Orazione e pittura tra "propaganda" e devozione al tempo di Sisto IV: il caso della Madonna della Misericordia di Ganna [once Sixtus IV issued a decree favoring the doctrine of the Immaculate Conception, texts and images favoring that doctrine proliferated; some texts, genuine or spurious, promised indulgences to the devout; and they featured excerpts from Leonardo Nogarolo's office for the feast of Mary Immaculate; the image of the Madonna della Misericordia at Varese is such an image; the church also features the monogram of the Name of Jesus popularized by the Franciscan Observants; the entire complex benefited from patronage by the Sforza family].

Source: Revue Mabillon: Nouvelle Série , 8., 69 ( 1997): Pages 237 - 262.
Year of Publication: 1997.

151. Record Number: 5680
Author(s): Thomas, Anabel.
Contributor(s):
Title : A New Date for Neri di Bicci's S. Giovannino dei Cavalieri "Coronation of the Virgin" [the author presents document transcriptions in the article's Appendix that prove that Neri di Bicci was selected by the nuns of S. Niccolò dei Frieri to paint an altarpiece in 1488; further document extracts indicate the nuns' additional efforts to make the high altar more splendid].

Source: Burlington Magazine (Full Text via JSTOR) 139, 1127 (February 1997): 103-106. Link Info
Year of Publication: 1997.

152. Record Number: 3148
Author(s): Kalas, Gregor.
Contributor(s):
Title : Queening Intercession: The Virgin Intervenes as an Empress at S. Maria Antiqua (Rome)

Source: Byzantine Studies Conference. Abstracts of Papers , 23., ( 1997): Pages 10
Year of Publication: 1997.

153. Record Number: 1593
Author(s): McGuire, Thérèse.
Contributor(s):
Title : Two Twelfth-Century Women and their Books [Herrad, abbess of Hohenbourg, and Hildegard of Bingen].

Source: Women and the Book: Assessing the Visual Evidence. Edited by Lesley Smith and Jane H.M. Taylor . British Library and University of Toronto Press, 1997. Byzantine Studies Conference. Abstracts of Papers , 23., ( 1997): Pages 96 - 105.
Year of Publication: 1997.

154. Record Number: 3669
Author(s): Holmes, Megan.
Contributor(s):
Title : Disrobing the Virgin: The "Madonna Lactans" in Fifteenth-Century Florentine Art [the author argues that the popularity of the "Madonna lactans" waned from the 1440s through the 1470s because increased naturialism made the bare breast problematic; when the motif reappeared in the late fifteenth century , it was modified by making the Virgin less immediate and less accessible].

Source: Picturing Women in Renaissance and Baroque Italy. Edited by Geraldine A. Johnson and Sara F. Mathews Grieco . Cambridge University Press, 1997. Byzantine Studies Conference. Abstracts of Papers , 23., ( 1997): Pages 167 - 195.
Year of Publication: 1997.

155. Record Number: 6668
Author(s): Ambrosio, Francis J.
Contributor(s):
Title : On Seeing Fra Angelico's San Marco "Annunciation": The Place of Art [the author meditates on the meaning of Fra Angelico's painting at the monastery of San Marco; Ambrosio explores the painter's understanding of Dominican beliefs and practices as well as more general ideas including Mary as a metaphor for freedom and contemplation].

Source: Italian History and Culture , 3., ( 1997): Pages 87 - 154.
Year of Publication: 1997.

156. Record Number: 1589
Author(s): Smith, Lesley.
Contributor(s):
Title : Scriba, Femina: Medieval Depictions of Women Writing [appendix inventories the Western European manuscript illustrations that depict women writing].

Source: Women and the Book: Assessing the Visual Evidence. Edited by Lesley Smith and Jane H.M. Taylor . British Library and University of Toronto Press, 1997. Italian History and Culture , 3., ( 1997): Pages 21 - 44.
Year of Publication: 1997.

157. Record Number: 2573
Author(s): Varriano, John.
Contributor(s):
Title : Leonardo's Lost "Medusa" and Other Medici Medusas from the "Tazza Farnese" to Caravaggio

Source: Gazette des Beaux-Arts , 130., 1544 (septembre 1997): Pages 73 - 80.
Year of Publication: 1997.

158. Record Number: 1590
Author(s):
Contributor(s):
Title : Aesop's Cock and Marie's Hen: Gendered Authorship in Text and Image in Manuscripts of Marie de France's "Fables"

Source: Women and the Book: Assessing the Visual Evidence. Edited by Lesley Smith and Jane H.M. Taylor . British Library and University of Toronto Press, 1997. Gazette des Beaux-Arts , 130., 1544 (septembre 1997): Pages 45 - 56.
Year of Publication: 1997.

159. Record Number: 1592
Author(s):
Contributor(s):
Title : Mirrors of a Collective Past: Re-considering Images of Medieval Women [looks at the visual evidence provided by manuscript illuminations and paintings for women readers and women workers including bath attendants and midwives].

160. Record Number: 2094
Author(s):
Contributor(s):
Title : Le Roman de la Dame a la Lycorne et du Biau Chevalier au Lion: Text, Image, Rubric [argues that marginal instructions and illustrations prove a workshop collaboration between the "chef d'atelier" and the artist ; they both had read the romance and planned and executed illustrations to help readers understand the narrative's details and interpret the characters].

Source: French Studies , 51., 1 (January 1997): Pages 1 - 18.
Year of Publication: 1997.

161. Record Number: 5893
Author(s): Wright, Alison.
Contributor(s):
Title : Pollaiuolo's "Elevation of the Magdalen" Altar-piece and an Early Patron [the author traces the patronage of Pollaiuolo's painting to a Florentine notary in Staggia; she believes that the iconography of the penitential Magdalene receiving the Eucharist may have been requested by the patron; the Appendix transcribes three pertinent texts: the will of the patron, the patron's 1469 tax return, and the petition from Bruno di Ser Benedetto Grazzini (possibly the patron's son) for the redemption of his deceased wife's dowry (the wife Maddalena was the daughter of the painter Antonio del Pollaiuolo)].

Source: Burlington Magazine (Full Text via JSTOR) 139, 1132 (July 1997): 444-451. Link Info
Year of Publication: 1997.

162. Record Number: 2068
Author(s): Sydie, R.A.
Contributor(s):
Title : The Phallocentric Gaze: Leon Battista Alberti and Visual Art

Source: Journal of Historical Sociology , 10., 3 (September 1997): Pages 310 - 341.
Year of Publication: 1997.

163. Record Number: 2459
Author(s): Martindale, Andrew.
Contributor(s):
Title : Theodolinda: The Fifteenth-Century Recollection of a Lombard Queen [analysis of Theodolinda's meaning for the late medieval period, based on the art in the Theodolinda Chapel, the Cathedral's treasures associated with the queen, and the accounts by the fourteenth century chronicler Bonincontro and the eighth century historian, Paul the Deacon].

Source: The church retrospective: papers read at the 1995 Summer Meeting and the 1996 Winter Meeting of the Ecclesiastical History Society. Edited by R. N. Swanson Studies in Church History, 33. 1997. Journal of Historical Sociology , 10., 3 (September 1997): Pages 195 - 225.
Year of Publication: 1997.

164. Record Number: 1597
Author(s): Stanton, Anne Rudloff.
Contributor(s):
Title : From Eve to Bathsheba and Beyond: Motherhood in the Queen Mary Psalter [discussion of the many strong mothers portrayed in the manuscript ; in the Old Testament preface there are illustrations of Eve, Sarah, Hagar, Rebecca, Rachel, Hannah, and Bathsheba; in the New Testament illustrations of the Psalms there are illustrations of the Virgin Mary and the mothers of such saints as Thomas Becket and Nicholas of Myra].

Source: Women and the Book: Assessing the Visual Evidence. Edited by Lesley Smith and Jane H.M. Taylor . British Library and University of Toronto Press, 1997. Journal of Historical Sociology , 10., 3 (September 1997): Pages 172 - 189.
Year of Publication: 1997.

165. Record Number: 4349
Author(s): Even, Yael.
Contributor(s):
Title : Daphne (Without Apollo) Reconsidered: Some Disregarded Images of Sexual Pursuit in Italian Renaissance and Baroque Art

Source: Studies in Iconography , 18., ( 1997): Pages 143 - 159.
Year of Publication: 1997.

166. Record Number: 1869
Author(s): Muir Wright, Rosemary.
Contributor(s):
Title : The Great Whore in the Illustrated Apocalypse Cycles [traces the development of the image of the Whore of Babylon and discusses the impact that aristocratic female readers had on her representation in manuscripts both as the sovereign lady and as the evil other].

Source: Journal of Medieval History , 23., 3 (September 1997): Pages 191 - 210.
Year of Publication: 1997.

167. Record Number: 3670
Author(s): Coerver, Chad.
Contributor(s):
Title : Donna / Dono: Chivalry and Adulterous Exchange in the Quattrocento [the author analyzes the ethos of courtly love in the lives of two "condottieri," Pier Maria Rossi and Sigismondo Malatesta; the author argues that the chivalric ideal was important to these warriors because it was a means of self-justification in a situation that was hostile to the small principate].

Source: Picturing Women in Renaissance and Baroque Italy. Edited by Geraldine A. Johnson and Sara F. Mathews Grieco . Cambridge University Press, 1997. Journal of Medieval History , 23., 3 (September 1997): Pages 196 - 221.
Year of Publication: 1997.

168. Record Number: 816
Author(s): Warr, Cordelia.
Contributor(s):
Title : Painting in Late Fourteenth Century Padua: The Patronage of Fina Buzzacarini

Source: Renaissance studies : journal of the Society for Renaissance Studies , 10., 2 (June 1996): Pages 139 - 155.
Year of Publication: 1996.

169. Record Number: 1841
Author(s): Boyle, Marjorie O'Rourke.
Contributor(s):
Title : Coquette at the Cross? Magdalen in the Master of the Bartholomew Altar's Deposition at the Louvre [argues that Magdalen's depiction with gloves and ointment jar refers to her compassion not her earlier life as a courtesan ; the painting may have hung in the Antonite hospital in Paris and had special meaning for the patients, particularly those suffering from St. Anthony's Fire who would have had limbs amputated].

Source: Zeitschrift für Kunstgeschichte , 59., 4 ( 1996): Pages 573 - 577.
Year of Publication: 1996.

170. Record Number: 2381
Author(s): Rose-Lefmann, Deborah.
Contributor(s):
Title : As It Is Painted: Reflections of Image-Based Devotional Practices in the "Confessions" of Katherine Tucher [her journal records mystical visions of the intercession of Mary, the crucifixion, and Christ as the bridegroom; all are strongly influenced by popular religious paintings and prints].

Source: Studia Mystica New Series , 17., 2 ( 1996): Pages 185 - 204.
Year of Publication: 1996.

171. Record Number: 2543
Author(s): Martin, Nell Gifford.
Contributor(s):
Title : Vision and Violence in Some Gothic Meditative Imagery [analyzes manuscript images of ritual sacrifice (Jephthah's daughter and Abraham's offering of Isaac) and Christ's crucifixion for meanings conveyed by gender].

Source: Studies in Iconography , 17., ( 1996): Pages 311 - 348.
Year of Publication: 1996.

172. Record Number: 3582
Author(s): Sheingorn, Pamela.
Contributor(s):
Title : The Maternal Behavior of God: Divine Father as Fantasy Husband

Source: Medieval Mothering. Edited by John Carmi Parsons and Bonnie Wheeler . Garland Publishing, 1996. Gazette des Beaux-Arts , 128., 1532 (septembre 1996): Pages 77 - 99.
Year of Publication: 1996.

173. Record Number: 817
Author(s): Shepherd, Rupert.
Contributor(s):
Title : Francesca Venusta, the "Battle of San Ruffillo" and Giovanni Sabadino degli Arienti [Arienti's account of famous women mentions Francesca Venusta's patronage; She was a wealthy widow who probably commissioned the mural for the church of San Francesco to celebrate the Bolognese victory in 1361 over the forces of Bernabò Visconti].

Source: Renaissance studies : journal of the Society for Renaissance Studies , 10., 2 (June 1996): Pages 156 - 170.
Year of Publication: 1996.

174. Record Number: 1360
Author(s): Bennett, Adelaide.
Contributor(s):
Title : A Thirteenth-Century French Book of Hours for Marie [Marie, a laywoman, is named in one of the prayers; the manuscript is significant for its numerous and varied representations of women. Sixteen out of twenty-one historiated initials portray laywomen in religious devotion or in family scenes].

Source: Journal of the Walters Art Gallery , 54., ( 1996): Pages 21 - 50.
Year of Publication: 1996.

175. Record Number: 1374
Author(s): Barolsky, Paul and Anne Barriault
Contributor(s):
Title : Botticelli's "Primavera" and the Origins of the Elegiac in Italian Renaissance Painting [traces the theme of bittersweet loss in the paintings of Botticelli, Signorelli, Piero di Cosimo, Sebastiano del Piombo, and Titian].

Source: Gazette des Beaux-Arts , 128., 1532 (septembre 1996): Pages 63 - 70.
Year of Publication: 1996.

176. Record Number: 9516
Author(s): Demori Stanicic, Zoraida.
Contributor(s):
Title : Two Icons of Medieval Hvar

Source: Hortus Artium Medievalium , 2., ( 1996): Pages 43 - 54.
Year of Publication: 1996.

177. Record Number: 7811
Author(s): Vseteckova, Zuzana.
Contributor(s):
Title : The Cistercian Origin of the Osek Lectionary and the Mural Paintings in the Royal Chapel of the Cistercian Monastery of Plasy

Source: Cîteaux: Revue d'Histoire Cistercienne , 47., ( 1996): Pages 285 - 300.
Year of Publication: 1996.

178. Record Number: 656
Author(s): Cohen, Adam S.
Contributor(s):
Title : Devotion and Desire: Views of Women in the Middle Ages and Renaissance

Source: Letter Arts Review , 12., 4 ( 1996): Pages 30 - 35.
Year of Publication: 1996.

179. Record Number: 5676
Author(s): Karkov, Catherine E.
Contributor(s):
Title : Francesco Botticini's Palmieri Altar-piece [Matteo Palmieri commissioned the altarpiece from Botticini; the panel includes donor portraits of his wife Niccolosa (in a Benedictine habit) and himself; after Matteo's death Botticini and Niccolosa executed a document in 1477 agreeing that the contract for the altarpiece had been fulfilled; Niccolosa and Matteo's nephew acquired a chapel in S. Pier Maggiore where the altarpiece was installed and where Matteo was buried; the Appendix provides transcriptions of six documents, four concerning Botticini, one about the Palmieri chapel, and the first being the agreement between Niccolosa and Botticini].

Source: Burlington Magazine (Full Text via JSTOR) 138, 1118 (May 1996): 308-314. Link Info
Year of Publication: 1996.

180. Record Number: 2345
Author(s): Owen-Crocker, Gale R.
Contributor(s):
Title : Pomp, Piety, and Keeping the Woman in Her Place: The Dress of Cnut and Emma in BL MS Stowe 944

Source: Old English Newsletter , 29., 3 (Spring 1996):
Year of Publication: 1996.

181. Record Number: 148
Author(s): Dufresne, Laura Rinaldi
Contributor(s):
Title : Christine de Pizan's "Treasure of the City of Ladies": A study of Dress and Social Hierarchy [in four illustrated manuscripts].

Source: Woman's Art Journal , 16., 2 ( 1995- 1996): Pages 29 - 34. Available through JSTOR.
Year of Publication: 1995- 1996.

182. Record Number: 4845
Author(s): Parry, Joseph D.
Contributor(s):
Title : Narration and Quattrocento Annunciation Paintings [Winner of the 1996 Allen D. Breck Award].

Source: Journal of the Rocky Mountain Medieval and Renaissance Association , 17., ( 1995- 1996): Pages 188 - 200.
Year of Publication: 1995- 1996.

183. Record Number: 2450
Author(s): Brubaker, Leslie.
Contributor(s):
Title : Conclusion: Image, Audience, and Place : Interaction and Reproduction [includes a section entitled "The Gendered Audience: Women and Icons"].

Source: The Sacred Image East and West. Edited by Robert Ousterhout and Leslie Brubaker . Illinois Byzantine Studies IV. University of Illinois Press, 1995. Pages 204 - 220.
Year of Publication: 1995.

184. Record Number: 230
Author(s): Long, Jane C.
Contributor(s):
Title : Salvation Through Meditation: The Tomb Frescoes in the Holy Confessors Chapel at Santa Croce in Florence [one prominently portrays a female donor]

Source: Gesta (Full Text via JSTOR) 34, 1 (1995): 77-88. Link Info
Year of Publication: 1995.

185. Record Number: 476
Author(s): Petrakopoulos, Anja.
Contributor(s):
Title : Sanctity and Motherhood: Elizabeth of Thuringia

Source: Sanctity and Motherhood: Essays on Holy Mothers in the Middle Ages. Edited by Anneke B. Mulder-Bakker Garland Medieval Casebooks, 14. Garland Publishing, 1995. Pages 259 - 296.
Year of Publication: 1995.

186. Record Number: 1464
Author(s): Martens, Didier.
Contributor(s):
Title : La Vierge en majesté de l'ancien retable de la 5é d'Evora: Une oeuvre Brugeoise des années 1500 [ascribed to the Master of the André Madonna on stylistic grounds].

Source: Gazette des Beaux-Arts , 126., 1523 (décembre 1995): Pages 211 - 212.
Year of Publication: 1995.

187. Record Number: 1547
Author(s): Walter, Christopher.
Contributor(s):
Title : The Portrait of Saint Paraskeve [manuscript illuminations, wall paintings, and icons represent various saints with the name Paraskeve (of Epibata, of Iconium, the Roman, etc.)].

Source: Byzantinoslavica , 56., 3 ( 1995): Pages 753 - 757.
Year of Publication: 1995.

188. Record Number: 1548
Author(s): Emmanuel, Melita
Contributor(s):
Title : Some Notes on the External Appearance of Ordinary Women in Byzantium: Hairstyles, Headdresses: Text and Iconography [description of hairstyles and head coverings including nets, turbans, bonnets, and head cloths].

Source: Byzantinoslavica , 56., 3 ( 1995): Pages 769 - 778.
Year of Publication: 1995.

189. Record Number: 5673
Author(s): Gordon, Dillian and Anabel Thomas
Contributor(s):
Title : A New Document for the High Altar-piece for S. Benedetto Fuori della Porta Pinti, Florence [the document from the State Archives in Florence records the commission in 1407 of an altarpiece at S. Benedetto by a wealthy layman].

Source: Burlington Magazine (Full Text via JSTOR) 137, 1112 (November 1995): 720-722. Link Info
Year of Publication: 1995.

190. Record Number: 5558
Author(s): Klapisch-Zuber, Christiane.
Contributor(s):
Title : Les Noces feintes: sur quelques lectures de deux thèmes iconographiques dans les "cassoni" florentins [The author analyzes the scenes painted on a wedding cassone, formerly from the Rose Art Museum; scholars had believed that the scenes illustrated the story of lovers who reconciled their warring families from the "Istorietta Amorosa," but the author argu

Source: I Tatti Studies: Essays in the Renaissance , 6., ( 1995): Pages 11 - 30.
Year of Publication: 1995.

191. Record Number: 5651
Author(s): Gardner, Julian.
Contributor(s):
Title : Nuns and Altarpieces: Agendas for Research [the author examines a group of late thirteenth-century paintings from Italian nunneries and a group of fourteenth-century convent altarpieces, mostly from Florence; he then considers the social, cultural, and physical conditions in which these artworks were created and viewed; he concludes by asking what kind of control did the nuns have over artworks that were commissioned through middlemen and, for that matter, did the nuns even see the altarpieces located beyond the grills required by "clausura"].

Source: Römisches Jahrbuch der Bibliotheca Hertziana , 30., ( 1995): Pages 27 - 57.
Year of Publication: 1995.

192. Record Number: 5653
Author(s): Nelson, Jonathan.
Contributor(s):
Title : The Place of Women in Filippino Lippi's Nerli Altarpiece [the author argues that the donor portrait of Nanna, wife of Tanai de' Nerli, as well as the domestic scene in the background of husband, wife, and small child, were intended to enhance Tanai's role as husband and father; Nanna is not represented as an individual but as an ideal wife: modest, pious, and honorable].

Source: Italian History and Culture , 1., ( 1995): Pages 65 - 80.
Year of Publication: 1995.

193. Record Number: 5669
Author(s): Von Teuffel, Christa Gardner.
Contributor(s):
Title : The Contract for Perugino's "Assumption of the Virgin" at Vallambrosa [between 1498 and 1500, Perugino was commissioned to paint the altarpiece for the monks at Vallambrosa by Don Biagio Milanesi, member of a wealthy family and general of the order; the Appendix presents five documents related to the painting, including the contract, further instructions, a subcontract, a record of payment, and excerpts from Don Biagio's brother's will, demonstrating the family's support of the Vallambrosan order].

Source: Burlington Magazine (Full Text via JSTOR) 137, 1106 (May 1995): 307-312. Link Info
Year of Publication: 1995.

194. Record Number: 5674
Author(s): Gordon, Dillian.
Contributor(s):
Title : The Altar-piece by Lorenzo Monaco in the National Gallery, London [the author argues that Monaco's "Coronation of the Virgin" now in the National Gallery was the center panel of the altarpiece for S. Benedetto commissioned in 1407 by a wealthy layman; the text of that commission is reproduced in the Appendix, page 722 of the preceding article].

Source: Burlington Magazine (Full Text via JSTOR) 137, 1112 (November 1995): 723-727. Link Info
Year of Publication: 1995.

195. Record Number: 15
Author(s): Henderson, John.
Contributor(s):
Title : Miraculous Childbirth and the Portinari Altarpiece

Source: Art Bulletin (Full Text via JSTOR) 77, 2 (June 1995): 249-261. Link Info
Year of Publication: 1995.

196. Record Number: 5670
Author(s): Nash, Susie.
Contributor(s):
Title : A Fifteenth-Century French Manuscript and an Unknown Painting by Robert Campin [the author suggests that the illustration of the Virgin and child in the D'Ailly Hours was copied from a now-lost panel painting by Robert Campin; the author speculates that commissioners of manuscripts wanted copies of their favorite religious images in their prayer books in part because of their proven efficacy].

Source: Burlington Magazine (Full Text via JSTOR) 137, 1108 (July 1995): 428-437. Link Info
Year of Publication: 1995.

197. Record Number: 2446
Author(s): Hahn, Cynthia.
Contributor(s):
Title : Icon and Narrative in the Berlin Life of St. Lucy (Kupferstichkabinett MS. 78 A4)

Source: The Sacred Image East and West. Edited by Robert Ousterhout and Leslie Brubaker . Illinois Byzantine Studies IV. University of Illinois Press, 1995. Pages 72 - 90.
Year of Publication: 1995.

198. Record Number: 380
Author(s): Guest, Gerald B.
Contributor(s):
Title : A Discourse on the Poor: The Hours of Jeanne d'Evreux

Source: Viator , 26., ( 1995): Pages 153 - 180. Published under the auspices of the Center for Medieval and Renaissance Studies, University of California, Los Angeles
Year of Publication: 1995.

199. Record Number: 1163
Author(s): Brooks, Sarah T.
Contributor(s):
Title : The Double Portrait of Kale Kavalasea from Mistra [Kale is represented in secular and monastic dress along with her daughter and son].

Source: Byzantine Studies Conference. Abstracts of Papers , 21., ( 1995): Pages 79
Year of Publication: 1995.

200. Record Number: 1162
Author(s): van Dijk, Ann.
Contributor(s):
Title : Domus Sanctae Dei Genetricis Mariae: Art and Liturgy in the Oratory of Pope John VII (705-707)

Source: Byzantine Studies Conference. Abstracts of Papers , 21., ( 1995): Pages 76
Year of Publication: 1995.

201. Record Number: 2449
Author(s):
Contributor(s):
Title : The "Liber miraculorum" of Unterlinden: An Icon in Its Convent Setting [importance of images in nuns' and lay peoples' devotional practices based on a manuscript that records the miracles worked by an icon of Mary ; role played by spiritual advisers as the givers of images].

Source: The Sacred Image East and West. Edited by Robert Ousterhout and Leslie Brubaker . Illinois Byzantine Studies IV. University of Illinois Press, 1995. Byzantine Studies Conference. Abstracts of Papers , 21., ( 1995): Pages 147 - 190. Reprinted in The Visual and the Visionary: Art and Female Spirituality in Late Medieval Germany. By Jeffrey F. Hamburger. Zone Books, 1998. Pages 279-315.
Year of Publication: 1995.

202. Record Number: 150
Author(s):
Contributor(s):
Title : Case of the Beata Simona: Iconography, Hagiography, and Misogyny in Three Paintings by Taddeo di Bartolo

Source: Art History , 18., 2 (June 1995): Pages 154 - 184.
Year of Publication: 1995.

203. Record Number: 4683
Author(s):
Contributor(s):
Title : Hail Most Saintly Lady: Change and Continuity in Marian Altarpieces [The author analyzes two Sienese altarpieces in detail with comparisons to Florentine and Paduan altarpieces].

Source: Siena, Florence, and Padua: Art, Society, and Religion, 1280-1400. Volume II: Case Studies. Edited by Diana Norman . Yale University Press in association with The Open University, 1995. Art History , 18., 2 (June 1995): Pages 194 - 215.
Year of Publication: 1995.

204. Record Number: 1684
Author(s):
Contributor(s):
Title : Did Theophano Leave her Mark on the Ottonian Sumptuary Arts?

Source: The Empress Theophano: Byzantium and the West at the Turn of the First Millennium. Edited by Adelbert Davids . Cambridge University Press, 1995. Art History , 18., 2 (June 1995): Pages 169 - 193. This text appeared in German in Kaiserin Theophanu: Prinzessin aus der Fremde- des Westreichs Grosse Kaiserin. Edited by G. Wolf. Bohlau, 1991. Pages 263-278.
Year of Publication: 1995.

205. Record Number: 2448
Author(s):
Contributor(s):
Title : Reflections on St. Luke's Hand: Icons and the Nature of Aura in the Burgundian Low Countries During the Fifteenth Century [argues that the fifteen copies of Cambrai's "Virgin and Child" icon were commissioned as part of a fund raising effort for the liberation of Constantinople from the Ottomans].

Source: The Sacred Image East and West. Edited by Robert Ousterhout and Leslie Brubaker . Illinois Byzantine Studies IV. University of Illinois Press, 1995. Art History , 18., 2 (June 1995): Pages 132 - 146.
Year of Publication: 1995.

206. Record Number: 340
Author(s): Vasvari, Louise O
Contributor(s):
Title : Joseph on the Margin: The Mérode Tryptic and Medieval Spectacle [Joseph as Cuckold in paintings and in mystery plays]

Source: Mediaevalia , 18., ( 1995): Pages 163 - 189. (1995 (for 1992)) Published by the Center for Medieval and Early Renaissance Studies, State University of New York at Binghamton
Year of Publication: 1995.

207. Record Number: 238
Author(s): Harf-Lancner, Laurence.
Contributor(s):
Title : Serpente et le sanglier. Les manuscrits enluminés des deux romans français de "Mélusine"

Source: Moyen Age , 101., 1 ( 1995): Pages 65 - 87.
Year of Publication: 1995.

208. Record Number: 187
Author(s): Hunt, Lucy-Anne.
Contributor(s):
Title : Fine Incense of Virginity: A Late Twelfth Century Wallpainting of the Annuciation at the Monastery of the Syrians, Egypt

Source: Byzantine and Modern Greek Studies , 19., ( 1995): Pages 182 - 232.
Year of Publication: 1995.

209. Record Number: 231
Author(s): Smith, Susan L.
Contributor(s):
Title : Bride Stripped Bare: A Rare Type of the Disrobing of Christ

Source: Gesta (Full Text via JSTOR) 34, 2 (1995): 126-146. Link Info
Year of Publication: 1995.

210. Record Number: 92
Author(s): Shemek, Deanna
Contributor(s):
Title : Circular Definitions: Configuring Gender in Italian Renaissance Festival [races run by prostitutes in Ferrara's Palio di San Giogio].

Source: Renaissance Quarterly (Full Text via JSTOR) 48, 1 (Spring 1995): 1-40. Link Info
Year of Publication: 1995.

211. Record Number: 95
Author(s): Wood, Jeryldene M.
Contributor(s):
Title : Breaking the Silence: The Poor Clares and the Visual Arts in Fifteenth-Century Italy

Source: Renaissance Quarterly (Full Text via JSTOR) 48, 2 (Summer 1995): 262-286. Link Info
Year of Publication: 1995.

212. Record Number: 1527
Author(s): Calvo González, José.
Contributor(s):
Title : Femme et monstre dans l'imaginaire médiéval et de la Renaissance (Analyses narratives et idéographiques d'une allégorie)

Source: La Femme dans l' histoire et la société méridionales (IXe-XIXe S.): Actes du 66e congrés. . Fédération historique du Languedoc méditerranéen et du Roussillon, 1995. Pages 231 - 241.
Year of Publication: 1995.

213. Record Number: 1506
Author(s): Dufresne, Laura Rinaldi
Contributor(s):
Title : Women Warriors: A Special Case from the Fifteenth Century: "The City of Ladies" [manuscript illustrations from the later fifteenth century generally ignore or distort the military, moral, and heroic qualities of Christine's women warriors in favor of domestic scenes and aristocratic women's fashions].

Source: Women's Studies , 23., 2 ( 1994): Pages 111 - 131.
Year of Publication: 1994.

214. Record Number: 1810
Author(s): Gould, Cecil.
Contributor(s):
Title : The Early History of Leonardo's "Vierge aux Rochers" in the Louvre [argues that the earlier version of the painting was commandered by Il Moro as a wedding gift for his niece, Bianca Maria Sforza, and her new husband, the Emperor Maximilian I].

Source: Gazette des Beaux-Arts , 124., 1511 (décembre 1994): Pages 215 - 222.
Year of Publication: 1994.

215. Record Number: 5577
Author(s): Morgan, Nigel.
Contributor(s):
Title : The Coronation of the Virgin by the Trinity and Other Texts and Images of the Glorification of Mary in Fifteenth-Century England

Source: England in the Fifteenth Century: Proceedings of the 1992 Harlaxton Symposium. . Harlaxton Medieval Studies , 4., ( 1994): Pages 223 - 241.
Year of Publication: 1994.

216. Record Number: 6334
Author(s): Lyman, Brigitte.
Contributor(s):
Title : Enftflammen und Löschen: Zur Ikonographie des Liebeszaubers vom Meister des Bonner Diptychons

Source: Zeitschrift für Kunstgeschichte , 57., ( 1994): Pages 111 - 122.
Year of Publication: 1994.

217. Record Number: 9777
Author(s): Miligi, Giuseppe.
Contributor(s):
Title : Il pittore e la clarissa [Eustocha of Messina had ties to the Observant wing of the Franciscan Order. The painter Antonello da Messina lived in Messina at the same time and also had Franciscan ties. Pictures of Eustochia have their own iconography, but some also believe Antonello used her as a model for his Madonnas. Title note supplied by Feminae.].

Source: Francescanesimo al femminile: Chiara d'Assisi ed Eustochia da Messina. Edited by Giuseppe Miligi et al . EDAS, 1994. Zeitschrift für Kunstgeschichte , 57., ( 1994): Pages 59 - 114.
Year of Publication: 1994.

218. Record Number: 9779
Author(s): Pugliatti, Teresa.
Contributor(s):
Title : Santa Chiara, storie della sua vita e l'Annunciazione [The picture of St. Clare with scenes from her life and from the Annunciation, now in the Civic Museum of Messina, once was at the convent of Santa Maria di Basico. It may have been painted by a pupil of Antonello da Messina. Title note supplied by Feminae.].

219. Record Number: 1807
Author(s): Maginnis, Hayden B.J.
Contributor(s):
Title : Duccio's Rucellai: "Madonna" and the Origins of Florentine Painting

Source: Gazette des Beaux-Arts , 123., 1503 (avril 1994): Pages 147 - 164.
Year of Publication: 1994.

220. Record Number: 3346
Author(s):
Contributor(s):
Title : Images of Women in Anglo-Saxon Art V: Matron as Ring-giver in Harley 630 [The author argues that the illumination for Psalm 130.2 shows a mother blessing her departing son and giving him an armband, symbol of the property he will inherit].

Source: Old English Newsletter , 28., 1 (Fall 1994): Pages 22 - 24.
Year of Publication: 1994.

221. Record Number: 1919
Author(s): Ricco, John Paul.
Contributor(s):
Title : Queering Boundaries: Semen and Visual Representations from the Middle Ages and in the Era of the AIDS Crisis [analysis of the sexuality expressed in a carved corbel that represents two men tugging on each other's beards; comparison with recent paintings by Ridgeway Bennett].

Source: Edited by Whitney Davis Journal of Homosexuality , 27., 40180 ( 1994): Pages 57 - 80. Published simultaneously in Gay and Lesbian Studies in Art History. Edited by Whitney Davis. Haworth Press, 1994. 57-80
Year of Publication: 1994.

222. Record Number: 1956
Author(s): Lermack, Annette.
Contributor(s):
Title : The Historiated Initial of the St. Albans Psalter: Christina of Markyate's Textbook for the Monastic Life

Source: Manuscripta , 38., 3 (November 1994): Pages 197 - 198.
Year of Publication: 1994.

223. Record Number: 3516
Author(s): Roberts, Ann M.
Contributor(s):
Title : Chiara Gambacorta of Pisa as Patroness of the Arts [the author argues that Prioress Chiara Gambacorta had an important role in commissioning and in choosing the subject, style, and imagery of the paintings produced for the convent of San Domenico, many of which represented female saints including Catherine of Siena and Bridget of Sweden].

Source: Creative Women in Medieval and Early Modern Italy: A Religious and Artistic Renaissance. Edited by E. Ann Matter and John Coakley . University of Pennsylvania Press, 1994. Manuscripta , 38., 3 (November 1994): Pages 120 - 154.
Year of Publication: 1994.

224. Record Number: 1920
Author(s): Simons, Patricia.
Contributor(s):
Title : Lesbian (In)Visibility in Italian Renaissance Culture: Diana and Other Cases of "donna con donna"

Source: Edited by Whitney Davis Journal of Homosexuality , 27., 40180 ( 1994): Pages 81 - 122. Published simultaneously in Gay and Lesbian Studies in Art History. Edited by Whitney Davis. Haworth Press, 1994. 81-122
Year of Publication: 1994.

225. Record Number: 3463
Author(s): Schibanoff, Susan.
Contributor(s):
Title : Botticelli's "Madonna del Magnificat": Constructing the Woman Writer in Early Humanist Italy

Source: PMLA: Publications of the Modern Language Association of America (Full Text via JSTOR) 109, 2 (March 1994): 190-206. Link Info
Year of Publication: 1994.

226. Record Number: 1556
Author(s): Bolduc, Michelle
Contributor(s):
Title : The Disruptive Discourse: Women in the Margins of the "Bayeux Tapestry" and the "Hours of Catherine de Clèves"

Source: Romance Languages Annual , 6., ( 1994): Pages 18 - 22.
Year of Publication: 1994.

227. Record Number: 1358
Author(s): Holladay, Joan A.
Contributor(s):
Title : The Education of Jeanne d'Evreux: Personal Piety and Dynastic Salvation in her Book of Hours at the Cloisters [analysis of the illustrations in the section of the Hours of Saint Louis; the saint-king ancestor is portrayed as a model for the young queen in his charitable acts and the honor he brought the royal family].

Source: Art History , 17., 4 (December 1994): Pages 585 - 611.
Year of Publication: 1994.

228. Record Number: 1507
Author(s): Even, Yael.
Contributor(s):
Title : Andrea del Castagno's "Eve": Female Heroes as Anomalies in Italian Renaissance Art

Source: Woman's Art Journal (Full Text via JSTOR) 14, 2 (Fall 1993/Winter 1994): 37-42. Link Info
Year of Publication: 1993-1994.

229. Record Number: 12728
Author(s): Hull, Vida J.
Contributor(s):
Title : The Sex of the Savior in Renaissance Art: The Revelations of Saint Bridget and the Nude Christ Child in Renaissance Art [Bridget's description of the nude Christ child at the Nativity, written during the fourteenth century, had a strong influence on fifteenth century visual representations of the Christ child, who was often depicted as naked infant with genitals in open view. The exposure of the Christ child's penis is a moment of revelation that displays His gender and also exemplifies His humanity. This was a common motif in the Brigittine scenes of the Nativity and the Adoration of the Shepherds, but was later transferred into other contexts, such as the Adoration of the Magi and devotional images of the Virgin and Child. Title note supplied by Feminae.].

Source: Studies in Iconography , 15., ( 1993): Pages 77 - 112.
Year of Publication: 1993.

230. Record Number: 10364
Author(s): Shell, Janice and Grazioso Sironi
Contributor(s):
Title : Cecilia Gallerani: Leonardo’s Lady with an Ermine [The authors identify the sitter for Leonardo’s portrait as Cecilia Gallerani, the mistress of Duke Ludovico Sforza. It is not the lady’s resemblance to other women in other contemporary portraits but the iconography of the painting that identifies her. She holds an ermine (weasel) because Sforza's emblem was the ermine, or because the Greek word for ermine is “gale” (a pun on the lady’s surname). Cecilia may also have been the model for the pointing angel in Leonardo’s “Virgin of the Rocks.” The Appendix transcribes six Latin documents concerning Cecilia. Title note supplied by Feminae.].

Source: Artibus et Historiae , 13., 25 ( 1992): Pages 47 - 66.
Year of Publication: 1992.

231. Record Number: 6270
Author(s): Francalanci, Andrea.
Contributor(s):
Title : Le tre grazie della "Primavera" del Botticelli: La danza fra allegoria e realtà storica [Botticelli organized the figures in the "Primavera" using the configurations of a dance; court dance was just being developed in this period with geometric circles, with their philosophical implication of perfection, and hierarchic lines as possible configurations; the meaning assigned to the figures in the painting vary, but a courtier of the period could imagine the interactions of various symbolic figures in a meaningful dance].

Source: Medioevo e Rinascimento , ( 1992): Pages 23 - 37.
Year of Publication: 1992.

232. Record Number: 6603
Author(s): Blum, Shirley Neilsen.
Contributor(s):
Title : Hans Memling's "Annunciation" with Angelic Attendants [the author argues that Memling's interpretation is unique in his emphasis on Mary and the doctrinal meaning of the moment of the incarnation; the author cites imagery and iconography that convey purity, the nuptial bed, and the blessed womb].

Source: Metropolitan Museum Journal , 27., ( 1992): Pages 43 - 58.
Year of Publication: 1992.

233. Record Number: 9547
Author(s): Lewis, Suzanne.
Contributor(s):
Title : Images of Opening, Penetration, and Closure in the "Roman de la Rose" [Illuminations in the "Roman de la Rose" frequently interpret the text. Many of the images, particularly that of Narcissus, deal with self-love and romantic illusions. When the lover's plucking of the Rose is illustrated, the artists frequently depict the rape of an entirely passive woman. Title note supplied by Feminae.].

Source: Word and Image , 8., 3 (July-September 1992): Pages 215 - 242.
Year of Publication: 1992.

234. Record Number: 9548
Author(s): Gaggi, Silvio.
Contributor(s):
Title : The Tie that Binds: "Arnolfini's Wedding" and Ideology [Van Eyck's painting has been interpreted as legal documentation of a consensual marriage. The artist's signature is documentary in nature. Although portraits had no evidentiary value in law, Van Eyck depicted the values of merchants who tried to reconcile religion with their focus on property transactions. Title note supplied by Feminae.].

Source: Word and Image , 8., 4 (October-December 1992): Pages 344 - 350.
Year of Publication: 1992.

235. Record Number: 10279
Author(s): Ladis, Andrew.
Contributor(s):
Title : Immortal Queen and Mortal Bride: the Marian Imagery of Ambrogio Lorenzetti's Cycle at Montesiepi [The author describes the depiction of Mary as both a bride and a queen in one fourteenth-century cycle. Title note supplied by Feminae.].

Source: Gazette des beaux-arts , 119., (mai-juin 1992): Pages 189 - 200.
Year of Publication: 1992.

236. Record Number: 10300
Author(s): Hepburn, Frederick.
Contributor(s):
Title : The Portraiture of Lady Margaret Beaufort [The article surveys the various surviving portraits of Lady Margaret Beaufort, Countess of Richmond and Derby. Title note supplied by Feminae.].

Source: Antiquaries Journal , 72., ( 1992): Pages 118 - 140.
Year of Publication: 1992.

237. Record Number: 14682
Author(s): Smith, Jeffrey Chipps.
Contributor(s):
Title : Margaret of York and the Burgundian Portrait Tradition [The author surveys nine surviving manuscript paintings of Margaret, arguing that she was the first Burgundian duchess to develop an individualized image. Her representations emphasize her devotional piety and charity but also take motifs from ducal portraits. Title note supplied by Feminae.].

Source: Margaret of York, Simon Marmion, and "The Visions of Tondal": Papers Delivered at a Symposium organized by the Department of Manuscripts of the J. Paul Getty Museum in Collaboration with the Huntington Library and Art Collections, June 21-24, 1990. Edited by Thomas Kren . J. Paul Getty Museum, 1992. Antiquaries Journal , 72., ( 1992): Pages 47 - 56.
Year of Publication: 1992.

238. Record Number: 10296
Author(s): Rigaux, Dominique.
Contributor(s):
Title : The Franciscan tertiaries at the convent of Sant'Anna at Foligno [The author considers a series of late-fourteenth-century and fifteenth-century "meal scene" frescoes as documents of Franciscan spirituality. Title note supplied by Feminae.].

Source: Gesta 31, 2 (1992): 92-98. Link Info
Year of Publication: 1992.

239. Record Number: 20785
Author(s): Larsen, Britta Martensen
Contributor(s):
Title : Die Bedeutung mittelalterlicher Miniaturen für Carl Th. Dreyers Film "La Passion de Jeanne d'Arc" [Analyzes the similarities between the sets designed by Hermann Warm for the 1927 film "La Passion de Jeanne d'Arc" and the illuminated miniatures in the Livre des Merveilles and Les très riches heures du Duc de Berry.Title note supplied by Feminae.]

Source: Zeitschrift für Kunstgeschichte , 51., ( 1992): Pages 136 - 149.
Year of Publication: 1992.

240. Record Number: 20786
Author(s): Thürlemann, Felix
Contributor(s):
Title : Das Lukas-Tryptichon in Stolzenhain: Ein verlorenes Hauptwerk von Robert Campin in einer Kopie aus der Werkstatt Derick Baegerts [Compares the different versions of the triptych's middle panel and related issues of provenance; also examines Baegerts work with that of Campin (specifically the Merode Triptych). Minute details of the painting-such as the scenic background and use of evangelists' symbols-are used to delineate the work of Baegert from that of his workshop. Title note supplied by Feminae.]

Source: Zeitschrift für Kunstgeschichte , 51., ( 1992): Pages 524 - 564.
Year of Publication: 1992.

241. Record Number: 8736
Author(s): Hoch, Adrian S.
Contributor(s):
Title : Beata stirps, Royal Patronage, and the Identification of the Sainted Rulers in the St. Elizabeth Chapel at Assisi [The author argues that the frescoes in the Assisi chapel of saintly rulers honor Elizabeth of Hungary and her royal and saintly kin. The author suggests that Mary of Hungary commissioned the work from Simone Martini as a way of memorializing her ancestor

Source: Art History , 15., 3 (September 1992): Pages 279 - 295.
Year of Publication: 1992.

242. Record Number: 10365
Author(s): Bull, David.
Contributor(s):
Title : Two Portraits by Leonardo: "Ginevra de’ Benci" and the "Lady with an Ermine."

Source: Artibus et Historiae , 13., 25 ( 1992): Pages 67 - 83.
Year of Publication: 1992.

243. Record Number: 8682
Author(s): Gordon, Dillian.
Contributor(s):
Title : A New Discovery in the Wilton Diptych [The author announces a small detail found during intense examination prior to cleaning. At the top of the banner there is a tiny map showing an island with a white castle. The author argues that it is intended to represent the island of Britain that is given to Mary as the "dos Mariae." King Richard is waiting to receive back the banner in order to rule Britain with the blessing of the Virgin. Title note supplied by Feminae.].

Source: Burlington Magazine (Full Text via JSTOR) 134, 1075 (October 1992): 662-667. Link Info
Year of Publication: 1992.

244. Record Number: 10195
Author(s):
Contributor(s):
Title : Images of Women in Anglo-Saxon Art III: A Paean for a Queen: The Frontispiece to the "Encomium Emmae Reginae"

Source: Old English Newsletter , 26., 1 (Fall 1992): Pages 56 - 58.
Year of Publication: 1992.

245. Record Number: 10269
Author(s): Leja, Meg
Contributor(s):
Title : Mythology, Women and Renaissance Private Life: the Myth of Eurydice in Italian Furniture Painting [The author considers the increasing focus on Eurydice's suffering and death, as well as on her feminine desirability, in Renaissance Italian furniture painting featuring the Orpheus myth. Title note supplied by Feminae.].

Source: Art History , 15., 2 ( 1992): Pages 127 - 145.
Year of Publication: 1992.

246. Record Number: 6602
Author(s): Martens, Maximiliaan P. J.
Contributor(s):
Title : The Epitaph of Anna van Nieuwenhove [the author argues that the donor portrait of a young woman with St. Anne, the Virgin, and the infant Christ was intended to memorialize Anna de Blasere who died shortly after giving birth; the painting probably hung in the Church of Our Lady in Bruges near the Nieuwenhove family monument].

Source: Metropolitan Museum Journal , 27., ( 1992): Pages 37 - 42.
Year of Publication: 1992.

247. Record Number: 10270
Author(s): Olsen, Christina.
Contributor(s):
Title : Gross expenditure: Botticelli's Nastagio degli Onesti Panels [The article traces the themes of consumption and extravagance in four Botticellan panels. Title note supplied by Feminae.].

Source: Art History , 15., 2 ( 1992): Pages 146 - 170.
Year of Publication: 1992.

248. Record Number: 11429
Author(s): Wright, Rosemary Muir.
Contributor(s):
Title : The Virgin in the Sun and in the Tree [The author explores motifs and theological ideas which contributed to the image of the coronation of the Virgin. Wright argues that secular queenship has very little in common with this image that placed Mary above mortal women. Title note supplied by Feminae.].

Source: Women and Sovereignty. Edited by Louise Olga Fradenburg. Cosmos: The Yearbook of the Traditional Cosmology Society, volume 7 Cosmos: The Yearbook of the Traditional Cosmology Society, 7. Edinburgh University Press, 1992. Art History , 15., 2 ( 1992): Pages 36 - 59.
Year of Publication: 1992.

249. Record Number: 8486
Author(s): Guerrini, Paola.
Contributor(s):
Title : Il Bessarione a Grottaferrata: un'ipotesi sulla donazione dell'icona [Bessarion of Nicaea, while a cardinal resident in Rome, was commendatory abbot of the abbey at Grottaferrata. Among his donations to the abbey was an icon of the Virgin Mary painted in a Byzantine pictorial style. Although some elements of the painting are common to Rome in the Middle Ages, some elements, especially the inclusion of Saint Nilus in the triptych, are purely local to Grottaferrata. Title note supplied by Feminae.].

Source: Studi Medievali , 32., 2 (Dicembre 1991): Pages 807 - 814.
Year of Publication: 1991.

250. Record Number: 11046
Author(s): Baskins, Cristelle L.
Contributor(s):
Title : Griselda, or the Renaissance Bride Stripped Bare by Her Bachelor in Tuscan "Cassone Painting" [The author discusses key scenes of Griselda's bridal nudity in Renaissance cassone painting, and argues that these depictions resist simple interpretations either as allegorical icons or reflections of social history. Title note supplied by Feminae.].

Source: Stanford Italian Review , 10., 2 ( 1991): Pages 153 - 175.
Year of Publication: 1991.

251. Record Number: 11225
Author(s):
Contributor(s):
Title : A Relic, Some Pictures and the Mothers of Florence in the Late Fourteenth Century

Source: Gesta (Full Text via JSTOR) 30, 2 (1991): 91-99. Link Info
Year of Publication: 1991.

252. Record Number: 10891
Author(s): Hunt, Lucy-Anne
Contributor(s):
Title : A Woman’s Prayer to Saint Sergios in Latin Syria: Interpreting a Thirteenth-century Icon at Mount Sinai [The icons at Saint Catherine’s Monastery at Mount Sinai include one depicting a black-veiled woman keeling in prayer before an equestrian Saint Sergios. The symbolic significance of the woman’s black veil is unknown, but the painting may indicate the imp

Source: Byzantine and Modern Greek Studies , 15., ( 1991): Pages 96 - 145.
Year of Publication: 1991.

253. Record Number: 16585
Author(s): Wood, Jeryldene.
Contributor(s):
Title : Perceptions of Holiness in Thirteenth-Century Italian Painting: Claire of Assisi [The author describes the thirteenth-century historiated dossals (Italian panel paintings that were hung in front of or behind an altar) of Saint Francis and Saint Clare in the church of Santa Chiara in Assisi, Italy. The author argues that the papal codification of sainthood through canonization during the thirteenth century and the hagiographical writings of Thomas of Celano influenced the visual representations of Francis and Clare. The Santa Chiara Dossal at Assisi was the first thirteenth-century painting dedicated to a female monastic; its depiction of Clare as an active and determined woman stands in marked contrast to images of humble and submissive brides of Christ. Title note supplied by Feminae].

Source: Art History , 14., 3 (September 1991): Pages 301 - 322.
Year of Publication: 1991.

254. Record Number: 11211
Author(s): Dronke, Peter.
Contributor(s):
Title : The Symbolic Cities of Hildegard of Bingen [Hildegard’s image of the Heavenly City of Jerusalem employs complex symbolism, combining imagery of the city as a flowering garden, as a cosmic tree, and as a place built of precious stones. Hildegard fuses this bud, stone, and tree imagery from Biblical and literary sources, especially the "Apocalypse of John," a Christian allegory by the second-century author Hermas, and “The City of God” by Saint Augustine. Similar metaphors drawn from nature (including images of the cosmos as an egg) run through Hildegard’s other major works. Title note supplied by Feminae.].

Source: Journal of Medieval Latin , 1., ( 1991): Pages 168 - 183.
Year of Publication: 1991.

255. Record Number: 9541
Author(s): Baskins, Cristelle L.
Contributor(s):
Title : “La Festa di Susanna”: Virtue on Trial in Renaissance Sacred Drama and Painted Wedding Chests [The author examines paintings of Susanna that appear on many fifteenth-century cassoni (wedding chests given to brides upon marriage and also used to transport dowry goods). In fifteenth-century Florence, cassoni paintings and sacred theatrical performances (“sacre rappresentazioni”) engaged in a problematic display of feminine virtue. Domenico di Michelino’s “Susanna and the Elders” panel, originally a cassone painting, depicts scenes from “La Festa di Susanna” (a fifteenth-century “sacra rappresentazione”) along with events from the Biblical narrative. The painting thus invites the viewer to consider not only the example of the Biblical heroine Susanna but also a larger host of contemporary legal, economic, and social issues. Title note supplied by Feminae.].

Source: Art History , 14., 3 (September 1991): Pages 329 - 344.
Year of Publication: 1991.

256. Record Number: 13048
Author(s): Stanton, Anne Rudloff
Contributor(s):
Title : The Role of Women in the Old Testament Preface of the "Queen Mary Psalter"

Source: Manuscripta , 35., 3 (November 1991): Pages 171
Year of Publication: 1991.

257. Record Number: 12670
Author(s): Dufresne, Laura Rinaldi
Contributor(s):
Title : A Woman of Excellent Character: A Case Study of Dress, Reputation, and the Changing Costume of Christine de Pizan in the Fifteenth Century [The author surveys fifteenth century manuscript representations of Christine de Pizan. During her lifetime in manuscripts prepared under her supervision, Christine is presented in modest dress as befits a scirbe and court author. This is in keeping with the message of "Le Trésor" which emphasizes proper conduct for women of every social group. Manuscripts from later in the century, however, give her greater authority by depicting her in furs, elaborate headdresses, and other fashions of contemporary high-born ladies. Title note supplied by Feminae.].

Source: Dress: Annual Journal of the Costume Society of America , 17., ( 1990): Pages 104 - 117.
Year of Publication: 1990.

258. Record Number: 12682
Author(s): Corrie, Rebecca W.
Contributor(s):
Title : The Political Meaning of Coppo di Marcovaldo's Madonna and Child in Siena

Source: Gesta (Full Text via JSTOR) 29, 1 (1990): 61-75. Link Info
Year of Publication: 1990.

259. Record Number: 12677
Author(s): Mills, James.
Contributor(s):
Title : Sexuality in the Danish Medieval Wall-Paintings [The author briefly surveys wall paintings with sexual content in both Denmark and the parts of Sweden that were under the control of Denmark. Many of the paintings depict the punishment of sexual sinners in the afterlife. Title note supplied by Feminae.]

Source: Homo Carnalis: The Carnal Aspect of Medieval Human Life. Edited by Helen Rodite Lemay Acta . Center for Medieval and Early Renaissance Studies, State University of New York at Binghamton, 1990. Dress: Annual Journal of the Costume Society of America , 17., ( 1990): Pages 129 - 139. Papers presented at a conference held at the State University of New York at Stony Brook in 1987
Year of Publication: 1990.

260. Record Number: 12699
Author(s): Brown, David Alan.
Contributor(s):
Title : Leonardo and the Ladies with the Ermine and the Book [Although Isabella d'Este and Cecilia Gallerani were both active, fashionable, and learned patrons of letters, Leonardo da Vinci (who was patronized by both) depicts the women very differently in his paintings. Cecilia appears in Leonardo's "Lady with the Ermine" as a lively woman whose gaze faces the viewer, but Isabella d'Este appears in Leonardo's drawings as more stately and reserved, sometimes pointing at a book. Isabella likely played a large role in shaping her own image in her portraits, preferring more formal and Classical motifs including the profile pose. Title note supplied by Feminae.].

Source: Artibus et Historiae , 11., 21 ( 1990): Pages 47 - 61.
Year of Publication: 1990.

261. Record Number: 12744
Author(s): Balas, Edith.
Contributor(s):
Title : Cybele and Her Cult in Andrea Mantegna's "The Triumph of Caesar" [English adaptation of French abstract: The article explains in detail the presence, never before noted, of the pagan goddess Cybele in the series of paintings by Mantegna, "The Triumph of Caesar." Mantegna draws upon Classical and early medieval art and literature in order to present Cybele in different roles: political, military, and religious. The author analyzes Cybele in relation to her cult, suggesting that, during the time of Julius Caesar, she became a national goddess. She was carried along from Gaul by the army for protection, and was brought into Rome in triumph as a spoil of war. Title note supplied by Feminae.].

Source: Gazette des Beaux-Arts , 115., (January 1990): Pages 1 - 14.
Year of Publication: 1990.

262. Record Number: 12755
Author(s): Leveto, Paula D.
Contributor(s):
Title : The Marian Theme of the Frescoes in Santa Maria at Castelseprio

Source: Art Bulletin , 72., 3 ( 1990): Pages 391 - 413.
Year of Publication: 1990.

263. Record Number: 14553
Author(s): Bennett, Adelaide.
Contributor(s):
Title : A Book Designed for a Noblewoman: An Illustrated "Manuel des Péchés" of the Thirteenth Century [The author analyzes a manuscript made for the noble woman Joan Tateshal of Lincolnshire. The devotional and didactic texts include a manual on confession with sixty exempla underlining the moral points (see Appendix I for a listing of the exempla). Joan Tateshal is represented twice in the manuscript, not in the typical pose praying before an altar but standing in a more commanding position. Title note supplied by Feminae.].

Source: Medieval Book Production: Assessing the Evidence. Edited by Linda L. Brownrigg . Proceedings of the Second Conference of the Seminar in the History of the Book to 1500, Oxford July 1988. Anderson-Lovelace, 1990. Art Bulletin , 72., 3 ( 1990): Pages 163 - 181.
Year of Publication: 1990.

264. Record Number: 12700
Author(s): Fabianski, Marcin.
Contributor(s):
Title : Federigo da Montefeltro's "Studiolo" in Gubbio Reconsidered. Its Decoration and Its Iconographic Program: An Interpretation [The series of painted panels in a duke's study, attributed to fifteenth century painter Joos van Gent (also known as Justus of Ghent or Giusto da Guanto), depict men kneeling before female personifications of the Liberal Arts. Although the exact attribution, purpose, or arrangement of the panels is unknown, the author suggests a team of artists was instructed to follow a program of iconography of the Arts and Virtues, with revisions to the program (including the inclusion of a duke's likeness and an oration scene) made at the request of the patron. Title note supplied by Feminae.].

Source: Artibus et Historiae , 11., 22 ( 1990): Pages 199 - 214.
Year of Publication: 1990.

265. Record Number: 12745
Author(s): Harbison, Craig.
Contributor(s):
Title : Sexuality and Social Standing in Jan van Eyck's Arnolfini Double Portrait [The painting of Giovanni Arnolfini and his wife Giovanna Cenami depict the couple holding hands while standing in the bedroom, but the rest of the iconography and inscriptions throughout the image do not necessarily suggest that the double portrait is the visual equivalent of a marriage certificate or contract. The visual representation of husband and wife (including gestures and iconography) is instead a more generalized image of marriage that reflects the importance of fertility and defined sexual roles for men and women. Furthermore, the artist's detailed depiction of domestic space projects the social status, courtly aspirations, and religious values of the merchant class Arnolfini couple. Title note supplied by Feminae.].

Source: Renaissance Quarterly , 43., 2 (Summer 1990): Pages 249 - 291.
Year of Publication: 1990.

266. Record Number: 28553
Author(s):
Contributor(s):
Title : Bathsheba

Source: http://upload.wikimedia.org/wikipedia/commons/thumb/8/86/Hans_Memling_-_Bathsheba_-_WGA14921.jpg/250px-Hans_Memling_-_Bathsheba_-_WGA14921.jpg
Year of Publication:

267. Record Number: 40436
Author(s):
Contributor(s):
Title : Saint Helena Bringing the True Cross to Jerusalem (detail)

Source:
Year of Publication:

268. Record Number: 43340
Author(s):
Contributor(s):
Title : Joan of Arc

Source:
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269. Record Number: 45169
Author(s):
Contributor(s):
Title : Nuns’ choir at Wienhausen Abbey

Source:
Year of Publication: