Notes on Contributors

Tina Waldeier Bizzarro, PhD, Bryn Mawr College and Professor of the History of Art at Rosemont College, also teaches Ireland's visual culture and icon painting at Villanova University. She has received many fellowships, most recently to conduct archival work and lecturing at Princess Grace Irish Library, Monaco, and a Fulbright to study Sicilian performative ritual of feste and roadside shrines, about which she is writing a book. She is also preparing a second volume to Romanesque Architectural Criticism: A Prehistory.

Bruno Boerner received his PhD from the University of Fribourg, Switzerland, in 1994. He is currently Professor of Art History at the Université de Rennes (France). His publications on medieval art include: Par caritas par meritum, Studien zur Theologie des gotischen Weltgerichtsportals in Frankreich-am Beispiel des mittleren Westeingangs von Notre-Dame in Paris (1998); Bildwirkungen: Die kommunikative Funktion mittelalterlicher Skulpturen (2008); "L'Iconographie du portail peint," in Peter Kurmann, ed., La cathédrale Notre Dame de Lausanne: monument européen, temple vaudois (2012), pp. 139-173; and "L'Iconographie des portails sculptés des cathédrales gothiques: Les parcours et les fonctions rituels," in Paolo Piva, ed., Art médiéval: Les voies de l'espace liturgique (2010), pp. 221-261.

Michelle P. Brown, FSA, was Curator of Illuminated Manuscripts at the British Library, London, for more than 17 years and latterly fronted its regional outreach program and served as a Digital Curator. She is now Professor Emerita of Medieval MS Studies at the School of Advanced Study, University of London, a Visiting Professor at University College London and Baylor University, and a Senior Research Fellow at the University of Oslo. She was also a Lay Canon and Member of Chapter at St. Paul's Cathedral. She has lectured, broadcast, and published widely on medieval history, art history, and manuscript studies, has curated several major exhibitions (including the World of the Lindisfarne Gospels at the BL and Bibles Before the Year 1000 at the Smithsonian), and had co-responsibility for setting up the exhibition galleries at the new British Library building at St. Pancras in 1998. Her publications include: A Guide to Western Historical Scripts from Antiquity to 1600 (1990; rev. edns. 1994, 1999); Understanding Illuminated Manuscripts: A Glossary of Technical Terms (1994); The Lindisfarne Gospels: Society, Spirituality and the Scribe (2003); The Lion Companion to Christian Art (2008); The Luttrell Psalter (2006); The Holkham Bible (2008); and Art of the Islands: Celtic, Pictish, Anglo-Saxon and Viking Visual Culture (2016).

Brigitte Buettner is the Louise I. Doyle '34 Professor of Art at Smith College. After writing about late medieval manuscripts, Valois court culture, and female patronage, her research interests have taken her in the direction of objects. She currently is finishing a book on the cultural uses and meanings of precious stones in the Middle Ages.

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

Madeline Harrison Caviness is the Mary Richardson Professor Emeritus of Tufts University. Among numerous publications other than those cited in her article are: Reconfiguring Medieval Art: Difference, Margins, Boundaries (2001); and, with Jeffrey Weaver, The Ancestors of Christ Windows at Canterbury Cathedral (2013). She is a fellow of the Society of Antiquaries of London, the Medieval Academy of America, and the American Academy of Arts and Sciences.

Adam S. Cohen is Associate Professor in the Department of the History of Art at the University of Toronto. His research has focused on Northern European art of the tenth and eleventh centuries, with publications that include The Uta Codex: Art, Philosophy and Reform in Eleventh-Century Germany and articles in Speculum, Gesta, and Scriptorium. With Linda Safran, he is the current editor of Gesta; with Safran and Jill Caskey he is writing Art and Architecture of the Middle Ages.

Michael Curschmann was Professor of Germanic Languages and Literatures Emeritus at Princeton University. He wrote variously on German and Old Norse literature between the twelfth and sixteenth centuries and fifteenth/sixteenth-century music. His publications on the relationship between word and image in medieval culture have been republished as Wort - Bild - Text: Studien zur Medialität des Literarischen in Hochmittelalter und früher Neuzeit. 2 vols. (2007). More recent studies are: Das Buch am Anfang und Ende des Lebens: Wernhers Maria und das Credo Jeans de Joinville (2008); "From Myth to Emblem to Panorama," in J. Eming et al., eds., Visuality and Materiality in the Story of Tristan and Isolde, (2012), pp. 107-129; "Duo bellatores: Varianten einer diagrammatischen Darstellungskonvention," in E.C. Lutz et al., eds., Diagramm und Text (2014), pp. 23-43; and "Integrating Anselm: Pictures and the Liturgy in a Twelfth-Century Manuscript of the 'Orationes sive Meditationes,'" in S. Boynton and D.J. Reilly, eds., Resounding Images: Medieval Intersections of Art, Music and Sound (2015), pp. 295-312.

Thomas E.A. Dale is Professor of Medieval Art at the University of Wisconsin-Madison. His publications on Romanesque art include: Relics, Prayer and Politics in Medieval Venetia: Romanesque Mural Painting in the Crypt of Aquileia Cathedral (1997); "Monsters, Corporeal Deformities and Phantasms in the Romanesque Cloister of St-Michel de Cuxa," Art Bulletin, 83, 3 (2001), pp. 402-436; "Rudolf von Schwaben, the Individual and the Resurrected Body in Romanesque Portraiture," Speculum, 77, 3 (2002), pp. 707-743; "Romanesque Sculpted Portraits: Convention, Vision and Real Presence," Gesta, 46, 2 (2007), pp. 101-119; "Romanesque Mural Painting, Colour and Multi-Sensory Religious Experience," in Column Hourihane, ed., From Minor to Major: The Minor Arts and Their Current Status in Art History (2012), pp. 23-42; and as editor/contributor with John Mitchell, Shaping Sacred Space and Institutional Identity in Romanesque Mural Painting: Essays in Honour of Otto Demus (2004). He has just completed a book manuscript entitled Living Statues: Romanesque Sculpture, the Senses and Religious Experience.

Peter Fergusson is the Feldberg Professor Emeritus in Art History at Wellesley College. His scholarly publications are focused on the architectural patronage and institutional identity of the twelfth-century reform movements in England, especially the Cistercians and Benedictines.

Eric Fernie is Professor and Director Emeritus of the Courtauld Institute of Art, University of London. His books include: The Architecture of the Anglo-Saxons (1983); An Architectural History of Norwich Cathedral (1993); Art History and Its Methods (1995); The Architecture of Norman England (2000); and Romanesque Architecture: the First Style of the European Age (2014).

Jaroslav Folda is N. Ferebee Taylor Professor of the History of Art, Emeritus, at the University of North Carolina. He has published a series of studies on the art and architecture of the Crusaders in the Holy Land, which have appeared as books and articles, and essays and entries in exhibition catalogs. His book, Art of the Crusaders in the Holy Land, 1098-1187 (1995), was awarded the Haskins Medal by the Medieval Academy of America. The second volume of this two-volume study, entitled Crusader Art in the Holy Land, from the Third Crusade to the Fall of Acre: 1187-1291, appeared in 2005. His final book in this series was published in 2015: Byzantine Art and Italian Panel Painting: The Virgin and Child Hodegetria and the Art of Chrysography.

Shirin Fozi (PhD Harvard University, 2010) is Assistant Professor of the History of Art and Architecture at the University of Pittsburgh. Her research has been supported by the Andrew W. Mellon and Samuel H. Kress foundations, and her dissertation was awarded the 2011 annual prize of the Europäisches Romanik Zentrum, Merseburg. The first article drawn from this dissertation, published in Speculum, was also recognized as an outstanding essay by Feminae: Medieval Women and Gender Index.

Beate Fricke teaches European Medieval Art and Architecture at the University of California, Berkeley. Her research focuses on the history of images, objects, and places, using perspectives from philosophy, cultural anthropology, history of the sciences, and theology. Fricke's first book, Ecce fides: Die Statue von Conques, Götzendienst und Bildkultur im Westen (2007), investigated key issues in medieval religious imagery and culture: idolatry, veneration, and medieval theories of...