ARTICLES BY AUTHOR Abou-El-Haj, Barbara, The Structure of Meaning

18 Pages·2015·0.16 MB·English

by  Colum P. Hourihane

INDEX TO VOLUMES 1–36:
ARTICLES BY AUTHOR

Abou-El-Haj, Barbara, The Structure of Meaning: Architectural Representation in the Later Middle Ages,
25 (2004): 129–71.

Ahl, Diane Cole, Renaissance Birth Salvers and the Richmond Judgment of Solomon, 7–8 (1981–82):
157–74.

Alexander, Jonathan J. G., Art History, Literary History, and the Study of Medieval Illuminated
Manuscripts, 18 (1997): 51–66.

Alexander, Jonathan J. G., Iconography and Ideology: Uncovering Social Meanings in Western Medieval
Christian Art, 15 (1993): 1–44.

Alexander, Jonathan J. G., and Leslie C. Jones, The Annunciation to the Shepherdess, 24 (2003): 165–98.

Ambrose, Kirk, Imagining Savage Piety at St.-Paul-de-Varax, 29 (2008): 1-22.

Ambrose, Kirk, Society: Influence, 33 (2012): 197-206.

Ardolino, Frank R., “Veritas Filia Temporis”: Time, Perspective, and Justice in The Spanish Tragedy, 3
(1977): 57–69.

Areford, David S., Experience: Reception, 33 (2012): 73-88.

Areford, David S., Introduction: Toward an Archaeology of the Early Printed Image, 24 (2003): 1–4.

Areford, David S., The Image in the Viewer’s Hands: The Reception of Early Prints in Europe, 24 (2003):
5–42.

Bacci, Michele, Veneto-Byzantine “Hybrids”: Towards a Reassessment, 35 (2014): 73-106.

Bailey, Meryl, Salvatrix Mundi: Representing Queen Elizabeth I as a Christ Type, 29 (2008): 176-215

Baird, Joseph L., Natura plangens, the Ruthwell Cross and The Dream of the Rood, 10
(1984–86): 37–52.

Baird, Lorrayne Y., Christus gallinaceus: A Chaucerian Enigma; or the Cock as Symbol
for Christ in the Middle Ages, 9 (1983): 19–30.
Baird, Lorrayne Y., Priapus Gallinaceus: The Role of the Cock in Fertility and Eroticism
in Classical Antiquity and the Middle Ages, 7–8 (1981–82): 81–112.

Barber, Charles, Out of Sight: Painting and Perception in Fourteenth-Century Byzantium, 35 (2014): 107-
20.

Barolsky, Paul, and Norman E. Land, The Meaning of Giorgione “La Tempesta,” 9 (1983): 57–66.

Baskins, Cristelle L., Donatello’s Bronze David: Grillanda, Goliath, Groom? 15 (1993): 113–34.

Baskins, Cristelle L., Gender Trouble in Italian Renaissance Art History: Two Case Studies, 16 (1994): 1–
36.

Baskins, Cristelle, L., (In)Famous Men: The Continence of Scipio and Formations of Masculinity in
Fifteenth-Century Tuscan Domestic Painting, 23 (2002): 109–36.

Benjamin, Lloyd, Disguised Symbolism Exposed and the History of Early Netherlandish Painting, 2 (1976):
11–24.

Bergamini, Laurie, From Narrative to Icon: The Virgin Mary and the Women of the Apocalypse in
Thirteenth-Century Art and Devotion, 13 (1989–90): 80–112.

Bernstock, Judith, Guercino’s Et in Arcadia Ego and Apollo Flaying Marsysas, 11 (1987): 137–84.

Bevington, M. J., Henry Hoare and the Creation of His “Demy Paradise,” 12 (1988): 121–47.

Binski, Paul, The English Parish Church and Its Art in the Later Middle Ages: A Review of the Problem, 20
(1999): 1–26.

Bisanz, Rudolf M., From C. D. Friedrich to Early Biedermeier Devotion into Art: Toward a Modern
Psychology of Iconography and Its Understanding Today, 14 (1995): 309–34.

Black, Nancy B., The Language of the Illustrations of Chrétien de Troyes’s Le Chevalier au Lion (Yvain), 15
(1993): 45–76.

Blanton-Whetsell, Virginia, Imagines Ætheldredae: Mapping Hagiographic Representations of Abbatial
Power and Religious Patronage, 23 (2002): 55–108.

Bleeke, Marian, Categorization: Romanesque, 33 (2012): 257-67.

Bleeke, Marian, Sheelas, Sex, and Significance in Romanesque Sculpture: The Kilpeck Corbel Series, 26
(2005): 1-26.
Bohn, Babette, Esther as a Model for Female Autonomy in Northern Italian Art, 23 (2002): 183–202.

Bouchard, Gary M., “Stayed Steps”: Colin Clout’s Slow Hastening into Riper Years, 15 (1993): 197–214.

Bowers, A. Robin, Emblem and Rape in Shakespeare’s Lucrece and Titus Andronicus, 10 (1984–86): 79–
96.

Broderick, Herbert R., A Note on Solomon and Bathsheba as Fürstenspiegel, 6 (1980): 17–28.

Brooks, Dennis S., Milton’s Raphael and the Commentary Tradition, 13 (1989–90): 222–31.

Brown, Murry L., Richardson’s Colbrand: The Figure of Wrath in the Renaissance and in Pamela, 11
(1987): 205–30.

Buchanan, Charles S., An Illustrated Romanesque Hagiographic Lectionary (Lucca: Biblioteca Capitolare,
Passionaro C): Inspiration, Formulation, and Reception, 28 (2007): 111-69.

Buser, Thomas, Early Catacomb Iconography and Apocalypticism, 6 (1980): 3–16.

Callahan, Leslie Abend, The Torture of Saint Apollonia: Deconstructing Fouquet’s Martyrdom Stage, 16
(1994): 119–38.

Callmann, Ellen, The Growing Threat to Marital Bliss as Seen in Fifteenth-century Florentine Paintings, 5
(1979): 73–92.

Cannon, Joanna, Kissing the Virgin’s Foot: Adoratio before the Madonna and Child Enacted, Depicted,
Imagined, 31 (2010): 1-50.

Canuteson, John A., The Image of Passion and Cruelty in “The Battle between Carnival and Lent” by
Pieter Bruegel, the Elder, 13 (1989–90): 191–221.

Cardile, Paul J., Observations on the Iconography of Leonardo Da Vinci’s Uffizi Annunciation, 7–8 (1981–
82): 189–208.

Carlano, Marianne, The Two Trinities: The Symbolic Meaning of a Hood from a Seventeenth-century
Ecclesiastical Vestment, 14 (1995): 285–305.

Carns, Paula Mae, Remembering Floire et Blancheflor: Gothic Secular Ivories and the Arts of Memory, 32
(2011): 121-54.

Carrasco, Magdalena Elizabeth, The Construction of Sanctity: Pictorial Hagiography and
Monastic Reform in the First Illustrated Life of St. Cuthbert, 21 (2000): 47–90.
Caviness, Madeline H., Giving ‘the Middle Ages’ a Bad Name: Blood Punishments in the Sachsenspiegel
and Town Lawbooks, 34 (2013): 175-235.

Chappell, Miles, An Interpretation of Agostino Carracci’s “Galatea” in the Farnese Gallery, 2 (1976): 41–
65.

Chappell, Miles, Further Observations on Agostino Carracci’s “Venus” in the Farnese Gallery, 4 (1978):
161–5.

Chayes, Irene H., Fallen Earth and Man in Nature: William Blake in Iconographic Tradition, 10 (1984–86):
169–96.

Chichinadeze, Nina, The True Cross Reliquaries of Medieval Georgia, 20 (1999): 27–50.

Clark, David L., Filippino Lippi’s The Virgin Inspiring St. Bernard and Florentine Humanism, 7–8 (1981–
82): 175–88.

Clark, David L., Vasari’s Temptation of St. Jerome Paintings: Artifacts of His Camaldoli
Crisis, 10 (1984–86): 97–118.

Clements, Robert J., Brueghel’s Fall of Icarus: Eighteen Modern Literary Readings, 7–8 (1981–82): 253–
68.

Cochrane, Laura E., “The Wine in the Vines and the Foliage in the Roots”: Representations of David in
The Durham Cassiodorus, 28 (2007): 23-50.

Cohen, Michael M., Hogarth’s A Rake’s Progress and the Techniques of Verse Satire, 5 (1979): 159–72.

Coletti, Theresa, The Meeting at the Gate: Comic Hagiography and Symbol in The Shipman’s Tale, 3
(1977): 47–56.

Corrie, Rebecca W., Sicilian Ambitions Renewed: Illuminated Manuscripts and Crusading Iconography,
34 (2013): 47-102.

Cruse, Mark, Gabriella Parussa, and Isabelle Ragnard, The Aix Jeu de Robin et Marion: Image, Text,
Music, 25 (2004): 1–46.

Curschmann, Michael, Marcolf or Aesop? The Question of Identity in Visio-Verbal Contexts, 21 (2000):
1–46.

Dane, Joseph A., The Pictorial Syntax of the Millstatt Genesis, 4 (1978): 23–36.
David, Benjamin, Pope-Hennessy, Derrida, and “Literary Residue” in Visual Images: The Case of
Sassetta’s Borgo San Sepolcro Altarpiece, 19 (1998): 1–30.

Davidson, Clifford, Death in His Court: Iconography in Shakespeare’s Tragedies, 1 (1975): 74–86.

Davis, Charles, The Pitfalls of Iconology, or How It Was that Saturn Gelt His Father, 4 (1978): 79–94.

Davisson, Darrell, Magian Arts Medica, Liturgical Devices, and Eastern Influences in the Medici Palace
Chapel, 22 (2001): 111–62.

De Girolami Cheney, Liana, Vasari’s Pictorial Musing on the Muse: The Chamber of Apollo of the Casa
Vasari, 15 (1993): 135–76.

De Sa Wiggins, Peter, Giovanni Paolo Lomazzo’s Trattato Dell’Arte Della Pittura, Scultura, et Architettura
and John Donne’s Poetics: “The Flea” and “Aire and Angels” as Portrait Miniatures in the Style of
Nicholas Hilliard, 7–8 (1981–82): 269–88.

Denny, Don, The Historiated Initials of the Odbert Psalter, 14 (1995): 51–82.

Diebold, William J., Categorization: Medievalism, 33 (2012): 247-56.

Dimler, S. J., G. Richard, The Egg as Emblem: Genesis and Structure of a Jesuit Emblem Book, 2 (1976):
85–106.

Dingley, R. J., Henry Crawford Between Tragedy and Comedy in Jane Austen’s Mansfield Park, 14 (1995):
306–8.

Dixon, Jr., John W., Michelangelo’s Last Judgment; Drama of Judgement or Judgement of Drama of
Redemption? 9 (1983): 67–82.

Dixon, Laurinda S., Music, Medicine, and Morals: The Iconography of An Early Musical Instrument, 7–8
(1981–82): 147–56.

Drandaki, Anastasia, A Maniera greca: Content, Context, and Transformation of a Term, 35 (2014): 39-
72.

Dressler, Rachel, Cross-legged Knights and Signification in English Medieval Tomb Sculpture, 21 (2000):
91–122.

Drewer, Lois, Recent Approaches to Early Christian and Byzantine Iconography, 17 (1996): 1–66.

Driver, Martha W., The Illustrated de Worde: An Overview, 17 (1996): 349–404.
Easton, Martha, Identity: Feminism, 33 (2012): 99-112.

Edwards, M. D., A Possible Antique Model for the Motif in the Exorcism of the Demons at Arezzo in San
Francesco at Assisi, 14 (1995): 188–206.

Edwards, Mary D., Duccio’s Entry into Jerusalem: A New Interpretation, 25 (2004): 47–88.

Emmerson, Richard K., A “Large Order of the Whole”: Intertextuality and Interpictoriality in the Hours of
Isabella Stuart, 28 (2007): 51-110.

Even, Yael, Daphne (Without Apollo) Reconsidered: Some Disregarded Images of Sexual Pursuit in Italian
Renaissance and Baroque Art, 18 (1997): 143–60.

Farmer, Sharon, Feminine Folly, Burgher Calculation, and Anti-Communal Rhetoric in Thirteenth-Century
Tours, 17 (1996): 143–76.

Fehl, Philipp, Christian Truth and the Illusion of Death, 7–8 (1981–82): 351–69.

Feltman, Jennifer M., Charlemagne’s Sin, the Last Judgement, and the New Theology of Penance at
Chartres, 35 (2014): 121-64.

Field, Richard S., A Fifteenth-Century Woodcut of the Death of the Virgin in a Manuscript of Der Stachel
der Liebe, 24 (2003): 71–138.

Fleming, John V., Toward an Iconography of Medieval Poetic Forms, 2 (1976): 3–10.

Flora, Holly, Society: Patronage, 33 (2012): 207-18.

Flora, Holly, The Charity of the Virgin Mary in the Paris Meditations on the Life of Christ (BnF, ital.. 115),
29 (2008): 55-89.

Freni, Giovanni, Visual Hagiography and its Context: The Narrative of the Shrine of San Donato, 26
(2005): 59-119.
Friedman, John B., John De Foxton’s Continuation of Ridwall’s Fulgentius Metaforalis, 7–8 (1981–82):
65–80.

Fuchs, Anne Simonson, Rogier van der Weyden’s St. John and Miraflores Altarpieces in Context, 6
(1980): 53–72.

Fugelso, Karl, Defining the State in Commedia Miniatures: Pictorial Responses to Dante’s Condemnation
of Florence, 28 (2007): 171-207.
Gearheart, Heidi C., Work and Prayer in the Fiery Furnace: The Three Hebrews on the Censer of Reiner in
Lille and a Case for Artistic Labor, 34 (2013): 103-32.

Gertsman, Elina, Image as Word: Visual Openings, Verbal Imaginings, 32 (2011): 51-80.

Gertsman, Elina, Pleyinge and Peyntynge: Performing the Dance of Death, 27 (2006): 1-43.

Gira, Catherine R., Shakespeare’s Venus Figures and Renaissance Tradition, 4 (1978): 95–114.

Glass, Dorothy F., ‘Quo Vadis’: The Study of Italian Romanesque Sculpture at the beginning of the Third
Millennium, 28 (2007): 1-22.

Gnisci, Jacopo, The Dead Christ on the Cross in Ethiopian Art: Notes on the Iconography of the
Crucifixion in Twelfth- to Fifteenth-Century Ethiopia, 35 (2014): 187-228

Goodman, E. L., The Sources of Pieter de Hooch’s The Game of Skittles, 5 (1979): 147–58.

Griffin, Robert, Jung’s Science in Answer to Job and the Hindu Matrix of Form, 12 (1988): 161–70.

Guest, Gerald B., Society: Space, 33 (2012): 219-32.

Guest, Gerald B., The People Demand a King: Visualizing Monarchy in the Psalter of Louis IX, 23 (2002):
1–28.

Guilbeau, Phillip Jeffrey, Iuxta Iter Scandalum: The “Wayside Stumbling-Block’ in Late Medieval Passion
Imagery, 27 (2006): 77-102.

Gully, Anthony Lacy, The Unexpected Source of Goya’s Painting “May 3, 1808,” 9 (1983): 99–106.

Haft, Adele J., Maps, Mazes, and Monsters: The Iconography of the Library in Umberto Eco’s The Name
of the Rose, 14 (1995): 9–50.

Hallahan, Huston D., The Thematic Juxtaposition of the Representational and Sensational in Middleton’s
Women Beware Women, 2 (1976): 66–84.

Halperin, Dalia-Ruth, The Sarajevo Haggadah Creation Cycle and the Nahmanides School of
Theosophical-Kabbalah, 35 (2014): 165-86.

Harris, Anne F., Experience: Narrative, 33 (2012): 47-60

Hauknes, Marius Bratsberg, Emblematic Narratives in the Sancta Sanctorum, 34 (2013): 1-46.
Hayum, Andrée, Michelangelo’s Doni Tondo: Holy Family and Family Myth, 7–8 (1981–82): 209–52.

Heisner, Beverly, Mortality and Faith: The Figural Motifs Within Emanuel de Witte’s Dutch Church
Interiors, 6 (1980): 107–22.

Heisner, Beverly, Star, Crown, and Tongue: Forms and Symbols in an Eighteenth Century Pilgrimage
Church, 10 (1984–86): 159–68.

Hertel, Christiane, Disruption and Entanglement: Maenadism in William Holman Hunt’s The Lady of
Shalott and Max Klinger’s Temptation, 15 (1993): 227–60.

Herzman, Ronald B., “Visibile Parlare”: Dante’s Purgatorio 10 and Luca Signorelli’s San Brizio Frescoes,
20 (1999): 155–84.

Hilsdale, Cecily J., Society: Gift, 33 92012): 171-82.

Hilton, Alison, Natalia Goncharova and the Iconography of Revelation, 13 (1989–90): 232–57.

Hirshberg, Jeffrey Alan, Noah’s Wife on the Medieval English Stage: Iconographic and Dramatic Values of
Her Distaff and Choice of the Raven, 2 (1976): 25–40.

Holden, Antonia, The Cultivation of Upper-Class Otium: Two Aquileian “Oratory” Pavements
Reconsidered, 23 (2002): 29–54.

Holladay, Joan A., Relics, Reliquaries, and Religious Women: Visualizing the Holy Virgins of Cologne, 18
(1997): 67–118.

Holloway, Julia Bolton, Verbal Icons: Paradigms of Death and Birth, 11 (1987): 95–110.

Huemer, Frances, Rubens and the Mantuan Altar, 3 (1977): 105.

Hull, Vida J., The Sex of the Savior in Renaissance Art: The Revelations of Saint Bridget
and the Nude Christ Child in Renaissance Art, 15 (1993): 77–112.

Hunter, Timothy J., “Quid milites pugnantes”? An Early Representation of Chanson de Geste on the
Romanesque Frieze of Angoulême Cathedral Reexamined, 34 (2013): 133-74.

Jacobs, Fredrika Herman, Carpaccio’s Vision of St. Augustine and St. Augustine’s Theories of Music, 6
(1980): 83–94.

Jacobsen, Michael, and Vivian Rogers-Price, The Dolphin in Renaissance Art, 9 (1983): 31–56.
Janson, Carol, Nicolaes Berchem’s Painting, An Allegory of the Seasons and Elements, 10
(1984–86): 145–58.

Jolly, Penny Howell, Rogier van der Weyden’s “Pregnant” Magdalene: On the Rhetoric of Dress in the
Descent From the Cross, 28 (2007): 209-80.

Jolly, Penny Howell, The Wise and Foolish Magdalene, the Good Widow, and Rogier van der Weyden’s
Braque Triptych, 31 (2010): 98-156.

Jones, Anne Hudson, and Karen Kingsley, Salome in Late Nineteenth Century French Art and Literature, 9
(1983): 107–28.

Jones, Sharon G., George Washington as Master Mason, A Rediscovered Portrait by Emanuel Leutze, 7–8
(1981–82): 305–22.

Kaplan, Paul H. D., The Paliotto of the Corpus Domini: A Eucharistic Sculpture for a Venetian Nunnery, 26
(2005): 121-74.
Kidd, Judith A., The Quinity of Winchester Reconsidered, 7–8 (1981–82): 21–34.

Kiilerich, Bente, The State of Early Christian Iconography in the Twenty-First Century, 36 (2015): 99-134.

Kirwin, W. Chandler, and Philipp Fehl, with the collaboration of Ronald Wiedenhoeft, Bernini’s Decoro:
Some Preliminary Observations on the Baldachin and the Tombs in St. Peter’s, 7–8 (1981–82): 323–50.

Klein, Dennis A., Peter Shaffer’s Equus as a Modern Aristotelian Tragedy, 9 (1983): 175–81.

Kline, Naomi Reed, The Typological Window of Orbais-l’Abbaye: The Context of Its Iconography, 14
(1995): 83–130.

Kneen, Lynette, A Dilemma of the Horns: Freud’s Analysis of Michelangelo’s Moses, 14 (1995): 335–42.

Knight, Rhonda, Werewolves, Monsters, and Miracles: Representing Colonial Fantasies in Gerald of
Wales’s Topographia Hibernica, 22 (2001): 55–86.

Koch, Linda A., The Altar-Shrine of Santa Fina: Local Sainthood and Church Authority in Quattrocento
San Gimignano, 21 (2000): 181–236.

Kogman-Appel, Katrin, and Shulamit Laderman, The Sarajevo Haggadah: The Concept of Creatio ex nihilo
and the Hermeneutical School Behind It, 25 (2004): 89–127.

Kornbluth, Genevra, Susanna and Saint Eligius: Romanesque Reception of a Carolingian Jewel, 16 (1994):
37–52.
Kubiski, Joyce, The Medieval “Home Office”: Evangelist Portraits in the Mount Athos Gospel Book,
Stavronikita Monastery, MS 43, 22 (2001): 21–54.

Kumler, Aden, Faire translater, faire historier: Charles V’s Bible historiale and the Visual Rhetoric of
Vernaacular Sapience, 29 (2008): 90-135.

La Favia, Louis M., . . . Chè Quivi Per Canti . . . (Purg., XII, 113), Dante’s Programmatic Use of Psalms and
Hymns in the Purgatorio, 10 (1984–86): 53–66.

Land, Norman E., Two Panels by Michele Giambono and Some Observations on St. Francis and the Man
of Sorrows in Fifteenth-Century Venetian Painting, 6 (1980): 29–52.

Landow, George, Iconography and Point of View in Painting and Literature: The Example of the
Shipwreck, 3 (1977): 89–104.

Larson, Wendy R., Narrative Threads: The Pienza Cope’s Embroidered Vitae and Their Ritual Setting, 24
(2003): 139–64.

Lawrence, Cynthia, The Parables of the House Built on Rock and Sand: A Case for Moralizing Terrains in
Seventeenth-Century Dutch Painting, 11 (1987): 185–204.

Leach, Elsie, The Popularity of Quarles Emblemes: Images of Misogyny, 9 (1983): 83–98.

Leach, Mark Carter, Michelango Invenit, Joos van Cleve Explicavit, 5 (1979): 93–106.

Leader, Anne, Michelangelo’s Last Judgment: The Culmination of Papal Propaganda in the Sistine
Chapel, 27 (2006): 103-56.

Lee, Jennifer A., The Illuminating Critic: The Illustrator of Cotton Nero A. X., 3 (1977): 17–46.

Leson, Richard A., Heraldry and Identity n the Psalter-Hours of Jeanne of Flanders (Manchester, John
Rylands Library, MS Lat. 117), 32 (2011): 155-98.

Levin, William R., Advertising Charity in the Trecento: The Public Decorations of the Misericordia in
Florence, 17 (1996): 215–310.

Levin, William R., “Tanto goffe e mal fatte … dette figure si facessino … belle”: The Trecento Overdoor
Sculptures for the Baptistry in Florence and Their Cinquecento Replacements, 26 (2005): 205-42.

Lillich, Meredith Parsons, St. Memmie, Apostle of Châlons, and Other Bishop Saints in
the Gothic Windows of Châlons Cathedral, 19 (1998): 75–104.