Rereading Hebrew Scripture: Old Testament Cycles in Medieval Wall Painting
The Chair of History of Medieval Art, Department of Cultural Heritage and Environment, University of Milan, organises an International Conference concerning the Old Testament narrative in medieval wall painting. Four thematic sessions are scheduled, calling for 20 minutes papers to be presented in Italian/English/French. The Conference will be held October 16-18, 2018 in Milan.
1st Session: Early Christian Pictorial Tradition and Early Middle Ages
The aim is to bring into focus the relationship between the monumental pictorial tradition set up in the early Christian Rome and its reworking in the early Middle Ages. To what extent did the paradigm of Santa Maria Maggiore, Old St. Peter’s and San Paolo fuori le Mura expressed its leading role in Old Testament sequences like those in Santa Maria Antiqua and Santa Maria in via Lata in Rome, in the Crypt of the Original Sin in Matera, or in St. John in Müstair? On the other hand, what was the impact of different models (also Byzantine), of patronage and liturgical space in setting the iconographic programme?
2nd Session: The Thematic and Narrative Development in the Romanesque Period
The widespread revival of early Christian iconography in the Romanesque period is reflected by the Old Testament narrative, which regains room in church decorations, especially dealing with the first part of the Genesis: mainly in the Roman area (Santa Maria in Ceri, San Tommaso in Anagni, San Paolo inter vineas in Spoleto, Castro dei Volsci, Ferentillo, San Giovanni a Porta Latina), but also in the South (Sant’Angelo in Formis, Santa Maria d’Anglona), in the northern Italy (Galliano, Agliate, Carugo, Muralto, Acquanegra), north of the Alps (Saint-Savin and Château-Gontier in France; Idensen, Brauweiler and Berghausen in Germany; Gurk and Matrei in Austria), and in the Iberian Peninsula (Bagüés, Sigena). The session will offer the opportunity to compare subjects, themes and solutions on a European scale, highlighting continuity, recurrences, peculiarities, deviations and anomalies.
3rd Session: Old Testament Cycles and Multi-layered Meaning
Universal chronicles remind us that an Old Testament cycle was primarily a historical and chronological depiction of the humankind on the path to salvation: the ‘visual device’ in the nave of Acquanegra is a clear example. Still, the events before the Incarnation shall be understood in a figurative sense, what is depicted in Agliate lining up the Creation of Adam and Eve precisely above the Annunciation and the Nativity. This does not preclude a manipulation driven by political claims, as seems to be expressed in the cycle of Joseph in San Marco in Venice. Therefore, a full account of the visual relationships within the liturgical space is required.
4th Session: The Role of Patriarchs, Judges, Prophets and Kings
Since at least the mid 5th century, with the mosaic panels in the nave of Santa Maria Maggiore in Rome, the Hebrew Scripture has also been illustrated through the stories of its protagonists: Patriarchs (Moses
and Joshua in San Calocero in Civate), Judges (Samson in Galliano and Civate, Gideon in Civate and Sant’Angelo in Formis), Prophets (Ezekiel and Daniel in Santa Maria in Cosmedin in Rome), Kings (David in Müstair and Malles), involving a wide range of meanings, relationships and implications, which are still waiting to be figured out.
Proposals should cover a wide range of aspects concerning each session, giving priority to the iconographic approach, to the relationships with the liturgical space and to the historical-institutional frame. Topics dealing with the monumental contexts mentioned above are especially welcome.
Proposals will be evaluated by the conference scientifc committee.
Submissions for a 20 minutes paper (in Italian/English/French) should include: paper title, abstract of around 300 words, a short CV including current affliation and full contact details. All documents should be merged into a single PDF file.
Proposals and enquiries should be sent to: email@example.com
Deadline for submissions: 15 February 2018.
Notification to the applicants: by 31 March 2018.
Final programme: by September 2018.
Conference date: 16-18 October 2018.
It is expected to publish in a double-blind Peer review Series.
Speakers will be asked to provide a final paper by 30 June 2019.
There is no registration fee for participation or attendance.
Coffee breaks, lunches, and dinners will be provided to all speakers. Travel and accommodation expenses cannot be covered, but every effort will be made to secure special hotel rates.
PhD, Lecturer in History of Medieval Art
Conference Scientifc Committee
Mauro della Valle, Stella Ferrari, Paolo Piva, Fabio Scirea, Andrea Torno Ginnasi
History of Medieval Art, University of Milan