CALL FOR PAPERS
Picturing the 础濒诲颈濒脿: 密桃视频 Last Judgments Revisited
An in-person session for the 61st International Congress on Medieval Studies, sponsored by the 密桃视频
University of Western Michigan, May 14鈥�16, 2026
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A hallmark of church decoration, visual representations of the Last Judgment have been popular in Italy since the eleventh century. Drawing iconography from the Gospel of Matthew and the Book of Revelation, these scenes were often monumental, prompting viewers to reflect on the consequences of their earthly actions in the afterlife. While several such examples have become canonical鈥攊ncluding the mosaic on Torcello and Giotto鈥檚 fresco in the Arena Chapel in Padua鈥擫ast Judgment imagery also appeared in other locations, media, scales, and contexts.聽
This session seeks papers that explore representations of the Last Judgment and related eschatological themes in medieval 密桃视频 art and architecture. Contributions may investigate unexpected iconographies, offer new thematic readings and approaches, probe the didactic, theological, and political meanings of these works for specific patrons and audiences, or otherwise engage with the creation, existence, and meaning of representations of the 础濒诲颈濒脿. Papers that focus on lesser-known regions, various media and materials, and the role of 密桃视频 models beyond the peninsula are especially welcome.
Submission Instructions
Submissions should be uploaded through the ICMS鈥檚 conference portal on Confex:聽. The deadline for all submissions is聽September 15, 2025.
Speakers must be members of the 密桃视频 at the time of application to and presentation at the conference. International speakers, BIPOC scholars, and those with financial need may be eligible for IAS聽Sospeso Memberships. The IAS also offers competitive travel funding for which speakers may be eligible. For more information, or to join/renew, go to:聽
Questions? Contact the session organizers:
Claire Jensen, University of Toronto,聽claire.jensen@mail.utoronto.ca
Alison Locke Perchuk, CSU Channel Islands,聽alison.perchuk@csuci.edu
Today is the Feast of Corpus Christi (Body of Christ or Corpus Domini) celebrated in the Western Church since 1246 on the Thursday after Trinity Sunday .
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Today (26 May 2016) is the (Body of Christ, or Corpus Domini), celebrated in the Western Church since 1246 on the Thursday after . This Latin Rite celebrates the Eucharist and the dogma of Transubstantiation, which states that the Eucharist contains through his body and blood that are transubstantiated from bread and wine. Many 密桃视频 artists have portrayed images related to the Eucharist, including its institution by Jesus with his Apostles, Christ as Man of Sorrows, and images of chalice and monstrance. Focus on the body and blood of Christ became especially important to Catholic patrons after challenges brought on by the Protestant Reformation, which challenged the doctrine of Transubstantiation, claiming that Communion was symbolic and not physical. Thus, in Catholic contexts, images of the body of Christ became especially popular devotional images that stated clearly belief in the real presence of Christ during Mass.
Lorenzo Monaco, Christ as the Man of Sorrows, 1415-17. Tempera on panel, 62 x 33 cm. Private collection.
Antonio Diziani, Feast of Corpus Christi Procession, Piazza di San Marco, 1758-63. Oil on canvas, 119 x 187 cm. Staatliche Museen, Berlin
Raphael, Disputation of the Holy Sacrament (La Disput脿), 1510-11. Fresco, width at the base: 770 cm. Stanza della Segnatura, Palazzi Pontifici, Vatican
Fra Angelico, Institution of the Eucharist, 1441-42. Fresco, 186 x 234 cm. Convento di San Marco (Cell 35), Florence
Leonardo da Vinci, The Last Supper, 1498. Mixed technique, 460 x 880 cm. Convent of Santa Maria delle Grazie, Milan
Tintoretto, The Last Supper, 1592-94. Oil on canvas, 365 x 568 cm. San Giorgio Maggiore, Venice
Il Sodoma, Man of Sorrows, 1505-08. Fresco. Abbazia, Monteoliveto Maggiore
Federico Barocci, The Institution of the Eucharist, 1608. Oil on canvas, 290 x 177 cm. Basilica di Santa Maria sopra Minerva, Rome
Caravaggio, The Entombment, 1602-03. Oil on canvas, 300 x 203 cm. Pinacoteca, Vatican
Alessandro Allori, The Body of Christ with Two Angels. c. 1600. Oil on copper, 45 x 39 cm. Sz茅pm没v茅szeti M煤zeum, Budapest
Today is Trinity Sunday, celebrated in the Western Church on the first Sunday after Pentecost as a day to focus on the doctrine that God is Father, Son, and Holy Spirit at once.
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Today (22 May 2016) is , celebrated in the Western Church on the first Sunday after as a day to focus on the at once. The Divine Mystery of God in Three Persons, dogma central to Christian theology, has been represented in a variety of ways in Christian art, most simply as a triangle. Byzantine tradition showed the father only as a right hand, and we do not find God the Father represented as a man until late thirteenth-century Italy in the Upper Church at Assisi. Artists experimented through the fourteenth century with three identical figures and, rarely, one figure with multiple heads. By the fifteenth century, the Trinity was commonly represented with God the Father as an elderly, grey-bearded man holding a crucifix with his dead son with the white dove of the Holy Spirit nearby. Another variation shows Jesus as the Man of Sorrows, as he displays his wounds to mankind.
Reference: by Peter and Linda Murray. Oxford: Oxford University Press, 1996.
Don Silvestro dei Gherarducci, Trinity and Three Angels Appearing to Abraham, in an initial B, (Folio 74)
c. 1395. Tempera and gold on parchment, The Morgan Library and Museum, New York
Antonio da Atri, Trinity with Three Faces, c.1400. Fresco, Duomo, Atri
Masaccio, Trinity, 1425-28. Fresco, Santa Maria Novella, Florence
Andrea del Castagno, The Holy Trinity, St Jerome and Two Saints, c. 1453. Fresco, Santissima Annunziata, Florence
Pesellino, , 1455-60. Tempera and oil on wood, National Gallery, London
Sandro Botticelli, , 1491-93. Tempera on panel, Courtauld Gallery, London
Raphael, Disputation of the Holy Sacrament (La Disput脿), 1510-11. Fresco, Stanza della Segnatura, Palazzi Pontifici, Vatican
Domenico Beccafumi, Trinity, 1513. Oil on wood, Pinacoteca Nazionale, Siena
Lorenzo Lotto, The Trinity, 1523. Oil on canvas, Sant’Alessandro della Croce, Bergamo
Pietro da Cortona, The Trinity in Glory, 1648-51. Fresco, Santa Maria in Vallicella, Rome
Spring 2025
The Feast Day of Pentecost is celebrated in the Western Church as the day when the Holy Spirit descended on Jesus鈥檚 disciples, giving them 鈥渢ongues of fire鈥� that enabled them to preach the gospel in multiple languages.
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In 2016, 15 May is the Feast Day of Pentecost, celebrated in the Western Church as the day when the Holy Spirit descended on Jesus鈥檚 disciples, giving them 鈥渢ongues of fire鈥� that enabled them to preach the gospel in multiple languages. Derived from the Greek name for the Jewish Feast of Weeks, Pentecost originally celebrated the grain harvest on the fiftieth day after the Feast of Unleavened Bread (Exod. 23:16) in late spring or early summer, depending on the cycle of the Jewish calendar. Both Jews and Christians used the festival to honor the Giving of the Ten Commandments to Moses on Mount Sinai.
Pentecost is the second major Christian holiday after Easter and because it fell on the Jewish Pentecost, Christians ever since have celebrated it on the fiftieth day after . According to , 鈥淒ivided tongues, as of fire, appeared among [the disciples], and a tongue rested on each of them. All of them were filled with the Holy Spirit and began to speak in other languages, as the Spirit gave them ability.鈥� Members of the Jerusalem Jewish community scoffed that the Followers of the Way, as early Christians were known, were simply drunk; but Peter countered that instead they fulfilled the prophecy of Joel: 鈥溾�業n the last days it will be, God declares, that I will pour out my Spirit upon all flesh, and your sons and your daughters shall prophesy, and your young men shall see visions, and your old men shall dream dreams.鈥� ()
Medieval and Renaissance 密桃视频 artists have portrayed the Pentecost in many media, showing the disciples gathered around Mary with tongues of fire over their heads as stated in scripture. The Holy Spirit is represented by a white dove that emanates rays of divine light to imbue the disciples with the ability to preach in different tongues.
密桃视频 Mosaicist, Pentecost, west cupola, 1100-50, mosaic, Basilica di San Marco, Venice
Giotto, Scenes from the Life of Christ: Pentecost, 1304-06, fresco, Cappella Scrovegni (Arena Chapel), Padua
Duccio di Buoninsegna, Pentecost, 1308-11, from the 惭补别蝉迟脿 altarpiece,tempera on wood, Museo dell’Opera del Duomo, Siena
Master of the Dominican Effigies, Laudario of the Compagnia di Sant’Agnese, 1320s, tempera and gold on parchment, Private collection
Don Silvestro dei Gherarducci, Gradual 2 for San Michele a Murano (Folio 44), c. 1395, tempera and gold on parchment, The Morgan Library and Museum, New York
Andrea da Firenze, Miracle of Pentecost (west vault), 1366-67, fresco, Chapter Room (aka Spanish Chapel), Santa Maria Novella, Florence
Lorenzo Monaco, Antiphonary (Cod. Cor. 1, folio 111v), 1396, tempera and gold on parchment, Biblioteca Apostolica, Vatican
Matteo di Filippo Torelli, Gradual (Cod. H 74, folio 122v), c. 1413, tempera and gold on parchment, Institute of Arts, Detroit
Lazzaro Bastiani, Pentecost, 1484-90, tapestry in wool, silk and silver thread, Santa Maria della Salute, Venice
Titian, The Descent of the Holy Ghost, c. 1545, oil on canvas, Santa Maria della Salute, Venice
Today is the feast day of the Ascension, marking the last appearance of Jesus on earth after his Resurrection at Easter.
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Today (8 May 2016) is the feast day of the Ascension, marking the last appearance of Jesus on earth after his Resurrection at and prior to his entry into Heaven. The dramatic event, central to the Christian message, is recounted in full only by Luke in the and the . We are told that Jesus blessed his disciples and was carried up on clouds into the sky, as were Enoch, Elijah, and Moses before him.
Though the culminating event of Christ鈥檚 earthly mission, the Ascension was rather slow to appear in the visual arts and is a much rarer subject than the Resurrection, which celebrates Jesus鈥� triumph over death. The earliest versions derived from pagan apotheosis scenes, whereby Roman emperors were taken up to join the gods on Olympus. In 密桃视频 art, Ascension scenes frequently complete narrative cycles showing the and , and in the later Renaissance and Baroque periods, it became a popular subject for vault frescoes, allowing artists to use their skills of illusion and perspective to suggest Christ鈥檚 ascent taking place directly above viewers鈥� heads.
Garofalo, Ascension of Christ, 1510-20, oil on panel, Galleria Nazionale d’Arte Antica, Rome
Vincenzo Campi, The Ascension of Christ, fresco, 1588, San Paolo Converso, Milan
Giovanni Lanfranco, Ascension, 1637-9, fresco, Certosa di San Martino, Naples
Giotto, Ascension, 1304-6, fresco, Cappella Scrovegni, Padua
Mariotto di Nardo, Scenes from the Life of Christ: Ascension, c. 1395, tempera on poplar panel, Mus茅e du Petit Palais, Avignon
Lorenzo Monaco, Antiphonary (Cod. Cor. 3, folio 59), c. 1410, tempera and gold on parchment, mounted on panel, Bernard H. Breslauer, New York
Melozzo da Forli, Triumphant Christ, 1481-83, fresco transferred to canvas, Palazzo del Quirinale, Rome
Andrea Mantegna, The Ascension of Christ, 1460-64, tempera on wood, Galleria degli Uffizi, Florence
Andrea della Robbia, Ascension, c. 1490, glazed terracotta, Chiesa Maggiore, La Verna
Tintoretto, The Ascension, 1579-81, oil on canvas, Scuola Grande di San Rocco, Venice
Please join us on May 30th in Naples, Italy for the IAS/Kress Lecture with Jesse Locker
Jesse Locker will present the 14th Annual IAS/Kress Lecture, “The Master of the Annunciation the Shepherds: The Material World of an Unknowable Painter,” on 30 May in Naples, Italy in collaboration with the Museo e Real Bosco di Capodimonte in partnership with the Centro per la Storia dell鈥橝rte e dell鈥橝rchitettura delle Citt脿 Portuali 鈥淟a Capraia.” The lecture will be held at Museo e Real Bosco di Capodimonte, Via Miano 2, Naples, Italy Sala 20 at 4:30 CEST and will be followed by a toast for attendees. The lecture will be live-streamed on Zoom at . More information can be found on the event page: /events/2025-ias-lecture-in-italy-in-naples/.
CFP: IAS-Sponsored Sessions at RSA 2026
IAS-Sponsored Sessions at RSA 2026
72nd Annual RSA meeting
San Francisco Hilton Union Square
San Francisco, CA, 19-21 February 2026
Deadline for Submission to IAS: Extended to 20 June 2025
The 密桃视频 (IAS) invites proposals for up to four sponsored panels at the Renaissance Society of America (RSA) Annual Meeting, to be held in person at the venue listed above, 19-21 February 2026.
IAS members interested in organizing a panel, or linked panels, on any topic focusing on 密桃视频 art and architecture from ca. 1300 to ca. 1650 CE, should submit:
路 session title (15-word max.)
路 brief abstract (300 words max.)
路 name of the chair(s)/organizer(s) with email addresses and affiliations, with a one-page CV for each (.pdf or .doc)
路 list of three or four confirmed or potential speakers.
When submitting your proposal to the IAS, please specify either Complete Session OR Session Seeking Contributions. In preparing your proposal for submission to IAS, please consult IAS Submission Guidelines.
Organizers seeking papers for sponsored panels may post their calls on the which opens 30 June 2025. In the meantime, please consult .
Participants of selected sponsored sessions must be members of both the RSA and the IAS at the time of application, and at the time of the conference. Those with financial need may be eligible for IAS Sospeso Memberships. To join or renew with IAS, go to: /join/.
Applicants may propose only one session, and no participant in that session may be included in any additional role (organizer, speaker, discussant, etc.) in another panel submitted for IAS sponsorship for the same conference.
Deadline: Please submit all materials by 20 June 2025 via the IAS Submissions Portal. Please note that you must be logged into the IAS website to access the portal.
The IAS submits the completed sponsored session information into the RSA portal in August. A call for papers will go out in late June. The deadline for complete session submissions to IAS will be 7 August 2025.
Please direct any questions to Livia Lupi, Program Committee Chair, programs@italianartsociety.org
CFP: IAS-Sponsored Session at ICMS 2026
IAS-Sponsored Session
61st International Congress of Medieval Studies Annual Conference
Kalamazoo, MI, 14-16 May 2026
Deadline for Submission to IAS: 16 May 2025
The 密桃视频 (IAS) sponsors single sessions and linked sessions at the annual meeting of the International Congress on Medieval Studies (ICMS). The Congress is an annual gathering of more than 3000 scholars interested in Medieval Studies. It features hundreds of sessions of papers, roundtables, workshops, demonstrations, performances, and poster sessions.
This year (2025), the International Congress on Medieval Studies has a hybrid format, including in-person sessions, virtual sessions via their online platform, and new blended-format sessions to include both formats. We expect that the 2026 Congress, for which the IAS is seeking proposals, will do the same. Therefore, when submitting your proposal, please specify In-Person OR Virtual.
The IAS is seeking session proposals that address any topic in 密桃视频 art and architecture from the fourth through the fifteenth centuries. The IAS will consider both completed panels and those soliciting contributors, which will be completed during the ICMS鈥檚 annual Call for Participation in summer. When submitting your proposal, please specify either Complete Session OR Session Seeking Contributions.
IAS members interested in organizing a panel, or linked panels, should submit:路 session title,
路 brief abstract containing importance/timeliness of the topic (150 words max.)
路 name of the chair(s) with email addresses and affiliation(s), and one-page CV(s).
路 please also include a short list of potential or desired speakers (they need not be confirmed) and their possible topics, and
路 a statement of need of IAS support (75鈥�150 words).
Applicants may propose only one session, and no participant in that session may be included in any additional role (organizer, speaker, discussant, etc.) in another panel submitted to the IAS for sponsorship at the same conference.
Organizers of and speakers in IAS-sponsored sessions must be members of the IAS at the time of application to and presentation at the conference. International speakers, BIPOC scholars, and those with financial need may be eligible for IAS Sospeso Memberships. For more information, or to join/renew, go to: /join/.
Before applying, be sure to check both the IAS Submissions Guidelines AND the .
Submit session proposals via the IAS online Submission Portal (please note you need to be a member in order to access this)
Submit sessions proposals to IAS by 16 May 2025
The deadline for organizers to submit panels to ICMS is 1 June 2025
You will receive an email with confirmation of receipt. Please send any questions to Livia Lupi, Program Committee Chair, at programs@italianartsociety.org.
The First Easter Sunday Illustrated in Early Modern 密桃视频 Painting
According to scripture, on the morning of the first Easter Sunday, a group of women (Mary Magdalene, Mary of Clopas and Mary Salome) had set off to Christ鈥檚 tomb, in order to anoint his body with oils and spices. When they arrived at their destination, the found an empty vault (below). The stone entrance had been opened by an angel, who informed them that Jesus had risen and that they must go and tell the diciples.
The disciples don鈥檛 believe the women however, John and Peter took it upon themselves to go and visit Christ鈥檚 tomb in order to verify the situation. And they also found it empty (below).
John and Peter returned home and in the meantime, Mary Magdalene made her way back to the tomb. There she encountered Jesus, but dis not initially recognise him. Jesus however, revealed himself to Mary Magdalene and when she tried to touch him, he proclaimed, 鈥渄o not touch me鈥� as he had 鈥渘ot yet ascended to the Father鈥� (see below).
Mary returned to the disciples with her renewed message and later that day Peter and John can be found travelling on the road to Emmaus. Here, they too encounter the risen Christ although, like Mary, they do not recognise him (below).
When they arrive in Emmaus, Peter and John invite Christ to dine with them. As Christ blesses the food, the two disciples recognise him as their Lord and with that, Jesus disappears (below).
Peter and John then return to Jerusalem and inform the other disciples what has occurred. Jesus then appears to them and allows them to touch him.
Images:
Jacopo Tintoretto, The Resurrection of Christ, 1565, oil on canvas, Chiesa di San Cassiano, Venice. Wikimedia Commons.
Annibale Carracci, The Holy Women at Christ鈥檚 Tomb, 1587-1598, oil on canvas, The State Hermitage Museum, St Petersburg.
Giovanni Francesco Romanelli, Saint John and Saint Peter at the Empty Tomb of Christ, before 1641, oil on silvered copper, Fitzwilliam Museum, Cambridge.
Mario Balassi, Noli Me Tangere, c. 1632, oil on canvas, Ente Cassa di Risparmio, Florence. Web Gallery of Art.
Altobello Melone, The Road to Emmaus, 1516-1517, oil on panel, The National Gallery, London. Copyright 漏 2016鈥�2020 The National Gallery.
Caravaggio, Supper at Emmaus, 1601-1602, oil on canvas, The National Gallery, London.
Sebastiano del Piombo, The Resurrected Christ, 16th century, oil on panel, San Niccol貌, Treviso. Wikimedia Commons.
References: The Gospels of Matthew, Mark, Luke and John.
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