In: Byzantine Images and Their Afterlives. Essays in Honour of Annemarie Weyl Carr, 2014, p. 145-168
|
In: Byzantium 330-1453, exhibition catalogue (London, Royal Academy of Arts, 25 October 2008-22 March 2009), 2008, p. 275-279; 464-465.
|
In: Codex Aquilarensis, 2013, vol. 29, p. 15-21
|
In: L’artista a Bisanzio e nel mondo cristiano-orientale, proceedings of the international congress held in Pisa, Scuola Normale Superiore, 21-22 novembre 2003, 2007, p. 177-209
The present papers shows that, against the popular view of the Byzantine artist as a pious artisan subjected to the authority of the Church, a number of Byzantine craftsmen sympathized for and were involved in heterodox religious behaviours and heretic movements. The paper includes examples from late Antiquity until the Middle- and Late Byzantine periods.
|
In: La Santa Croce di Lucca, il Volto Santo. Storia, tradizioni, immagini , proceedings of a congress held in Lucca, 2003, p. 115-130
This paper focuses on the ways in which the most important cult-image in Medieval Lucca, the so-called "Volto Santo" (holy face) came to be regarded by contemporary viewers as a true-to-life image of Christ, sculpted by the Pharisee Nicodemus. The paper emphasizes also the connection with the liturgical tradition of the Passio ymaginis feast on November 9 and its literary and ritual framework.
|
In: The Altar and Its Environment 1150-1400, 2009, p. 11-30
|
In: Giornate di studio in ricordo di Giovanni Previtali, Pisa: Edizioni della Normale, 2002 [Annali della Scuola Normale Superiore di Pisa. Quaderni, ser. IV, 9-10, 2000], 2000, p. 15-28
|
In: Bollettino d’arte, 1994, vol. VI, no. 79, p. 73-92
|
In: The Holy Portolano/ Le portulan sacré. The Sacred Geography of Navigation in the Middles Ages. Fribourg Colloquium 2013, 2014, vol. I, p. 7-16
|
In: Text, Bild und Ritual in der mittelalterlichen Gesellschaft (8.-11. Jh.) Testo, immagine e rito nella società altomedievale (VIII-XI sec, 2014, p. 115-144
|
