In: Добрый кормчий. Почитание святителя Николая в христианском мире, 2011, p. 296-317
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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.
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In: Codex Aquilarensis, 2013, vol. 29, p. 15-21
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In: Bollettino d’arte, 1994, vol. VI, no. 79, p. 73-92
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In: Culture of Cilician Armenia, proceedings of the international symposium (Antelyas, Armenian Katholicossate of Cilicia, 14-18 January 2008), 2009, p. 489-508
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In: Armenian Studies Today and Development Perspectives, proceedings of the international congress (Yerevan, Armenian Academy of Sciences, 15-20 September 2003), 2004, p. 548-558
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In: Arti e storia nel Medioevo. Volume I : Spazio Tempo Istituzioni, 2002, p. 631-700
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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.
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In: Journal of the Warburg and Courtauld Institutes, 1998, vol. 61, p. 1-16
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In: Byzantium 330-1453, exhibition catalogue (London, Royal Academy of Arts, 25 October 2008-22 March 2009), 2008, p. 275-279; 464-465.
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