Essays should focus on the visual culture of the period before 1600. Articles that take a cross-disciplinary or interdisciplinary approach to their subjects or that examine theories and methods of iconographic analysis and histories of representation from a critical perspective are especially welcome. All submissions will be evaluated by specialists via double-blind peer review, and decisions will be made expeditiously.
Please submit the article as a digital file in Microsoft Word or a Microsoft Word–compatible format. Studies in Iconography does not accept PDFs since these files cannot be altered to preserve anonymity during the peer-review process.
Manuscripts must be in English. Manuscripts submitted for publication consideration must not contain any personal references, acknowledgments, or information that might reveal to a reviewer the identity of the author (these can be added later if the article is accepted for publication).
A submission to Studies in Iconography consists of four parts:
1. A cover sheet giving the author’s name, postal and email addresses, and telephone and fax number;
2. The manuscript, double-spaced, with double-spaced endnotes. The title of the article -- but not the author’s name -- should appear on the first page of the manuscript;
3. A list of illustrations. The title of the article – but not the author’s name – should appear on the list of illustrations;
4. A Microsoft Word file no larger than 10 MB containing all illustrations. Please note that images for the initial submission must be received in a Microsoft Word file, not as individual JPEG or TIFF files.
All submissions must be sent electronically, either via email or via a cloud delivery system (e.g. YouSendIt.com, WeShare, DropBox), to the Index of Christian Art at firstname.lastname@example.org.
Publication-quality digital files of all illustrations (with caption information) should be in the author’s possession when a manuscript is submitted for consideration. If the manuscript is accepted, the author will need to supply these images promptly.
If the essay is within the guidelines of the journal's editorial policy, the editors will send the essay to specialist readers for their evaluations. It is the goal of the editors to make editorial decisions as expeditiously as possible. Essays not accepted for publication will be deleted after the author has been informed of the rejection. Unsolicited book reviews are not accepted.
Upon the acceptance of an essay for publication, the editors will require the following from contributors:
1. A final, revised, double-spaced digital copy of the essay and endnotes in the journal's style, in Microsoft Word as detailed below in the Notes for Contributors.
2. A PDF copy of the final revised essay to preserve a record of the intended format.
3. A Word file listing the captions for the illustrations; captions should follow the journal's style, as detailed in the Notes for Contributors, and include the sources of images.
4. High resolution (minimum 300 dpi) illustrations as individual JPEG or TIFF files. Please use a cloud delivery system such as WeShare or DropBox to transmit your images.
5. Written permissions to publish the illustrations. It is the author's responsibility to secure permissions and to pay for any charges related to securing images and permissions to publish. The documents granting permission should be kept by the author; copies must be sent to Studies in Iconography with the images.
6. A short biography of no more than 200 words for inclusion in the journal.
7. All authors will be required to sign a contract with Medieval Institute Publications allowing publication.
The editors may edit essays for clarity and style. Contributors will receive an edited copy of their essays for their approval. In matters of style, Studies in Iconography follows The Chicago Manual of Style (16th ed.). Essays should be in English and should translate foreign language texts quoted in the body of the essay. If a standard translation is quoted, include the original language when it is important for the argument. If your own translation is being used it is necessary to provide the original text. It is always necessary to cite the standard edition of the original. For treatment of foreign languages, see Manual ch. 11. Use italics rather than underlining for titles of books, emphasis, etc. It is important for authors to note that the full names of all cited authors are given and that the name of the publisher is always included.
Abbreviations. See Manual ch. 10, esp. 10.43-51, for scholarly and biblical abbreviations. Endnotes should use standard abbreviations for journals (e.g., PMLA), libraries (e.g., NYPL, BL), and scholarly documentation (e.g., ca., MS, fols. 35r-35v). A list of library, museum, and bibliographic abbreviations used by Studies in Iconography is printed inside the back cover of recent volumes.
Documentation. See Manual ch. 14. Provide all documentation in endnotes; please do not submit footnotes or bibliographies. The first citation should provide the names of authors in full publication details, including publisher. After the first full citation of a primary source, subsequent citations should be parenthetical within the text; after the first citation of a secondary source, all subsequent citations to the source should be placed in endnotes, using a short form. Discursive notes should be kept to a minimum. Authors are responsible for the accuracy of all citations, which should be verified before the final manuscript is submitted.
Captions. Captions should be numbered in the order in which the images are to appear within the essay. They should name the artist (if known) and should identify the title or topic of the work and its locations or the text from which the illustration is taken. Captions should acknowledge the source of the image and include details required by the photographic source or owner of the original work. Please us the following captions as models for format and style:
Fig. 1. Psalm 101; within lower border a young man proffering a ring to a young woman. Psalter of Robert of Ormesby, ca. 1300; Bodl. Lib., Douce 366, fol. 131r. (Photo: Bodleian Library, Oxford.)
Fig. 2. Aristotle being ridden by Phyllis. Aquamanile, 14th century; New York, Metropolitan Museum of Art, Robert Lehman Collection, 1975.1.1416. (Photo: The Metropolitan Museum of Art.)
Fig. 3. Donatello, David, ca. 1440; Florence, Museo Nazionale. (Photo: Alinari/Art Resource, New York.)
Fig. 4. Stratonice Master, Wedding of Antiochus and Stratonice, 15th century; San Marino, Calif., Henry E. Huntington Library and Art Gallery, HEH 26.120. (Photo: Huntington Library, San Marino.)
Fig. 5. Avarice and Lust, ca. 1120. Porch, Saint-Pierre, Moissac. (Photo: James Austin.)
Fig. 6. The Prodigal Son and Prostitutes, 1210-1215. Stained glass window, Bourges Cathedral. (Photo: Caisse Nationale des Monuments Historiques et des Sites, Service photographique.)