Essays should focus on the visual culture of the period before 1600 and look at the theory of iconography and cross-disciplinary studies. Contributions that explore newer approaches developed in areas such as semiotics, cultural anthropology, gender studies, ideological critique, and social history, and studies that incorporate the perspectives of the new art history, the new historicism, and other histories of representation are especially welcomed. All submissions will be evaluated by specialists and decisions will be made expeditiously.
Submit three double-spaced (including endnotes) printed copies of the essay and photocopies of illustrations. Do not submit original photographs. If the essay is within the guidelines of the journal's editorial policy, the editors will send the essay to specialist readers for their recommendations. It is the goal of the editors to make editorial decisions as expeditiously as possible. Essays not accepted for publication will not be returned to the author unless requested. These are held for a period of one month, after the authors are informed of the rejection, after which date the essays will be destroyed. Unsolicited book reviews are not accepted.
Upon the acceptance of an essay for publication, the editors will require the following from contributors:
Style. 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 (15th 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. 9. 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.
STYLE SHEET for ENDNOTES in STUDIES IN ICONOGRAPHY:
Full author citation:
Authors = Give full names first reference; surnames subsequent references; if listing two books by same author, give name BOTH times.
Paula Mae Carns
Nigel J. Morgan
Full journal citation / short citation:
Article in Journal= “Title of Article,” Title of Journal 11 (1989): 137-38.
Article in New series= “Title of Article,” Title of Journal, n.s., 23 (1992): 139-42.
Article in journal not continuously paginated = add month = 11 (March 1989): 23.
Usually months and issue numbers are not included.
Paula Mae Carns, “Remembering Floire et Blancheflor: Gothic Secular Ivories and the Arts of Memory,” Studies in Iconography 32 (2011): 121-54, figs. 1-11.
Carns, “Remembering Floire et Blancheflor,” 129-30.
Martino Giusti, “Le canoniche della città e diocesi di Lucca al tempo della riforma gregoriana,” Studi gregoriani 3 (1948): 321-67, at 326-27.
Giusti, “Le canoniche della città,” 303-4.
Robert Suckale, “Arma Christi: Überlegungen zur Zeichenhaftigkeit mittelalterlicher Andachtsbilder,” Städel-Jahrbuch 6 (1977): 177-208.
Suckale, “Arma Christi,” 177-208.
Full book citation / short citation:
Book: if multivolume and volumes published in different years, then =
Title of Book, vol. 2 (Philadelphia: University of Pennsylvania Press, 1989), 100-4.
If multivolume and volumes published in same year, then =
Title of Book (Philadelphia: University of Pennsylvania Press, 1989), 2:100-4.
Catalogue entry: usually need only “no.” = (London: Harvey Miller, 1986), 232, no. 53.
Eamon Duffy, The Stripping of the Altars: Traditional Religion in England, c. 1400-c. 1580 (New Haven: Yale University Press, 1992), 52-58.
Duffy, Stripping of the Altars, 55.
Mary Carruthers and Jan M. Ziolkowski, The Medieval Craft of Memory: An Anthology of Texts and Pictures (Philadelphia: University of Pennsylvania Press, 2002)
Carruthers and Ziolkowski, Medieval Craft of Memory, 207.
Michael Curschmann, Wort-Bild-Text: Studien zur Medialität des Literarischen in Hochmittelalter und früher Neuzeit, 2 vols., Saecula Spiritalia 43-44 (Baden-Baden: Valentin Koerner, 2007), 1:261.
Curschmann, Wort-Bild-Text, 2:105.
Gertrud Schiller, Iconography of Christian Art, vol. 2 (London: Lund Humphries, 1971), 122-24, at 122.
Schiller, Iconography, 2:201, pl. 25.
Article in book of essays:
Essay in volume: “Title of Essay,” in Volume Title, ed. Name of editor (pub info), 32-37.
Sylvia Huot, “Polytextual Reading: The Meditative Reading of Real and Metaphorical Books,” in Orality and Literacy in the Middle Ages: Essays on a Conjunction and Its Conseuquences in Honour of D. H. Green, ed. Mark Chica and Christopher Young, Utrecht Studies in Medieval Literacy 12 (Turnhout: Brepols, 2005), 207-9.
Huot, “Polytextual Reading,” 210-11.
Odile Blanc, “Vêtement féminin, vêtement masculin à la fin du Moyen Age: Le Point de vue des moralists,” in Le Vêtement: Histoire, archéologie et symbolique vestimentaires au Moyen Age, Cahiers du Le´opard d’or 1 (Paris: Léopard d’or, 1989), 243-54, at 245 and 250 n. 6.\
[In French titles, capitalize the first article and noun at the beginning, and the first article and noun after colon]
Editions of texts:
Hildegard of Bingen, Symphonia: A Critical Edition of the Symphonia armonie celestium revelationum, trans. and ed. Barbara Neuman, 2nd ed. (Ithaca, NY: Cornell University Press, 1998), 114-15
Jacobus de Voragine, The Golden Legend: Readings on the Saints, ed. William Granger Ryan, 2 vols. (Princeton: Princeton University Press, 1993), 1:330.
John Lydgate, A Critical Edition of John Lydgate’s Lyf of our Lady, ed. Joseph A. Lauritis, Ralpph A. Klinefelter, and Vernon T. Gallagher (Pittsburgh: Duquesne University Press, 1961), 344, line 480.
Diss.= “Title of Dissertation” (PhD diss., Univ. of Wisconsin, 1976), 32-37.
Daniel K. Connolly, “Imagined Pilgrimage in Gothic Art: Maps, Manuscripts and Labyrinths” (PhD diss., University of Chicago, 1998).
Full titles and sub-titles are always required.
Authors should consult a recent copy of the journal if in doubt.
Multiple references to same source = full biblio info first reference, short form all subsequent references; BUT if citing primary text, subsequent references in parens, within text.
Sentences in notes: place page numbers within parens, not just set off by commas –
Smith argues that the …(123). NOT Smith, 123, argues that the ….
BUT OK = See also Sheingorn, “Holy Kinship,” 270.
Several citations in one note should be separated by semicolons = see Esser, “Heilige Sippe,” 70; Morgan, “Psalter Illustration,” 219; and Sheingorn, “Appropriating the Holy Kinship,” 173.
Series = Give title and number if standard, on one topic, similar style, and same general editor = Early Drama, Art, and Music Monographs 5 [NO COMMA]
Survey of Manuscripts Illuminated in the British Isles 5;
(include Jonathan Alexander as series editor)
Abbreviations. See Manual ch. 14, esp. 14.32-35 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, fol. 35r-35v). A list of library, museum, and bibliographic abbreviations used by Studies in Iconography is printed inside the back cover of recent volumes. Clearly identify other necessary abbreviations (Manual 15.25).
Documentation. See Manual ch. 15. Provide all documentation in endnotes; please do not submit footnotes or bibliographies. Whenever possible the first citation should provide the names of authors in full (Manual 15.81-82) and full publication details, including publisher (Manual 15.151). 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 (Manual 15.248-58). 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 photographs 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 photograph 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; Bodl. Lib., Douce 366, fol. 131r. (Photo: Bodleian Library, Oxford.)
Fig. 2. Aristotle being ridden by Phyllis. Aquamanile; New York, Metropolitan Museum of Art, Robert Lehman Collection, 1975.1.1416. (Photo: The Metropolitan Museum of Art.)
Fig. 3. Donatello, David; Florence, Museo Nazionale. (Photo: Alinari/Art Resource, New York.)
Fig. 4. Stratonice Master, Wedding of Antiochus and Stratonice; San Marino, Calif., Henry E. Huntington Library and Art Gallery, HEH 26.120. (Photo: Huntington Library, San Marino.)
Fig. 5. Avarice and Lust. Porch, Saint-Pierre, Moissac. (Photo: James Austin.)
Fig. 6. The Prodigal Son and Prostitutes. Stained glass window, Bourges Cathedral. (Photo: Caisse Nationale des Monuments Historiques et des Sites, Service photographique.)
All authors will be required to sign a contract with Medieval Institute publications allowing publication.