STUDIES IN ICONOGRAPHY GUIDELINES

STUDIES IN ICONOGRAPHY GUIDELINES

EDITORIAL POLICY
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.

PREPARING COPY FOR PUBLICATION
Upon the acceptance of an essay for publication, the editors will require the following from contributors:

A final, revised, double-spaced paper copy of the essay and endnotes in the journal's style, as detailed below in the Notes for Contributors.
A computer disk (3.5") or CD-ROM copy of the final revised essay, preferably in Word forWindows format.
A paper copy and an electronic copy 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 photographs.
High quality black/white glossy photographs of illustrations. If possible, photographs should be no larger than 5" wide and 7 1/2" high and, if the entire photograph is not necessary, should be marked to indicate the most important details for publication. Digital images for the journal will be accepted provided that they are a minimum of 300 DPI.
Written permissions to publish the illustrations. It is the author's responsibility to secure permissions and to pay for any charges related to securing photographs and permissions to publish.
A short biography of no more than two hundred words for inclusion in the journal.

NOTES FOR 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 (14th 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, do not include the original language unless crucial to the argument. For treatment of foreign languages, see Manual ch. 9. Use italics rather than underlining for titles of books, emphasis, etc.

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

Authors = Give full names first reference; surnames subsequent references; if listing two books by same author, give name BOTH times.

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.

IF MORE THAN ONE NUMBERING SYSTEM = 232, cat. no. 53.

Essay in volume: “Title of Essay,” in Volume Title, ed. Name of editor (pub info), 32-37.

Diss.= “Title of Dissertation” (Ph.D. diss., Univ. of Wisconsin, 1976), 32-37.

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)

DO NOT give series names when just a marketing ploy – The New Historicism 5

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.

Examples :

Robert Suckale, “Arma Christi: Überlegungen zur Zeichenhaftigkeit mittelalterlicher Andachtsbilder,” Städel-Jahrbuch 6 (1977): 177-208

Millard Meiss, French Painting in the Time of Jean de Berry: The Limbourgs and their Contemporaries (New York: Braziller, 1974), 1:263-70.

Michael William Camille, “The Illustrated Manuscripts of Guillaume de Deguileville’s ‘Pèlerinages,’ 1330-1426” (Ph.D. diss., Univ. of Cambridge, 1985), 227-46.

Meyer Schapiro, “On Perfection, Coherence, and Unity of Form and Content,” in Art and Philosophy: A Symposium, ed. Sidney Hook (New York: New York University Press, 1966), 47-52.

Jacobus de Voragine, The Golden Legend: Readings on the Saints, 2 vols., trans. William Granger Ryan (Princeton: Princeton University Press, 1993), 1:277-8

Full titles and sub-titles are always required.

Authors should consult a recent copy of the journal if in doubt.

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.