A Byzantine Artist, Named and Known: The Painter Ioannis Pagomenos on the Cusp of Early Modernity [Paper No: 1612-b]
Acting Their Parts: The Iconographies of Episcopal Authority Modeled through the Vercelli Rotolus [Paper No: 204-c]
Against the Wall: Narrating the Border in Representations of Mountainous Landscapes in Trecento Art [Paper No: 1112-a]
Apocalypse Painting as Ecclesiastic and Liminal Borders in Two 11th-Century Poitevin Churches [Paper No: 1712-c]
Artistic Exchanges and Domestic Decoration: Provençal Painted Ceilings and Their Archival Sources, 14th-16th Centuries [Paper No: 1212-b]
Beaten, Burned, and Butchered: The Martyred Body in Politics and Propaganda [Paper No: 201-b]
Blurring the Boundaries of Lusignan Cyprus: Saints' Icons within Multi-Confessional Communities [Paper No: 512-b]
Bordering the Infinite: The Columns of Hercules in Medieval Maps [Paper No: 830-a]
Borders of Medias: Boundaries between Narrative and Visual Sources in a 14th-Century Example of Depictions of a Luxembourg Pedigree [Paper No: 1726-b]
Christian Images, Muslim Prayers: Gentile Bellini, Mehmed II, and the Byzantine Theotokos [Paper No: 801-c]
Dance Scenes in the Manuscript Margins as a Humour Device [Paper No: 1012-a]
Dining with Flies: A Discourse about Consumption and Commerce in the Low Countries during the Late Middle Ages [Paper No: 1012-b]
Domestic Painted Ceilings in the Languedoc Region of France: Manifestations of Artistic Exchanges with Iberia and Italy, 13th-16th Centuries [Paper No: 1212-c]
Dominican and Franciscan Art for the Sake of Jubilee Years in Late 15th-Century Rome [Paper No: 318-c]
Espaces sonores et régimes d’écoute: figurer les sons dans les psautiers et livres d’heures en Europe occidentale (XIIIe -XVe s.) [Paper No: 1718-c]
Establishing and Blurring Religious Boundaries in Le Devisement dou monde by Marco Polo [Paper No: 712-c]
Exotic Carolingians?: A Critical Approach to Costumes in The Stuttgart Psalter [Paper No: 811-a]
Flaying and Identity, c. 1500: Skin as Text, Surface, and Clothing [Paper No: 1719-a]
Garments of Strangers and Strange Garments: Truth and Fantasy in Testard's Eastern Clothes [Paper No: 811-c]
Giotto's Marginalia: The Borders of the Transept and Crossing Frescoes in the Lower Church, Assisi [Paper No: 211-c]
Looking to the Other Side: New Strategies in 14th-Century Danish Wall-Paintings [Paper No: 135-c]
Magic in the Margins: Rereading the Plant Motifs in the Medieval Churches of the Baltic Sea Region [Paper No: 122-a]
Magical Iconography: On the Borders between Ancient and Medieval Art [Paper No: 612-a]
Medieval Art in the Eyes of Stock Takers, Historiographers, Travelers, and Artists of the Early Modern Era [Paper No: 1312-a]
Meta-Paintings and Their Viewers: Performing Devotion through Time and Space [Paper No: 312-b]
Micro-Architecture in 12th-Century Roman Painting: History, Typology, and Function [Paper No: 212-a]
Mycon and Pero and the Missing Motive: How a Textual Tradition Warranted the Presence and Absence of an Ancient Motive in the Visual Arts [Paper No: 201-d]
On the Border between the East and the West: The Personification of the Jordan River in the Holy Trinity Chapel of Lublin, Poland [Paper No: 217-a]
On the Threshold of the Accursed City: Babylon as a Visual Border in the Late Castilian Beatus Commentaries [Paper No: 1530-a]
On the Verge of Vulgarity: The Iconography of the Rose in the Roman de la Rose [Paper No: 201-c]
One City, Three Virgins: Interpretations of the Byzantine Virgin in Medieval Novgorod [Paper No: 801-a]
'Performance' in Mural Wall Paintings: The Seven Works of Mercy in Paintings and Plays [Paper No: 218-a]
Performative Structures: Meta-Architecture in Italian Painting [Paper No: 212-b]
Political Borders and Medieval Studies: A Study of a Polish Painting at the Turn of the Middle Ages and Early Modern Period [Paper No: 612-d]
Queering an Icon: Introducing Gestures of Passionate Love among the 40 Martyrs of Sebaste [Paper No: 710-c]
Royal Portraits in Serbia and Italy, Late 13th and Early 14th Century: Iconographical Changes and Adaptation to Foreign Policy [Paper No: 1112-d]
Sacred or Scandalous?: How to Approach Depictions of Genitals in Medieval Art [Paper No: 301-b]
Some Cross-Border Interactions in Armenian Art in the Middle Ages: Ecclesia and Synagogue Figures in the Iconography of the Crucifixion [Paper No: 712-d]
Space and Boundaries in an Illuminated Manuscript of the Heavenly Ladder (Vatican City, Biblioteca Apostolica Vaticana, Vat. gr. 394) [Paper No: 812-c]
The Armchair Time Traveler: Crossing Chronological Boundaries in Matthew Paris' Pictorial Hagiography (Dublin, Trinity College MS 177) [Paper No: 512-a]
The Bathing Beauties of the Middle Ages: The History and Likeness of Susanna and Bathseba [Paper No: 201-a]
The Body of Christ as a Sacrifice to Pagan Gods?: Mattathias Killing of a Jew in a Dutch Bible Historiale of the 15th Century [Paper No: 301-a]
The Depiction of the Infant Christ and More Iconographic Scenes of the Utrecht Middle Rhine Altarpiece Compared to a Corpus of Manuscripts [Paper No: 301-c]
The Force of Privation: How Cast Shadows Accentuate Spatial and Ontological Boundaries in Trecentesque Painting [Paper No: 1112-b]
The Illuminated Psalter from Trzebnica (Wrocław, University Library, IF 440) at the Turning Point between the Time of Monks and the Era of Elites [Paper No: 612-b]
The Imperial Theology of the Cult of the Mother of God in Byzantium, Hungary, and the Kyivan Rus' [Paper No: 1235-b]
The Migration of Birds across Late Antique and Early Medieval Arts [Paper No: 1236-c]
'The Times They Are a-Changing': An Examination of Giotto's Crucifix and Masaccio's Trinity in the Basilica of Santa Maria Novella, Florence [Paper No: 112-a]
The Wisdom of the Virgin: Mary as Cultural Mediator between Carolingians and Langobards in Langobardia Minor [Paper No: 1121-a]
To Be Herself: The Singular Example of Queen Elisabeth of Portugal (1270-1336) - Iconographic Analysis of an Unpublished Painting of the Monastery of Odivelas [Paper No: 517-d]
Tombs as Repositories of Memory: The Monument of Gillion de Trazegnies [Paper No: 1603-c]
Visual Allegory: Art and Meaning Underneath the Crossing Vault of the Basilica of St Francis in Assisi [Paper No: 1235-c]
Wandering Gold, Whirling Discs from Sinai: On the Transfer of an Art Technique [Paper No: 613-b]
'Why stand you looking up to heaven?': Corporeal and Spiritual Vision and the Ascension in Literature of the Late Middle Ages [Paper No: 812-a]