2009-10


  • Episcopal Sanctity at Thirteenth-century Anagni: a Study of Four Episcopal Vestments

  • The Function and Iconography of the Minstrels’ Gallery of Exeter Cathedral

  • The Architecture of St Leonard’s Church, Hythe, and its Context

  • The Nave at Lichfield Cathedral

  • The Old Town Bridge Tower: a Model of Kingship on the Coronation Processional Route

  • St Winefride’s Well: Patronage and Stylistic Affinity

  • Fra Vernaccio and Fra Melano: the Cistercian Masters of Siena Duomo 1258-1264

  • Khirbat al-Mafjar: an Imperial Palace of Al-Walid II

  • Esztergom Staurotheke: Expression, Engagement and Memory in Twelfth-century Byzantium

  • Gothic Church Patronage in Rome between 460 and 526: an Evaluation of Sant’Agata dei Goti, Sant’Andrea cata Barbara and SS. Cosma e Damiano

  • Creating Royal Legacy: a new Look at the Hungarian Coronation Mantle

  • The Last Judgement at Yĭlanlĭ Kilise in Cappadocia: the Formulation of an Iconography

  • The Court of the Heavens: a Visual and Textual Interpretation of the Planets Sloane MS 3983

  • The Namur Apocalypse: MS 77 in the Bibliothèque du Grand Séminaire de Namur

  • The First Deposition in English Manuscript Illumination: Context and Impact

  • The St John Window at Chartres: a Typological Armature System with a Narrative Subject

  • The Virgin and the Dragon: the Iconography and Function of Three Saint Margaret Ivory Figures and the Development of her Cult in Late Medieval France

  • ‘Fidelity of Representation’: Reproducing Ancient Sculpture in Late Eighteenth-century Britain

  • Adoption, Adaption and Experimentation: Nonsense Inscriptions on Attic Vases

2008-09


  • Bodily Absence and Divine Presence: an examination of text, Image, and Relic in the Context of an Eleventh-Century Reliquary of Saint Demetrios

  • The Reciprocal Nature of Pilgrims and Paintings in the Church of the Nativity, Bethlehem

  • Framing Hesychasm and Art: an Interpretation of a Mid Fourteenth-Century Byzantine Icon from Thessalonike

  • A Reassessment of the Esztergom Staurotheke

  • The Painted Ceilings of the Cappella Palatina in Palermo: an Exploration of their Pictorial Images within the Context and Culture of the Court of Twelfth-Century Norman Sicily

  • Micromosaic Icons: their Significance and Place in the Byzantine Artistic Practice of the Twelfth to Fourteenth Centuries

  • Marginal Meaning: Visual and Textual Relationships in the Macclesfield Psalter in the Fitzwilliam Museum, Cambridge

  • A Spiritual Meaning and Impact of Medical Illustrations in Late Medieval Europe

  • Images of Eloquence: the Fall of Adam and Eve in the Medieval Manuscript

  • A Close Look at Images of Louis IX/Saint Louis: Determining Iconography, Meaning and Purpose in Representations of Louis including those made during his Reign and After

  • Reading the Preux and Preuses Cycle in Manta in Context

  • Bleeding Pages, Bleeding Bodies: a Gendered Reading of British Library MS Egerton 1821

  • Picturing Power: a Study of Influence and Patronage in BL Lansdowne 420

  • Prostitute or Parthenos? The Female bather in Athenian Vase Painting

  • Third Century Roman Portrait Sculpture 253 to 305 AD

  • A Study of the Jewellery Depicted in the Fayum Portraits


2007-08


  • Visual Campaigns for Canonisation: a Fifteenth-century Fresco Cycle for a Thirteenth-century Saint, Rosa of Viterbo

  • A Civic Commission?: the Provenance of Ambrogio Lorenzetti’s Maestà at Massa Maríttima Reconsidered

  • ‘The Lamentation of the Clares’ in the Basilica of San Francesco at Assisi: Unveiling Meanings in a Forgotten Masterpiece

  • A Clarrisan Compendium: an Analysis of a Thirteenth-Century Diptych in the Uffizi Gallery, Florence

  • Teobaldo Pontano and the Magdalene Chapel in the Lower Church of San Francesco at Assisi: Interpreting the Locations of Two Patron Portraits

  • ‘Pleasing to God and Salvific to Men’: Indulgences, Saints and Church- Building in Thirteenth- and Fourteenth-Century England

  • Claustrium et Capitulum at Salisbury Cathedral: a Re-assessment

  • The East Window of St Mary’s Parish Church, Selling, Kent: a Royal Window in the Shadow of Canterbury

  • Revisiting St Alban’s: the East End of the Abbey Church

  • The Nuremberg Frauenkirche

  • ‘On Account of the Love We Bear the Order’: King Henry III and the Politics of Burial at the New Temple Church in London

  • The Artistic Patronage of Bishop Nicholas West 1515-1533

  • The Influence of Westminster Abbey and the Experimentation in English Façade Design c. 1240-1280

  • A Palaeologan Icon with Scenes of the Passion: a Thessalonian Response to Fourteenth-Century Art and Monasticism

  • The Circulation of Ornamental Vocabulary in Bagratid Armenia as a Question of Political Identity

  • The Presence of the King: the Porphyry Tombs of Roger II and the Construction of Power

  • The Amenaprkitch Khatchkar: a Symbol of Armenian Identity

  • The Value and Importance of the Constantinopolitan Hodegetria

  • Art as Diplomatic Tool in the Middle Byzantine Period 1000-1150

  • Art and Text on Byzantine Icons: a Question of Labelling

  • Performance of Memorial: the Funerary Slab of Nun Maria Palaiologina

  • Spontaneous Art: Pompeian Erotic Graffiti in Context

  • Trojan War Imagery in Pompeian Domestic Wall Painting

  • The Baptistery of S. Giovanni in Fonte in Naples: Understanding the Development of Christian Iconography through Visual Exegesis

  • Another Dionysus?: The Iconography of Dionysus in Late Antique Egyptian Textiles