Julia Miller

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Papers by Julia Miller

Miller MiraculousChildbirthPortinari

Hugo van der Goes's Portinari Altarpiece is perhaps the single most studied Flemish painting of t... more Hugo van der Goes's Portinari Altarpiece is perhaps the single most studied Flemish painting of the later fifteenth century (Fig. 1). As the painter's key work, and one of the largest, best-preserved, and most influential altarpieces from its period, the triptych has warranted the close study of its iconography, patronage, and style which it has generated for decades.' It has, however, been largely overlooked as a representative of a type of altarpiece which has been investigated with vigor in recent years: that is, a painting made for the chapel of a hospital.2 The lack of focus on the altarpiece "in context" may be due to a variety of reasons, foremost among them that although the painting was commissioned and painted in Flanders, it was destined for a remote site-the small church of S. Egidio, which functioned as the chapel of Florence's largest hospital, S. Maria Nuova. One of the few scholars to have considered the question of the painting's installation, Shirley Neilsen Blum, has pointed out

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Miller DonatellosSRossore

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An Iconography of Form: Space and Light in Botticelli's St. Augustine and Ghirlandaio's St. Jerome

Explorations in Renaissance Culture, 1988

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Sharon E. J. Gerstel, ed. Thresholds of the Sacred: Architectural, Art Historical, Liturgical, and Theological Perspectives on Religious Screens, East and West. Cambridge, MA : Harvard University Press, 2006. 246 pp. index. illus. $65. ISBN: 0-88402-311-7

Renaissance Quarterly, 2007

expelled. R. Joseph argued against those who incited against the Jews, especially concerning the ... more expelled. R. Joseph argued against those who incited against the Jews, especially concerning the blood libel. Perhaps it is appropriate to characterize his activities as external ones, since he didn’t deal with any internal issues such as education or intercommunity arrangements. He had all the qualifications that were needed to fulfill his mission: courage and endurance, ability to convince others, insight, political intelligence, good understanding of the Jews’ immediate needs, and, above all, he had the ability to rebound after so many failures and to keep on. Aside from his public and political activities, R. Joseph wrote several treatises and a short chronicle, which open a window to his inner world. The author, Chava Fraenkel-Goldschmidt, examined R. Joseph’s “Diary” and analyzed his entries by comparing them to dozens of documents scattered in many archives and libraries throughout Europe, mostly in Germany. Using her profound historian’s skills, vast knowledge of the academic bibliography, and fluency in both Hebrew and German, Fraenkel presents an outstanding scholarly work. Moreover, her clear and fluent writing as well as the fine translation result in a most readable book. The author’s devotion to her research was emphasized by her dedication of the book in the preface “to the researches of R. Joseph of Rosheim . . . and above all to Dr. Ludwig Feilchenfeld, who broke new ground in his research on this project, but did not live to see the fruit of his labours.” These lines were written on February 1995, a few weeks before Fraenkel herself died, on 12 March 1995, also without seeing the fruit of her labors. MICHAEL REUVENI The Jewish Theological Seminary

Julia Isabel Miller - Storytelling in Christian Art from Giotto to Donatello (review) - Renaissance Quarterly 60:2

Péter Bokody. "Images-within-Images in Italian Painting (1250-1350)": Reality and Reflexivity

Studies in Iconography, 2017

From Giotto to Botticelli: the artistic patronage of the Humiliati in Florence

Choice Reviews Online, 2016

Donatello's 'S. Rossore', the Battle of San Romano and the Church of Ognissanti

The Burlington magazine

(Fig.26). But a decade after the arrival of his relic at Ognissanti, S. Rossore was credited with... more (Fig.26). But a decade after the arrival of his relic at Ognissanti, S. Rossore was credited with a celebrated victory, the Battle of San Romano, an event commemorated in Paolo Uccello's famous paint ings (Fig. 27).? While Lionello Boccia and Julia Lessanutti suggested a possible link between the relic and that battle, basing their arguments on a source published in the eighteenth century by Giuseppe Picha,2 a previously unpublished document of 1432, an official record of the Florentine Signoria dating from a few days after the battle, defini tively shows that the victory was attributed to the intercession of S. Rossore (see Appendix below).3 The document also includes a contemporary description of the battle itself. This article clarifies the connection made by the Florentines between the S. Rossore relic and the battle, and suggests how possession of this efficacious relic enhanced the prestige of the Humiliati, the religious order that built the church of Ognissanti and resided there for three hundred years.4 According to legend, the saint, whose Latin name of Luxorius was corrupted to Lussore, or Rossore, was a Sardinian serving in the Roman army in the late third century until his sudden conversion to Christianity; he was beheaded near Cagliari in Sardinia, and became an important martyr for his fellow islanders.5 After the Pisans invaded Sardinia in the eleventh century, they seized Rossore's bones and brought them back to their city, where he was also apparendy venerated as a military saint. A now-lost church ded icated to S. Rossore was built c. 1084 just outside Pisa, and during the twelfth century, when the body of the saint seems to have been moved to a crypt below the bishop's palace in Pisa, his head remained in the eponymous church.6 In 1274 this church and its 26. Reliquary bust of S. Rossore, by Donatello. 1422-25. Gilt bronze, 56 by 60.5 cm. (Museo Nazionale di S. Matteo, Pisa).

Humility and Piety: The "Annunciation" in the Church of Ognissanti in Florence

Studies in Iconography, 2009

An essay on a fresco of the Annunciation (1369) that is attributed to Maestro di Barberino and ap... more An essay on a fresco of the Annunciation (1369) that is attributed to Maestro di Barberino and appears in the church of Ognissanti in Florence, Italy. The fresco is a remarkable survivor from the original decoration of this 14th-century church, and stands as one of the sole indications of its original appearance under the Humiliati order. The strong devotion of both the Humiliati and the later Franciscans to the Annunciation was based on the fresco's emulation of an earlier fresco of the scene (circa 1340) in the church of SS. Annunziata, Florence. The authors demonstrate how the later fresco both imitated and significantly departed from this model. They explain how the changes made to the fresco connected it more closely to its patron, Pietro Mazza, as well as to the expression of Humility, the virtue for which the Humiliati order had been named.

Eve, Mary, and Martha: Paintings for the Humiliati Nuns at Viboldone

Speculum, 2021

The church of San Pietro in Viboldone, near Milan, contains numerous frescoes that date to the la... more The church of San Pietro in Viboldone, near Milan, contains numerous frescoes that date to the later Trecento, when it was under the control of the Humiliati order. Similar to most Humiliati establishments prior to 1400, it was a double monastery, housing both brothers and sisters. Viboldone is the only extant former church of the Humiliati that contains substantial pictorial decoration from the period when religious of both sexes were resident. Drawing upon earlier proposals that the nuns entered the church in the second bay of the right side aisle, I suggest that the sisters would have been able to traverse the right side aisle to at least the fourth bay, and probably had access as well to the fifth bay or choir. Their male counterparts would have occupied a parallel position in the left side aisle. The article discusses how the paintings visible to the divided members of the monastic community conveyed gendered messages seen as appropriate to the brothers and sisters. I support this argument with evidence from the history of the Humiliati, and especially from their distinctive rule.

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Symbolic Light in Giotto and the Early Quattrocento in Florence

Source: Notes in the History of Art, 1985

Healing by His Shadow to typify a subject rare ly illustrated before the Renaissance but made pos... more Healing by His Shadow to typify a subject rare ly illustrated before the Renaissance but made possible by the naturalism of early quattro cento style. Most of the paintings discussed by Meiss were Flemish. Similarly, Erwin Panof sky explained how meaning could be advanced by variations in light direction, but he used mostly Flemish works to demonstrate these sub tle manipulations.2 More recently, one can cite studies on light symbolism in Italian art; but with the exception of Piero della Francesca, such analyses have concentrated on sixteenth century artists, especially Titian.3 The subject of this study is the symbolic treatment of light direction in some early Italian Renaissance paintings, and I will trace the origin of these artistic practices to the early trecento. In order to determine where variations in light directions occur, one must first establish what the pictorial customs were from which artists would deviate. In the case of fresco paintings, it is well known that there would be a coordina

The Panel paintings of Masolino and Masaccio: the role of technique

Choice Reviews Online, 2003

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Religion, Politics, and Art in Late Medieval and Renaissance Italy

Bohn/A Companion to Renaissance and Baroque Art, 2013

An Iconography of Form: Space and Light in Botticelli's St. Augustine and Ghirlandaio's St. Jerome

Explorations in Renaissance Culture, 1988

The Coming of the Shepherds: Response

The Art Bulletin, 1996

Miraculous Childbirth and the Portinari Altarpiece

The Art Bulletin, 1995

... I am also indebted to my colleague Douglas Dom-ingo-Foraste for correcting my translations fr... more

Heritage of Heresy: Preservation and Destruction of Religious Art and Architecture in Europe

Renaissance Quarterly, 2009

Storytelling in Christian art from Giotto to Donatello. By Jules Lubbock. Pp. xiv+353 incl. 165 black-and-white and colour plates. New Haven–London: Yale University Press, 2006. £30. 0 300 11727 2

The Journal of Ecclesiastical History, 2007

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Thresholds of the Sacred: Architectural, Art Historical, Liturgical, and Theological Perspectives on Religious Screens, East and West. Edited by Sharon E. J. Gerstel. Cambridge, Mass.: Dumbarton Oaks Research Library and Collection, distributed by Harvard University Press, 2006. 400 pp. $65.00 cloth

Church History, 2008

cleaned-up, socially constructed Jerusalem. Wharton is particularly adept at delineating semiotic... more cleaned-up, socially constructed Jerusalem. Wharton is particularly adept at delineating semiotic operations, elucidating distinctions between relic, souvenir, replica, reproduction, and so forth. For example, she discusses the Temple churches in London and Paris, and the ways each building became “a volatile fusion of abstract ideas of spiritual power with physical presence” (88), connecting with the “dramatic expansion of the European economy, the thorough monetization of Europe, and the invention of capital” (93). Her imaginative sweep allows her to draw into her discussion otherwise unlikely subjects—the Dome of the Rock and Disneyland, the codes of the Templars and the redacted FBI files on Andy Warhol—and she does this persuasively and not as gratuitous virtuosity. As is often the case with a tour de force, the flash of insight shines against a somewhat schematic background. Wharton extends a tradition that includes Karl Marx, Karl Kautsky, and Max Weber of grounding spiritual flight in economic materiality; however, her approach, while schematic, is not reductionist. She sets the stage to further investigate the Holy City, including the representations for Judaism and Islam (I think, for example, of the ubiquitous posters and embroideries of the Dome of the Rock on every Palestinian’s wall). Selling Jerusalem is also a welcome addition to other discussions of history, religion, and the material basis for social consciousness.