Martha Easton is Assistant Professor of Art History at Saint Joseph’s University. She specializes in medieval art and architecture, with publications on various topics including illuminated manuscripts, gender and hagiography, medievalism, and the collecting of medieval art during later periods. Her recent publications include “Feminist Art History and Medieval Iconography,” in The Routledge Companion to Medieval Iconography, ed. Colum Hourihane (London: Routledge, 2017), 425–36; “Integrated Pasts: Glencairn Museum and Hammond Castle,” with Jennifer Borland, Gesta 57, no. 1 (2018): 95–118; and “Gender and Sexuality,” in A Cultural History of Hair in the Middle Ages, ed. Roberta Milliken, 2nd volume in a 6-volume series, A Cultural History of Hair, gen. ed. Geraldine Biddell-Perry (London: Bloomsbury Academic, 2019), 107–22.,Vasileios Marinis is Associate Professor of Christian Art and Architecture at Yale University. He has published on a variety of topics, ranging from early Christian tunics decorated with New Testament scenes to medieval tombs, graffiti, and visions of the Last Judgment. He has written two books, both published by Cambridge University Press: Architecture and Liturgy in the Churches of Constantinople (2014); and Death and the Afterlife in Byzantium: The Fate of the Soul in Theology, Liturgy, and Art (2017). His current research interests include the textual construction of sacred space and the cult of the martyr Euphemia in Byzantium.,Giulia Puma is Associate Professor of Medieval Art History and Visual Culture at the Université Côte d’Azur (France). She specializes in Italian painting, especially altarpieces and frescoes in the Late Middle Ages, with an emphasis on the combination of devotional and narrative elements in their iconographical subjects. Her first book is Les Nativités italiennes (1250–1450): Une histoire d’adoration (Rome: Publications de l’École Française de Rome, 2019). Her new book project, A Visual History of Altarpieces (Italy, 13th–15th c.), explores the iconography of metapainting and the enshrined altarpiece within larger paintings in the Late Middle Ages.,Maria Alessia Rossi is an Art History Specialist at the Index of Medieval Art at Princeton University. Her main research interests include late Byzantine artistic production, cultural and iconographic exchanges between the Byzantine Empire and the Serbian Kingdom, and the role of the miracles in text and image. She co-edited Late Byzantium Reconsidered: The Arts of the Palaiologan Era in the Mediterranean (Abingdon: Routledge, 2019) and Byzantium in Eastern European Visual Culture in the Late Middle Ages (Leiden: Brill, 2020), and she is the cofounder of the initiative North of Byzantium (NoB). Currently she is working on a book exploring the role of Christ’s miracles in monumental decoration in Byzantium (1261–1330).,Rossitza Schroeder is a medievalist art historian and is at present an associate professor of art history at the St. Vladimir’s Orthodox Theological Seminary. Her primary research interest is late Byzantine art and architecture. She has published extensively on monastic practice and the visual arts in Palaeologan churches in Constantinople, Mount Athos, Thessaloniki, and Ohrid. Schroeder is also the co-editor of a volume entitled The Eloquence of Art in honor of Henry Maguire, which was published by Routledge in 2020.,Kathryn A. Smith is Professor of Art History at New York University. She is the author of Art, Identity and Devotion in Fourteenth-Century England: Three Women and Their Books of Hours (London: The British Library, 2003), The Taymouth Hours: Stories and the Construction of the Self in Late Medieval England (London: The British Library, 2012), and articles, essays, and reviews on early Christian and late medieval art, especially the illustrated manuscripts of Gothic England. Her current projects include a book titled Scripture Transformed in Late Medieval England: The Religious, Artistic, and Social Worlds of the Welles-Ros Bible, on the earliest surviving entire vernacular Bible from England and its illumination. She is a Fellow of the Society of Antiquaries of London and the Royal Historical Society, the founding series editor of Studies in the Visual Cultures of the Middle Ages (Brepols), and was a co-editor with Pamela Patton and Richard K. Emmerson of Studies in Iconography (2015–2020).,Christine Zappella is writing her dissertation, “Il Corpo della Compagnia and Monochrome Painting in Andrea del Sarto’s Cloister of the Scalzo,” at the University of Chicago and will receive her doctorate in 2021. She holds the inaugural Blanton Fellowship in European Art (Painting and Sculpture), at the Blanton Museum of Art at the University of Texas at Austin. She has previously held fellowships and internships at the Art Institute of Chicago, the Frick Collection, and the National Gallery of Art in Washington, and she has participated in Harvard University’s Summer Institute for Technical Studies in Art.
