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The art of the Amarna Period presents some unconventional features with a unique artistic style in Egyptian culture. Queen Nefertiti plays a fundamental role in Amarna iconography. No other queen is depicted with such frequency, and it is remarkable how her figure as queen evolves throughout the reign of Akhenaten, breaking certain traditional canons historically established for Egyptian royalty. One of the most significant and emblematic attributes of royalty is the crown, an ornament of gods and kings. The review of the iconography, following a timeline, and the analysis of the different crowns worn by the queen throughout the Amarna period, constitute an indicator of the importance that she is acquiring, as well as a line of investigation to try to determine the power that she holds in each of those moments. [ABSTRACT FROM AUTHOR]

The unusual iconographic program of the Fuero Juzgo preserved in the National Library of Spain is made up of two unparalleled illuminations. The first represents the Blessing of the marriage of Adam and Eve; the second is an arbor consanguinitatis that starts from Jesse. In the present study we will delve into its theological meaning by tracing in patristic and iconographic tradition the link that unites both elements -Jesse and the tree of consanguinity- and, in turn, these with the blessing of the union of the first parents. This allows us to recognize the insistence of its creator on the sacramental character of marriage, the link of the images with the contemporary nuptial liturgy, as well as to explain the meaning of these religious images in this juridical manuscript. [ABSTRACT FROM AUTHOR]

This text addresses the artistic theme of women as the embodiment of death through the motif of the female corpse in the film The Autopsy of Jane Doe (André Øvredal, 2016). The construction of the character of the dead woman is based on the stereotype of the fatal woman, connecting with misogynistic iconographies that demonize female sexuality through the link between evil and carnality. In the iconographic analysis, cultural products are critically analyzed from a feminist approach that find their reason for being in a gendered condition of evil, becoming aware of the ideology that permeates them. Beauty is conceived as a trap or artifice, relating the female body with temptation, danger, death and corruption. Under the cover of a fantastic narrative, old moralistic clichés are updated that rest on aesthetic definitions of beauty/ugliness loaded with patriarchal implications. [ABSTRACT FROM AUTHOR]

The set of manuscripts of the Siete Partidas produced in the Middle Ages testify the impact, importance, and relevance of this legal work in Castile and other peninsular kingdoms. This importance led to the commission of illuminated codices by relevant figures with images that illustrated the different laws or legal concepts and, at the same time, served as a way of ornamenting and dignifying these manuscripts. In this study the author analyses the presence of religious iconography in the codices of the Siete Partidas, classifying the most notorious religious iconographic themes, as well as possible parallels in other late medieval illuminated legal works. [ABSTRACT FROM AUTHOR]

The imago of Justice has attracted attention since ancient times and, in the most recent period, the approaches to the subject have multiplied. The question that arises here is not about the image of Virtue itself, although it is valued and taken into account, to point out its unity without forgetting the fickle aspects of its alleged monolithic configuration, capable of generating important changes in its iconic appearance. The study concentrates on the revision of its absences in medieval Catalan art. To describe and analyse these hollow spaces that make us think of a denial of Justice -understood in its feminine personification- I examine their repeated or sporadic presence in different places of Europe while approaching those that were their alternatives in Catalan religious and civil contexts. This cessation in its functions should not have been conditioned only by a lack of knowledge and, in any case, could be the result of a disjunctive graphic thinking that prioritizes other issues and motives when it comes to representing the idea of judgment or justice. [ABSTRACT FROM AUTHOR]

This article presents the results of a close investigation on the manuscript Clm 14011 preserved in the Bayerische Staatsbibliothek of München. The manuscript was produced in Genoa at end of the XIII century and contains the Decretals of Gregory IX, the Collectio III of Innocent IV and the Constitutiones of Gregory X. The style of miniature and multicolored initials suggests the work of two different artists: the first, who painted the miniature at the beginning of each book, was deeply influenced by Paduan school; the second, who painted the initials, was a Genoese artist who followed the language of the so-called Master of ms. Lat. 42. Finally, the analysis of the iconography of each miniatures reveals how religious themes and details were reused in the illustrations of a legal manuscript. [ABSTRACT FROM AUTHOR]

Editorial introduction to "Imago, ius, religio. Religious Iconographies in Illustrated Legal Manuscripts and Printed Books (9th-20th Centuries)". The aim of this monographic issue is to analyse the use of religious iconographies in legal manuscripts and printed books, to create a basis for discussion and exchange on the diverse artistic, historical, and social aspects of these iconographies. [ABSTRACT FROM AUTHOR]

The visuality of Temperance arose in Middle Ages with the predominance of Italian trends. During the 15th and 16th centuries, a new iconographic type for Temperance appeared in the French scope of the "new visuality" providing new attributes. This innovation was the iconic depiction of the features that thinkers attributed to this virtue. The present research is about the appearance, analysis, continuity, and variation of the iconographic type of Temperance in the "new visuality". Thereby, visual innovation is explained from its relation with written sources and the continuity and variation of images. [ABSTRACT FROM AUTHOR]

Exploring the incredible success and diffusion of the Nursing Madonna motif from an historical, anthropological and artistic point of view, this paper aims to investigate the political dynamics associated with the motif itself and the devotion related to it. The Nursing Madonna motif is a useful point of access to see which symbolic horizons, especially those linked to corporeity, are activated in the difficult relationship between the power élites and popular culture in establishing political legitimacy. This investigation aims at exploring this relationship in different socio-cultural contexts of the Mediterranean by enriching the analysis through a comparison between the post-Tridentine censorship on the motif and the revival of the theme in the Mughal empire between the 16th and 17th centuries. [ABSTRACT FROM AUTHOR]

The problem of the iconography of a unique image of a deity drawn on the Middle Kingdom rectangular coffin of Sepi III (Cairo CG 28083; B1C; Deir el-Bersha; CT VI, 386) is discussed in the article. It is possible that the god is the first known image of the syncretic double god Re-Osiris. The deity (with a head unusually for Egyptian iconography unfolded in full face) is shown sitting on a throne with the inscription “millions (of years)”. The image of this god could be a visual display of the eschatological plot described in Spell 1130 of the Coffin Texts (the union of Atum(-Re) and Osiris after destruction of the Universe) at the end in the Book of Two Ways, that is represented on the bottom of Sepi’s coffin. [ABSTRACT FROM AUTHOR]

This paper proposes the reconstruction of the Scythian eschatological concepts on the basis of semantics of the Sakhnivka plate composition (4th century BC, Museum of Historical Treasures of Ukraine, branch of the National Museum of History of Ukraine). Taking into account the ritual detour of the sacral center from left to right in the Indo-Iranian tradition, the plate plots show a consecutive visual statement of the episodes of the myth of Kolaxais’ destiny. The culmination scene of the plate includes three figures. The halfturned and full-face iconography of the Goddess shows her belonging to two figures, on her both sides: to a meeting of the bearded Scythian king on the right and a scene with a young Scythian on the left (an image of the young, “regenerated” king / Kolaxais). Only the last figure has a in caftan wrapped from right to left, i.e. the clasp of the “living person” (as opposed to other figures) that confirms his special status of ‘reborn’. Accordingly, scenes show the important episodes of the Scythian eschatological representations connected with posthumous fate, basis for the ideology of funerary rites. [ABSTRACT FROM AUTHOR]

This paper discusses the intense presence of Eros figures in funerary monuments from the region of Macedonia during the roman period, evolving around the perception of death, the familial bonds and social structure that these monuments reveal. Eros, depicted either leaning on or holding an inverted torch, or sleeping on a rock, when placed upon graves is perceived as Eros funéraire. The funerary connotations of Eros figures often assimilate them with Sleep, Death, and the eternal sadness of Death. Especially when used in the funerary monuments of children, these figures accentuate the parental grief for the loss of their children. On the other hand, the childlike representation of Eros symbolizes the eternal beauty of youth and the parental hope that their deceased children will continue enjoying a happy afterlife. [ABSTRACT FROM AUTHOR]

The main object of this work is to study the coins’ iconography of virtues from the antonine dynasty (96 d.C - 192 d.C) during the Early Roman Empire. This work is focused on the meaning of these virtues emitted after the death and deification of empresses. These virtues can be employed to acknowledge the role played by these women in Roman politics. Besides, studying virtues is a good way to analyse the biography of these Roman empresses and therefore, their public image. This study pretends to contribute to provide information about Women and Roman History. In order to achieve these goals, it is necessary to make a comparison between which virtues are emitted during their lives and which ones after their deaths. This study follows a methodology usually employed on Women History, so gender is used to analyse power relationships in the past. [ABSTRACT FROM AUTHOR]

The formation of the first state system in Europe took place from the conclusion of the Peace of Westphalia in 1648, as a result of the Thirty Years’ War (1618-1648), to the Utrecht (1713), Rastatt-Baden (1714) and Nystad Congresses (1721) which finished the end of the war of the Spanish Succession and the Northern war. The legal fixation of the Westphallian system was accompanied by its public perception and acceptance. First of all, this was demonstrated by International Congresses, which were not only a common negotiation process, but also a place of representation of the significance and culture of each state. In fact, the European Congress was a carefully designed triumph of Рeace within the continent, which required considerable funds, was widely covered in the press and glorified in celebrations, paintings, plastic art, release of commemorative medals, poetry and even fashion. The article presents the most striking examples of iconography of Peace Congresses. The author believes that their performative nature and iconography, emphasizing the European character of Peace and the protopatriotic moods that it evoked, made a significant contribution to the civilization heritage of Europe. [ABSTRACT FROM AUTHOR]

The present article focuses on the crucial role played by the iconography of the palm in the build up of the representation of the roman conceived nilotic landscape. The first part of the article starts with a general introduction covering the rich variety of meanings associated with this particular plant, analyzing a timespan starting from the first evidence recovered in Mesopotamia up to the classic Greek and Roman world. The second part instead is focused on the more specific nilotic context with the aim of highlighting the close link between the African continent, and more specifically Egypt, and the representation of the palm. Finally it is show that the use of the palm in the artistic representation of the roman age nilotic landscape is of paramount importance as an essential marker of the making of the picta nilotica. [ABSTRACT FROM AUTHOR]

In this article the possible influence of classical sculpture on religious sculpture in plastic works of Andalusian art is analyzed and some works especially from the Baroque period. Also the collecting of classical sculptures in early modern Spain and the possible influence of these on the sculpture of the moment is analyzed. Some specific iconographies are studied, such as the sleeping Eros and it´s possible transliteration on the theme of the sleeping baby Jesus, as well as the possible influence of Silenus with the child Dionysus on some creations of San José or the Apollo Sauroctonous in San Sebastián. Likewise, the creation of some Andalusian baroque sculptors such as Alonso Cano and Juan de Mesa and the possible use of classic fonts by both is studied. [ABSTRACT FROM AUTHOR]

In 1907, a Portuguese military campaign arrived in southern Angola to subdue the local peoples. Among the soldiers, followed two photographers, who recorded different moments of the manoeuvres and various aspects of the landscape and the natives, which were later published in the press. In this article, I analyse these images in the context of the relationship between the European Self and the African Other(s). I show how the images contributed to an unequal power relationship between colonizer and colonized, by solidifying the representation of African primitivism, as an improper condition, which justified the European's civilizing action. [ABSTRACT FROM AUTHOR]

The Brazilian monarchy, established in the middle of the independence process of the American colonies, needed to assert itself in the face of the growing republican movement that surrounded it through the creation of its own image, but also the allegories of its enemies. Based on the Francisco de Azevedo Monteiro Caminhoá monument project to commemorate the War of Paraguay, which central statue was rejected by the Imperial Academy of Fine Arts, we aim to make an iconographic and comparative study of the embodiment of a male Empire and, in contrast, of the monster of tyranny or anarchy as abstract enemies of the Empire, mainly through "smaller" but highly circulated works. [ABSTRACT FROM AUTHOR]

Leader article of Museum. Image. Senses. The monography examines, through a score of scientific articles, the relationships between visual and sensory experience in museums. To do this, it brings together works related to art history, visual theory, communication, cultural and social action in museums, as well as new museological projects that aim to bring art closer to a growing diversity of people. [ABSTRACT FROM AUTHOR]