Notes on Contributors
Katherine M. Boivin
(Ph.D., Columbia University) is Associate Professor of Art History and Visual Culture at Bard College. She is an art and architectural historian interested in the dynamic interactions between architecture, figural art, and human activity. Her work focuses on the late medieval period (fourteenth and fifteenth centuries), with a particular emphasis on Germany. She is the author of Riemenschneider in Rothenburg (2021) and co-editor, with Gregory C. Bryda, of Riemenschneider in Situ (2022).
Robert Bork
(Ph.D., Princeton University) is Professor of Art History at the University of Iowa. His research emphasizes Gothic architectural design, particularly from a geometrical perspective. He has published the books Great Spires (2003), Gotische Türme in Mitteleuropa (2008), The Geometry of Creation (2011), and Late Gothic Architecture (2018).
Emogene S. Cataldo
(Ph.D., Columbia University) is a writer, content designer, and independent scholar based in New York. Her research interests include environmental miracles, art and nature in medieval European art, and theories of restoration.
Meredith Cohen
(Ph.D., Columbia University) is Professor of Art History at the University of California, Los Angeles (ucla). Her research focuses on the production, use, and reception of architecture and urban spaces, as well as cultural heritage and historiography related to medieval architecture, particularly the Gothic in France. She is the author of The Sainte-Chapelle and the Construction of Sacral Monarchy (2015) and co-editor, with Justine Firnhaber-Baker, of Difference and Identity in Francia and Medieval France (2010) and, with Fanny Madeline, of Memory and Commemoration in Medieval France (2013).
Lindsay S. Cook
(Ph.D., Columbia University) is Assistant Teaching Professor of Architectural History in the Department of Art History and Co-Director of the Consortium for Early Modern & Medieval Studies at Penn State University. She is the translator of Notre Dame Cathedral: Nine Centuries of History (2020) and the author of several articles and essays about the medieval, early modern, and modern reception of Notre-Dame of Paris.
Mark Cruse
(Ph.D., New York University) is Associate Professor of French at Arizona State University. He is the author of Illuminating the Roman d’Alexandre (Oxford, Bodleian Library, ms Bodley 264): The Manuscript as Monument (2011), The Mongol Archive in Late Medieval France: Texts, Objects, Encounters, 1221–1422 (2025), and articles on medieval literature, art history, and performance.
Michael T. Davis
(Ph.D., University of Michigan) is Professor Emeritus of Art History at Mount Holyoke College, where he founded the Architectural Studies program. He has published studies on Notre-Dame and the Palais de la Cité in Paris, Saint-Urbain in Troyes, and the cathedrals of Clermont-Ferrand and Limoges. With Pari Riahi and Laure Katsaros, he co-edited Exactitude: On Precision and Play in Contemporary Architecture (2022) and Multiplicity: On Constraint and Agency in Contemporary Architecture (2024).
Terence F. Bertrand Dewsnap
(Ph.D., Columbia University) is Lecturer of Art History at State University of New York at New Paltz. He was curator at the Forum Gallery in New York City, organizing exhibitions including Nineteen Americans, a recreation of the first exhibition of American Art at the Museum of Modern Art. He served as Director of the Bard College Clemente Course in the Humanities, an international college program for low-income individuals. His current research focuses on the architecture and sculpture of Romanesque Lincoln Cathedral and on the nineteenth-century architect Alexander Jackson Davis.
Meredith Fluke
(Ph.D., Columbia University) is the Director of Foundation and Government Relations at the Museum of Fine Arts, Boston, where she develops partnerships that advance the museum’s work in innovative programming, inclusive practice, and ethical stewardship. Her research interests include medieval architecture and liturgy, especially in the eleventh- and twelfth-century Mediterranean world, and histories of medieval collecting and museum display. She has held curatorial and leadership positions at the Davis Museum at Wellesley College and the Cantor Art Gallery at the College of the Holy Cross, and has curated a number of exhibitions, including Martin Luther: Print and Protest (2017), Fragment: A Museum’s Mid-Century Legacy (2018), and Kevork Mourad: Memory Gates (2021).
Jacqueline E. Jung
(Ph.D., Columbia University) is Professor of History of Art and Medieval Studies at Yale University, where she has pursued Stephen Murray’s injunction to “animate the cathedral” since 2007. She is the author of The Gothic Screen (2013), Eloquent Bodies (2020), and numerous articles on medieval spatial and figural arts.
M. Jordan Love
(Ph.D., Columbia University) is the Carol R. Angle Academic Curator at the Fralin Museum of Art at the University of Virginia, where she curates and teaches a museum studies course and internship program that addresses issues of cultural patrimony, monuments and museums, conservation and restoration histories, and curating with communities.
Risham Majeed
(Ph.D., Columbia University) is Associate Professor of Art History at Ithaca College. She is a scholar and curator specializing in European medieval art, the historical arts of Africa, and museum history. Ongoing projects include an examination of sub-Saharan Africa in conversation with Europe during the medieval period. She is currently completing an edited volume on the implications of the “global turn” for medieval art in museum collections, due to be published by Cambridge University Press.
Mikael Muehlbauer
(Ph.D., Columbia University) is a specialist in the architecture of medieval Ethiopia and Egypt. In addition to holding residential fellowships in Egypt, Italy, France, and Tunisia, he works in Ethiopia regularly as a member of the Lalibela and Maryam Nazret excavations. His published work includes articles in Muqarnas, Gesta, and the Journal of the Society of Architectural Historians, as well as the monograph Bastions of the Cross: Medieval Rock-Cut Cruciform Churches of Tigray, Ethiopia (2023).
Rory O’Neill
(Ph.D., Columbia University) is an Adjunct Professor at Columbia University’s Graduate School of Architecture, Planning, and Preservation. He is an engineer, architect, historian, and educator specializing in medieval architecture, structural daring, and seismic adaptation, and his research explores the intersection of engineering, aesthetics, and environmental forces in medieval building practices. He has received grants from the Andrew W. Mellon Foundation, the Kress Foundation, and the National Endowment for the Humanities, and his work has been featured on pbs’s nova and in The New Yorker and Architectural Record.
Elizabeth Carson Pastan
(Ph.D., Brown University) is Professor of Art History at Emory University and President of the American Committee of the Corpus Vitrearum, the body of scholars who study medieval stained glass. She is currently completing a book on early rose windows, entitled How to Read a Rose.
Matthew M. Reeve
(Ph.D., Cambridge University) is Professor of Art History at Queen’s University. He has written widely on medieval art and architecture and its historiographical dimensions, including Gothic Architecture and Sexuality in the Circle of Horace Walpole (2020). He is currently completing a book provisionally entitled West Country Gothic: Wells Cathedral and Its Sculptural Programs c. 1170–1270.
Donna L. Sadler
(Ph.D., Indiana University) taught primarily at Agnes Scott College, and her research focuses on medieval art, ranging from Reims Cathedral to late medieval sculpture from the regions of Burgundy and Champagne. Her books include Reading the Reverse Façade of Reims Cathedral: Royalty and Ritual in 13th-Century France (2012), Stone, Flesh, Spirit: The Entombment of Christ in Late Medieval Burgundy and Champagne (2015), Touching the Passion: Seeing Late Medieval Altarpieces Through the Eyes of Faith (2018), and The Nun’s Cell: Mirror, Memoir, and Metaphor in Convent Art (2023).
Mary B. Shepard
(Ph.D., Columbia University) is Professor Emerita at the University of Arkansas-Fort Smith. Currently Vice President of the American Committee of the Corpus Vitrearum, she is also a former President of the International Center of Medieval Art. Her research interests include French and English medieval stained glass, as well as the reuse of medieval art in later contexts. Several of her recent publications focus on the stained glass of the parish church of St. Michael-le-Belfrey, York – the last program of stained glass created in York before Henry viii broke with Rome – also the subject of a Corpus Vitrearum volume she is co-authoring with Lisa Reilly.
Ellen Shortell
(Ph.D., Columbia University) is Professor Emeritus of Art History at Massachusetts College of Art and Design. She specializes in the architecture and stained glass of medieval and early modern France and Flanders. Her publications have focused on the interaction of stained glass and architectural space, including the design, construction, and stained glass of the former collegiate church of Saint-Quentin.
Janet Snyder
(Ph.D., Columbia University) is Professor Emerita of Art History at West Virginia University. She is the author of Early Gothic Column-Figure Sculpture in France: Appearance, Materials, and Significance (2011), co-editor, with Désirée G. Koslin, of Encountering Medieval Textiles and Dress: Objects, Texts, Images (2002), and a founder of the scholarly group All Things Stone.
Zachary Stewart
(Ph.D., Columbia University) is Associate Professor of Architectural History and Theory in the Department of Architecture at Texas A&M University. He is co-editor, with Amy E. Gillette, of The Baptismal Font Canopy of St. Peter Mancroft, Norwich: Studies of a Medieval Monument over Four Centuries (2023). His forthcoming book, Collaborative Gothic: Building the Parish Church in Late Medieval England, investigates the local church as a vehicle for innovative material production between the Black Death and the Reformation.
Arnaud Timbert
(Ph.D., Université de Besançon) is Professor of Art History at the Université de Picardie Jules Verne. He is the author of Le chevet de la Madeleine de Vézelay et le premier gothique bourguignon (2009), Restaurer et bâtir: Viollet-le-Duc en Bourgogne (2013), and Viollet-le-Duc et Pierrefonds: Histoire d’un chantier (2017) and the editor of numerous books and critical editions about French Gothic architecture and its reception and historiography.
Stefaan Van Liefferinge
(Ph.D., Columbia University) is the Director of the Media Center for Art History at Columbia University. His research focuses on architecture from a perspective of scientific and technical knowledge in the Middle Ages. He has published on Notre-Dame of Paris, the medieval quadrivium, and biblical exegesis, and has served as the principal investigator on different federally and privately funded research projects involving image processing and deep learning.
Nancy Wu
(Ph.D., Columbia University) is Educator Emerita at The Cloisters, The Metropolitan Museum of Art, where she oversaw all aspects of the Education programs for more than twenty years. She has published on Gothic architecture, the history and collection of the Cloisters, and more recently on the history of the Franciscan mission in fourteenth-century China.