Felicity Harley-McGowan
Felicity is an historian of Late Antique and Medieval art. Her work centres on the origins and development of Christian iconography within the visual culture of Roman late antiquity. She has specific expertise in the origins and development of Crucifixion iconography in the late antique period, and a particular passion for the art of early medieval Rome.
On completing her PhD in the department of Classics at the University of Adelaide (Australia), she was awarded post-doctoral fellowships at the Warburg Institute, University of London, and subsequently The British School at Rome.
From 2006-2014 she was Lecturer in the Art History department at the University of Melbourne, and in that time was appointed the Gerry Higgins Lecturer in Medieval Art History. In August 2015 she took up the position of Lecturer in art history at Yale Divinity School, with a secondary appointment in the Department of Religious Studies.
Felicity is currently preparing a monograph concerning the earliest extant images of the Crucifixion.
On completing her PhD in the department of Classics at the University of Adelaide (Australia), she was awarded post-doctoral fellowships at the Warburg Institute, University of London, and subsequently The British School at Rome.
From 2006-2014 she was Lecturer in the Art History department at the University of Melbourne, and in that time was appointed the Gerry Higgins Lecturer in Medieval Art History. In August 2015 she took up the position of Lecturer in art history at Yale Divinity School, with a secondary appointment in the Department of Religious Studies.
Felicity is currently preparing a monograph concerning the earliest extant images of the Crucifixion.
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into the fifth century. Attention has been given to the ways that clothing, posture and gesture were used to present the Eastern identity of the Magi and to emphasise their migration (Mt. 2,9/11). This paper provides a fresh examination of the earliest surviving representations of the story, produced in Rome sometime in the late third or early fourth centuries, to reconsider the questions of how and why their story was first pictorialized.
Attention to the emphasis on their movement, specifically of ritual offering of gifts in procession, brings the iconography into dialogue with a broader set of pictorial models and associations than allowed by previous interpretations tethered exclusively to images drawn from imperial art.
into the fifth century. Attention has been given to the ways that clothing, posture and gesture were used to present the Eastern identity of the Magi and to emphasise their migration (Mt. 2,9/11). This paper provides a fresh examination of the earliest surviving representations of the story, produced in Rome sometime in the late third or early fourth centuries, to reconsider the questions of how and why their story was first pictorialized.
Attention to the emphasis on their movement, specifically of ritual offering of gifts in procession, brings the iconography into dialogue with a broader set of pictorial models and associations than allowed by previous interpretations tethered exclusively to images drawn from imperial art.
building at Napurvala Hill, Pichvnari, in the 1960s and 1970s and now at
the Batumi Archaeological Museum (BAM). Besides discussing the bulk
finds, some of which were already published in 1980 by Chkhaidze, this
contribution provides, for the first time, a study of a small white marble cross found during the excavation and now on display at the BAM. It will
conclude that, although the interpretation of the building as a church remains sound, the chronology of the artifacts is problematic as their dating ranges from the Hellenistic to the Medieval periods.
Reviews: P. Lanfranchi, in Rivista di Storia e Letteratura Religiosa 58/1 (2022), 139-42; M.H. Sellew, in Church History. Studies in Christianity and Culture 92/2 (2023), 417-19; Network for the Study of Esotericism in Antiquity (17.06.2021).