Dumbarton Oaks Papers 41 (1987)
William Tronzo, Irving Lavin, and Hans Belting, “Preface,” xi–xvi.
Margaret A. Alexander, “Mosaic Ateliers at Tabarka,” 1–11.
Larry Ayres, “An Italian Romanesque Manuscript of Hrabanus Maurus’ ‘De Laudibus Sanctae Crucis’ and the Gregorian Reform,” 13–27.
Clara Bargellini, “The Tremiti Mosaic and Eleventh-Century Floor Decoration in Eastern Italy,” 29–40.
Xavier Barral i Altet, “Poésie et iconographie: Un pavement du XIIe siècle décrit par Baudri de Bourgueil,” 41–54.
Hans Belting, “Eine Privatkapelle Im Frühmittelalterlichen Rom,” 55–69.
Robert P. Bergman, “The Frescoes of Santissima Annunciata in Minuto (Amalfi),” 71–83.
Carlo Bertelli, “Un Altro Serpente in S. Ambrogio,” 85–87.
Herbert Bloch, “Origin and Fate of the Bronze Doors of Abbot Desiderius of Monte Cassino,” 89–102.
Beat Brenk, “Spolia from Constantine to Charlemagne: Aesthetics versus Ideology,” 103–9.
Rebecca W. Corrie, “The Seitenstetten Missal and the Persistence of Italo-Byzantine Influence at Salzburg,” 111–23.
Slobodan Curcic, “Some Palatine Aspects of the Cappella Palatina in Palermo,” 125–44.
Anthony Cutler, “Under the Sign of the Deesis: On the Question of Representativeness in Medieval Art and Literature,” 145–54.
Otto Demus, “San Marco Revisited,” 155–56.
Sirarpie der Nersessian, “Two Miracles of the Virgin in the Poems of Gautier de Coincy,” 157–63.
Erica Cruikshank Dodd, “Three Early Byzantine Silver Crosses,” 165–79.
Paul Corby Finney, “Images on Finger Rings and Early Christian Art,” 181–86.
Clive Foss, “St. Autonomus and His Church in Bithynia,” 187–98.
Julian Gardner, “An Introduction to the Iconography of the Medieval Italian City Gate,” 199–213.
Dorothy F. Glass, “Pseudo-Augustine, Prophets, and Pulpits in Campania,” 215–26.
Anna Gonosová, “The Formation and Sources of Early Byzantine Floral Semis and Floral Diaper Patterns Reexamined,” 227–37.
André Grabar, “Une réflexion d’Eschyle sur l’art de son temps, et l’évolution de l’art byzantin,” 239–42.
Oleg Grabar, “The Date and Meaning of Mshatta,” 243–47.
George M. A. Hanfmann, “The Scylla of Corvey and Her Ancestors,” 249–60.
Harald Keller, “Zum Sogenannten Reliquienschrein Ottos des Grossen in Quedlinburg,” 261–64.
Herbert L. Kessler, “The Meeting of Peter and Paul in Rome: An Emblematic Narrative of Spiritual Brotherhood,” 265–75.
W. Eugene Kleinbauer, “The Double-Shell Tetraconch Building at Perge in Pamphylia and the Origin of the Architectural Genus,” 277–93.
Ruth E. Kolarik, “Mosaics of the Early Church at Stobi,” 295–306.
Christine Kondoleon, “A Gold Pendant in the Virginia Museum of Fine Arts,” 307–16.
Richard Krautheimer, “A Note on the Inscription in the Apse of Old St. Peter’s,” 317–20.
Jacqueline Lafontaine-Dosogne, “Pour une problématique de la peinture d’Église byzantine a l’époque iconoclaste,” 321–37.
Bruno Lavagnini, “L’epigramma e il committente,” 339–50.
Eunice Dauterman Maguire, “Range and Repertory in Capital Design,” 351–61.
Henry Maguire, “Adam and the Animals: Allegory and the Literal Sense in Early Christian Art,” 363–73.
Penelope C. Mayo, “Vasa Sacra: Apostolic Authority and Episcopal Prestige in the Eleventh-Century Bari Benedictional,” 375–89.
John Meyendorff, “Wisdom-Sophia: Contrasting Approaches to a Complex Theme,” 391–401.
Doula Mouriki, “A Thirteenth-Century Icon with A Variant of the Hodegetria in the Byzantine Museum of Athens,” 403–14.
Florentine Mütherich, “Das Verzeichnis eines griechischen Bilderzyklus in dem st. Galler codex 48,” 415–23.
Bezalel Narkiss, “The ‘Main Plane’ as a Compositional Element in the Style of the Macedonian Renaissance and Its Origins,” 425–41.
Lawrence Nees, “Theodulf’s Mythical Silver Hercules Vase, Poetica Vanitas, and the Augustinian Critique of the Roman Heritage,” 443–51.
Per Jonas Nordhagen, “Icons Designed for the Display of Sumptuous Votive Gifts,” 453–60.
Ihor Sevcenko, “An Early Tenth-Century Inscription from Galakrenai with Echoes from Nonnos and the Palatine Anthology,” 461–68.
James Trilling, “Late Antique and Sub-Antique, or the ‘Decline of Form’ Reconsidered,” 469–76.
William Tronzo, “Setting and Structure in Two Roman Wall Decorations of the Early Middle Ages,” 477–92.
David H. Wright, “The True Face of Constantine the Great,” 493–507.