Women have long made textiles to navigate identity and exercise agency at revolutionary moments in history. To consider the powerful potential of the textile arts, psychoanalytical theories elucidate the ways in which the distaff, and the fiber arts more generally, has historically been a symbol of female agency and autonomy. To frame this project and investigate the history of scholarship about artworks produced by medieval nuns, I employ a critical historiographic method to explore the use of the enigmatic German term “Nonnenarbeit,” literally “nuns’ work.” After establishing the larger context of the historical relationship between women and textiles, I analyze three specific case studies, instances in which nuns took up the needle and thread at pivotal moments in the fifteenth and early-sixteenth centuries. As expressions of their communal identity and agency in the wake of observant reform movements, nuns at Kloster Lüne stitched colorful klosterstich embroideries and Benedictines at St. Walburg in Eichstätt wove tapestries featuring the sisters and celebrating the history of the community. Birgittine nuns at Vadstena Abbey in southern Sweden gained metaphorical access to the Eucharist at the altar through embroidered silk altar frontlets and lavish reliquary containers, made in accordance with St. Birgitta of Sweden’s visionary new order. I apply postmodern theories such as Actor-Network Theory to leverage my interpretation of nuns’ networks at Kloster Lüne and St. Walburg, and Thing Theory to elucidate the materiality of the Birgittine embroideries. The technical proficiency of the textiles in my project has been well-established. Using critical theories and feminist methodologies, I add to the existing scholarship with an investigation into the revolutionary spirit of textile production in these women’s monasteries during the late Middle Ages.

Western cultures on the whole have a particular fascination surrounding tattoos, and academia is no different. There are numerous studies that discuss why people get tattoos and what peoples’ perceptions of those with tattoos are. However, there has only been a minuscule amount of research on the ones who even make tattoos possible: Tattoo artists. This work endeavors to provide a platform for tattoo artists to share their stories and experiences, and, in turn, help provide academia and the public at-large with a better understanding of tattoo artist identity and how the tattoo artist residual community functions and defines itself. Through ethnography, ethnographic interviews, and autoethnography, the everyday lives of tattoo artists will be explored. This work also seeks to provide an understanding of the history, skillsets, artistry, and creativity of Western tattoo artists, while simultaneously arguing for how tattoos and their creators can open the world of “fine art” to a broader audience and make it more accessible for all.

Many religious textual accounts describe provocative women: The Great Whore

from the Apocalypse, Saint Mary Magdalene from the New Testament, and the

Daughters of Mara from the Buddhist tradition are all accused of fornication or the

seduction of men. However, when artists have depicted these subjects, the women are

rarely shown transgressing in the ways the texts describe. The Great Whore is often

masculinized and shown as the equal of kings, Mary Magdalene assumes divergent

attitudes about prostitution in early Renaissance Europe, and the Daughters of Mara are

comparable to other Buddhist deities, recognizable only from the surrounding narrative.

Therefore, in this inquiry, I seek out the ways that artists have manipulated misogynistic

religious narratives and introduced their own fears, concerns, and interpretations.

Artistic deviations from the text indicate a sensitivity to cultural values beyond

the substance of their roles within the narrative. Both the Great Whore and her virtuous

counterpart, the Woman Clothed in the Sun, have agency, and the ways they are shown to

use their agency determines their moral status. Mary Magdalene, the patron saint of

prostitutes and a reformed sinner, is shown with iconographical markers beyond just

prostitution, and reveals the ways in which Renaissance artists conceptualized prostitution. In

the last case study, the comparison between the Daughters and the Buddhist savioresses,

the Taras, demonstrates that Himalayan artists did not completely subscribe to the textual

formulations of women as inherently iniquitous. Ultimately, these works of art divulge

not just interpretations of the religious traditions, but attitudes about women in general,

and the power they wielded in their respective contexts.

This dissertation concerns “revelations to others” in medieval hagiographical and visionary texts. Revelations to others take many forms—spiritual visions, dreams, visual and tactile witnessing of miracles, auditions—but they all are experienced by someone other than, or in addition to, the holy person who is the subject of the text. This type of revelatory experience is common and, I argue, highly significant. Most straightforwardly, revelations to others serve to further authenticate holy women or men, confirming their devotion to God, their miraculous abilities, and/or their favored position with Christ. But revelations to others do much more than authorize the visionary. They voice the possibility that one could learn to have visions, which has interesting connections to modern ideas of guided seeing, such as meditation. They suggest circumstances in which holy persons served as devotional objects, helping their viewers achieve a higher level of religious experience in a similar manner to stained glass windows, crucifixes, or images of Veronica’s veil. For women, revelations to others sometimes offer access to spaces in which they could not physically step foot, such as the altar or the bedrooms of abbots. Moreover, by showcasing the variety of persons participating in divine experiences (monks and nuns, lay persons, nobility, and sometimes other holy persons), revelations to others speak to the larger visionary communities in which these holy persons lived. Through a series of close readings, this dissertation creates a taxonomy of revelations to others and argues for their necessity in understanding the collaborative nature of medieval spirituality.

Medieval European manuscripts contain a wealth of diverse and imaginative collections of illuminations. The margins are a perfect playground for unique, unusual and fantastic creatures, including an illuminated gradual from 1510 known as the Geese Book. In this paper, I have examined a single illumination from the book in depth. It depicts two female monsters, a wild woman and a female dragon, fighting desperately over a wild child. These two females are not only monsters and fighters, but also mothers. The unusual juxtaposition of the nurturing aspect of maternity and the brutal nature of combat is used to facilitate a discussion about women, violence, and the nature of the monstrous-feminine. The way women are presented and constructed in horror is far different than their male counterparts, as gendered expectations differ wildly. These manuscript illuminations contain combat and potentially horrific situations, but nearly always come off as humorous. I will also be discussing the importance of humor in difficult and potentially problematic situations. Comedy, particularly dark comedy, can scrutinize aspects of culture and society that may otherwise be considered improper taboo to touch upon. Unusual women behaving in an improper manner is a rare subject, and one that deserves to be discussed. By going through historical legends that also combine the usually disparate themes of maternity and violence, I attempt to both explain the image in the Geese Book and frame it in a broader context. The monstrous women from the illumination are compared to both artworks contemporary to the gradual and more modern media. By connecting representations from both the Middle Ages and today, we can better understand where feminine constructions originated and how they have changed. Today, portrayals of the monstrous-feminine have warped traditional maternal archetypes and are unafraid to lay bare the bizarre and grotesque potential of motherhood.

This thesis focuses on the erotic depictions of Lucretia and Susanna in Renaissance art. Both noted for displaying exemplary chastity, Lucretia and Susanna gained popularity as Christian and secular role models for women in the late Middle Ages and Renaissance. My examination of the heroines addresses the seductive portrayal of these women in painting, which seemingly contradicts the essence of their celebrity. The images specifically analyzed in this thesis include: Lucas Cranach the Elder's Lucretia from 1525, Lucretia from 1533, and Venus from 1532 as well as Tintoretto's Susanna and the Elders and Annibale Carracci's Susanna and the Elders. The scope of my thesis includes both textual and visual analyses of the myths/figures and the disparity that arises between them. Employing Lucretia and Susanna as examples, my aim is to demonstrate a subtle subversion occurring within images of powerful women that ultimately strips them of their power.

The Iberian Queen Sancha (r.1037-1065), of the kingdom of León and Castile has received minimal attention from scholars. As the last Leonese heir, Sancha had the sole responsibility of ensuring that imperial traditions of patronage never waned. Her acts of giving and the commissioning of objects have been attributed by (male) scholars as an obligation to legitimize her husband, Fernando I of Castile. Persuasive evidence found in documents suggests that her involvement in donation transactions was predicated on more than formality. My thesis argues that Sancha used the act of giving, the act of commissioning objects, language in documents, and the powerful institution of the infantazgo, to assert an agency identical to her male predecessors to gain political influence. Creating a “donor profile” of Sancha that examines the total of her donating practices enables the exploration of her conscious and unconscious motives for donation. My investigation into these acts supports a new theory that the building construction projects of Sancha and Fernando I began at the beginning of their reign rather than after 1053 as is currently believed. As the first woman to use the titles regine emperatriz and regina totius Hispaniae, Queen Sancha did more than just legitimize her husband, she built a legacy that established a new female center of power in León that endured until the thirteenth century.

Vivid illuminations of the aristocratic hunt decorate Bibliothèque nationale de France, MS. fr. 616, an early fifteenth-century illuminated manuscript of Le livre de chasse composed by Gaston Fébus, Count of Foix and Viscount of Béarn (1331-1391 C.E.), in 1389. Gilded miniatures visualize the medieval park, an artificial landscape designed to facilitate the ideal noble chase, depicting the various methods to pursue, capture, and kill the prey within as well as the ritual dismemberment of animals. Medieval nobles participated in the social performance of the hunt to demonstrate their inclusion in the collective identity of the aristocracy. The text and illuminations of Le livre de chasse contributed to the codification of the medieval noble hunt and became integral to the formation of cultural memory which served as the foundation for the establishment of the aristocracy as different from other parts of society in the Middle Ages. This study contributes new information through examination of previously ignored sources as well as new analysis through application of critical theoretical frameworks to interpret the manuscript as a meaning-making object within the visual culture of the Middle Ages and analysis of the illuminations reveals the complexities surrounding one of the most important acts of performance for the medieval elite.

Peacocks are ubiquitous in art. Artists from societies across the globe, undoubtedly attracted to the male peafowl’s colorful plumage and unique characteristics, used images of the bird to form visual semantics intended to aid in the understanding of a work of art. This was particularly the case in Europe, where depictions of peacocks appeared in Christian art from the onset of the continent’s dominant religion. Beginning in Early Christianity, peacocks symbolized the opportunity for an eternal life in heaven enabled by Christ’s sacrificial death. Illustrations of peacocks were so frequent and widespread that they became the standard symbol for eternal life in Christian art consistently centered on recounting the stories of Christ’s birth and death.

Overtime, peacock iconography evolved to include thematic diversity, as artists used the peacock’s recognizable physical attributes for the representation of new themes based on traditional ideas. Numerous paintings contain angels wings covered in the iridescent eyespots located on the male peafowl’s tail feathers. Scientifically known as ocelli, eyespots painted on the wings of angels became a widespread motif during the Renaissance. Artists also recurrently depicted the peacock’s crest on figures of Satan or Lucifer in both paintings and prints. Indicative of excessive pride, a believed characteristic of peacocks, the crest is used as an identifying characteristic of the fallen angel, who was cast from heaven because of his pride.

Although the peacock is a known iconographic motif in medieval and Renaissance art history, no specific monographic study on peacock iconography exists. Likewise, representations of separate and distinctive peacock characteristics in Christian

art have been considerably ignored. Yet, the numerous artworks depicting the peacock and its attributes speak to the need to gain a better understanding of the different strategies for peacock allegory in Christian art. This thesis provides a comprehensive understanding of peacock iconography, minimizing the mystery behind the artistic intentions for depicting peacocks, and allowing for more thorough readings of medieval and Renaissance works that utilize peafowl imagery.