Art History Supplement, September 2015
Deadline for papers: May 15, 2015
Paolo Morigia (1525 – 1604) published in 1595 the, alleged, first travel guide of the city Milan, La nobilta di Milano. In the fifth chapter of his guide to Milan, the same author had been engaged with “Milaneses painters, sculptors, architects, miniaturists and other masters, in several things of virtue” (Nel quinto, si fa quella de’ pittori, scultori, architetti, miniatori, & altri virtuosi, in diuerse sorti di virtù, milanesi). Morigia is largely known today for his historiographical work; through which we have invaluable sources on life and work of Arcimboldo, as found in Historia dell’antichità di Milano (1592); and more for having been for four times General of the Gesuati de san Girolamo.
The questions that arise could include: a) the art theory – art criticism of “minor” orders of Catholic Church, other than Jesuits or Oratorians, and b) the art and the image of the city of Milan according to the author.
Tourism and travel writing have recently gained anew an increasing interest through historians of art and architecture. Paula Findlen (The 2012 Josephine Waters Bennett Lecture) and Anne Hultzsch (Architecture, Travellers and Writers: Constructing Histories of Perception 1640-1950, 2014), for instance. Conferences have been arranged, for example, Travel and the Country House: Places, Cultures, and Practices (University of Northampton, 2014) and War, travel and travel writing (University of East Anglia, 2014). More, there are occasionally exhibitions examining travel literature and travels themselves through their artistic outcomes, as in a recent exhibition in the British Museum, In search of Classical Greece: Travel drawings of Edward Dodwell and Simone Pomardi, 1805-1806. In addition, a subsequent discourse on Ruins has been noted; for example: Ruin Lust, (Tate Britain, 2013) and Une histoire universelle des ruines, a seminar by Alain Schnapp with Étienne Jollet and Pierre Wat (Louvre, 2014).
Julius von Schlosser in his eight volumes of Materialien zur Quellenkunde der Kunstgeschichte (1914-1920), then accumulated into one, Die Kunstliteratur (1924), placed all references of travel literature (such as monastery, travel or city guides) under the theme of topography of art. Ronald Barthes in his Mythologies (1957) highlighted the problematic that if one had to rely one’s view of Spain on Guide Bleu, one could have never imagined a Spain not being Christian.
Further, according to Évelyne Cohen and Bernard Toulier, a turn in the study of travel literature is the work of Daniel Nordman (1986) included in Les lieux de mémoire, edited by Pierre Nora. Cohen and Toulier in 2010 have also declared travel guides as being both source of culture heritage and study object of interdisciplinary nature. Moreover, Catherine Bertho-Lavenir (2010) has shown that French travel guides had been incorporated in the informal artistic education.
The example of Paolo Morigia and Milian could be a prominent; yet, contributions regarding alternate city guides, travelogues or authors, from Pausanias to Burckhardt or Julius Meier-Graefe are also welcome.
Contributions from graduate students are strongly encouraged. Non-western perspectives are especially welcome.
Submissions should consist a minimum of 3000 words, a 100-150 word abstract, and a list of illustrations. Files should be submitted in English and in Microsoft WORD format. Each image should be sent as a separate file; jpeg or .tiff (min. 300 dpi). Please note that all necessary copyright documentation for all quoted material and / or all illustrations must be included in the submission package, as the publication round may be short. For more information, visit author’s guidelines and editorial procedures at http://goo.gl/p3MsiV
 The text is freely accessible via the Google Books scheme; see first edition http://books.google.gr/books?id=pFVTAAAAcAAJ, digitized by Austrian National Library (4 Oct 2012).