Apocalipsis Gulbenkian, co-author with Nigel Morgan et al. (Barcelona: Moleiro, 2002), pp. 84- 168 and 241-251.
Rhetoric of Power in the Bayeux Tapestry. Cambridge: Cambridge University Press, 1999. Paperback edition, 2011.
Reading Images: Narrative Discourse and Reception in the Thirteenth-Century Apocalypse. Cambridge: Cambridge University Press, 1995.
The Art of Matthew Paris in the Cronica Majora. Berkeley: University of California Press, 1985; London: Scholar Press, 1987.
Early Coptic Textiles. Exhibition Catalogue. Stanford: Stanford University Museum, 1969.
BOOKS IN PROGRESS:
The Liber Floridus: An Apocalyptic Encyclopedia. An art historical study of the images created by Lambert of Saint-Omer, a twelfth-century artist and compiler of texts, whose work was shaped by the transformative events of his time and place.
Adorned for the Beyond: Graeco-Roman and Early Byzantine Textiles from Egypt. An interrelated collection of essays on the imagery of late Graeco-Roman mythological syncretism.
"Encounters with Monsters at the End of Time: Some Early Medieval Visualizations of Apocalyptic Eschatology," Different Visions 2 (2010), pp. 1-76.
"Henry III and Westminster Abbey: The Problematics of Context," Traditio 50 (1995), pp. 1-36
"Vision and Revision: On 'Seeing' and 'Not Seeing' God in the Dublin Apocalypse," Word & Image 10 (1994), pp. 289-311.
"Images of Opening, Penetration and Closure in the Roman de la Rose," Word & Image 8 (1992), pp. 215-242.
"Beyond the Frame: Marginal Figures and Historiated Initials in the Getty Apocalypse," J. Paul Getty Journal 20 (1992), pp. 53-76.
"The English Gothic Apocalypse, Lectio divina, and the Art of Memory," Word & Image 7 (1991), pp. 1-32.
"The Enigma of Paris, B.N. MS fr. 403 and the Compilation of a Thirteenth-Century Apocalypse," Gesta 29 (1990), pp. 31-42.
"The Apocalypse of Isabella of France: Paris B.N. MS fr. 13096," Art Bulletin 72 (1990), pp. 224-260.
"Tractatus adversus Judaeos in the Gulbenkian Apocalypse," Art Bulletin 68 (1986), pp. 543- 566.
"Census and Bibliography of Manuscripts Containing Apocalypse Illustrations, c. 800-1500," pt. I, Traditio 40 (1984), pp. 337-379; pt. II, with Richard Emmerson, Traditio 41 (1985), pp. 367-409; pt. III, with Richard Emmerson, Traditio 42 (1986), pp. 443-472.
"Sacred Calligraphy: The Chi Rho Page in the Book of Kells," Traditio 36 (1980), pp. 139-159.
"A Byzantine Virgo militans at Charlemagne's Court," Viator 11 (1980), pp. 71-93.
"San Lorenzo Revisited: A Theodosian Palace Church in Milan," Journal of the Society of Architectural Historians 32 (1973), pp. 197-222.
"The Iconography of the Coptic Horseman in Byzantine Egypt," Journal of the American Research Center in Egypt 10 (1973), pp. 27-63.
"A Coptic Representation of Thetis at the Forge of Hephaistos," American Journal of Archaeology 77 (1973), pp. 309-318.
"A Footnote to the Exhibition of Early Coptic Textiles," Stanford University Museum Journal (Summer, 1969), pp. 1-4.
"The Latin Iconography of the Single-Nave Cruciform Basilica Apostolorum in Milan," Art Bulletin 41 (1969), pp. 205-219.
"Function and Symbolic Form in the Basilica Apostolorum in Milan," Journal of the Society of
Architectural Historians (1969), pp. 83-98. FOUNDERS' AWARD 1970.
ARTICLES IN PROGRESS:
"Matthew Paris, Designer of the Thirteenth-Century English Illustrated Apocalypse." See summary of content in my essay on "Narrative" in A Companion to Medieval Art: Romanesque and Gothic in Northern Europe, ed. Conrad Rudolph (Malden, MA: Blackwell, 2006), pp. 93-94.
"Visual Narrative in the Valenciennes Apocalypse."
"Narrative, Narratology, and Meaning," in A Companion to Medieval Art: Romanesque and Gothic in Northern Europe, 2nd ed., ed. Conrad Rudolph, forthcoming. Includes case studies of the historiated initial of Guda and the Metropolitan Ivory Casket panels of the "Assault on the Castle of Love, Aristotle and Phyllis, Pyramus and Thisbe."
'''Apocalapses' in Text and Image: From Translation to Transformation in Fourteenth-Century Vernacular Apocalypses," in Tributes to Nigel Morgan: Contexts of Medieval Art: Images, Objects and Ideas, ed. Julian Luxford and M. A. Michael (Turnhout: Brepols, 2010), pp. 141-150.
"Narrative," in A Companion to Medieval Art: Romanesque and Gothic in Northern Europe, ed. Conrad Rudolph (Malden, MA: Blackwell, 2006), pp. 86-105.
"Medieval Bodies -- Then and Now: Negotiating Problems of Ambivalence and Paradox," in Naked before God: The Unclothed Body in Anglo-Saxon England, ed. Benjamin Withers and Jonathan Wilcox (Morgantown: West Virginia University, 2003), pp. 15-29.
"Parallel Tracks -- Then and Now: The Cambridge Alexander Apocalypse," New Offerings, Ancient Treasures: Studies in Medieval Art for George Henderson, ed. Paul Binski and William Noel (Phoenix Mill, UK: Sutton Ltd., 2001), pp. 367-388.
"Il 'vedere' e 'non vedere Dio nell'Apocalisse di Dublino," in Apocalisse (Turin: Umberto Allemandi, 1993), pp. 9-47.
"The Apocalypse of Margaret of York," in Papers of the Getty Symposium on Margaret of York, Simon Marmion, and the Visions of Tondal, ed. Thomas Kren (Malibu, CA: J. Paul Getty Museum, 1992), pp. 77-88.
"Giles de Bridport and the Abingdon Apocalypse," in England in the Thirteenth-Century: Proceedings of the 1984 Harlaxton Symposium (Woodbridge, UK: Boydell, 1985), pp. 107-119.
"Farbmittel koptischer Stoffe," in Koptische Textilkunst im spätantiken Aegypten, ed. C. Neurath (Trier: Spee-Verlag, 1978), pp. 20-21.
"Problems of Architectural Style and the Ambrosian Liturgy in Late Fourth-Century Milan," Hortus Imaginem: Essays in Honor of Harold E. Wethey (Lawrence, KA: University Press, 1974), pp. 11-19.
Nigel Morgan, Illuminating the End of Time: The Getty Apocalypse Manuscript (Los Angeles, 2012), in
Burlington Magazine 155 (2013), pp. 177-178.
Tom Shippy and Mark Arnold, eds., Film and Fiction: Reviewing the Middle Ages (Cambridge, 2002), in The Medieval Review (2004), online.
John Williams, The Illustrated Beatus: A Corpus of the Illustrations of the Commentary on the Apocalypse, vol. III, in Speculum 78 (2003), pp. 1014-16.
Cynthia Hahn, Portrayal on the Heart: Narrative Effect in Pictorial Lives of the Saints from the Tenth
through the Thirteenth Century (Berkeley, 2001), in Speculum 78 (2003), pp. 1305-1307.
Carol Farr, The Book of Kells: Its Function and Audience (Toronto, 1997), in Speculum 77 (2002), pp. 519-521.
John Lowden, The Making of the Bibles moralisées, 2 vols. (University Park, PA, 2001), in CAA Reviews 82 (2001). Online in caa.reviews.org
Sara Lipton, Images of Intolerance: The Representation of Jews and Judaism in the Bible moralisée (Berkeley, 1999), in Studies in Iconography 22 (2001), pp. 181-184.
Rosemary Muir Wright, Art and Antichrist in Medieval Europe (Manchester, UK, 1995), in Speculum 72 (1997), pp. 902-907.
Anne D. Hedeman, The Royal Image: Illustrations of the Grandes Chroniques de France 1272-1422 (Berkeley, 1991), in Speculum 69 (1994), pp. 169-172.
Francis Wormald, Collected Writings, 2. Studies in English and Continental Art of the Later Middle Ages (London, 1988), in Speculum 66 (1991), pp. 248-251.
Charles B. McClendon. The Imperial Abbey of Farfa: Architectural Current of the Early Middle Ages (New Haven, CT, 1987), in Speculum 63 (1988), pp. 697-700.
Anthony Cutler, Transformations: Studies in the Dynamics of Byzantine Iconography (University Park, PA, 1975), in Speculum 52 (1977), pp. 947-950.
Deborah Thompson, Coptic Textiles in the Brooklyn Museum (Brooklyn, 1971), in Journal of Near Eastern Studies 33 (1974), pp. 169-171.