Articles being submitted for publication should be sent to A/Prof. David R. Marshall, Editor, Melbourne Art Journal, School of Art History, Cinema, Classical Studies and Archaeology, Elisabeth Murdoch Building, The University of Melbourne, Victoria, 3010, Australia.
Manuscripts should be submitted on paper in the first instance, and include the following:
á 100 word abstract
á Text with footnotes
á photocopied illustrations
á list of illustrations
á 50 word biography
Authors must be able to provide original photographs acquired from the copyright holder at short notice.
Manuscripts will not be returned. Initial revisions may be requested by the editor before manuscripts are sent to referees.
Revised manuscripts should conform to the style guide and be submitted by email or on CD, in Rich Text Format format (Mac or PC), together with original photographs or professional quality scans. Original photographs will be returned. Scans must be originals and not contain any screening. The file size of an image ought normally to be about 20 MB (colour) or 7MB (greyscale); or 20 x 25 cm at 300 dpi.
Copyright permission is the responsibility of the author, and copies of letters authorising reproduction must be provided to the editor.
Published authors receive 10 copies of the Journal.
Papers should be 2500-4000 words in length
and reviews 500-1000. All submissions must be made by email in rtf (Rich Text
Format) format and accompanied by:
For further information or to make a submission please email Ryan Johnston: r.johnston@pgrad.unimelb.edu.au
Or visit: www.melbourneartjournal.unimelb.edu.au/E-MAJ
Include an abstract of about 100 words. This will appear at the start of the article and will form the basis for indexing in BHA (Bibliography of the History of Art) and will be placed on the MAJ web site. E-MAJ abstracts will appear on the appropriate page of the site.
Use footnotes not endnotes. These should be active footnotes. Do not
provide separate files for text and notes.
General acknowledgements, if required, should be placed ahead of the first footnote.
Note numbers are in superscript and come after punctuation (Ôdog.3Õ not Ôdog3.Õ).
Note numbers in the notes will be normal sized numbers followed by a full stop and a space, but use the default setting in Word. There is a space after Ôp.Õ or Ôpp.Õ The character between the numbers is an en-dash (option–hyphen):
6. Smith, 1990, pp. 56–61.
When citing page numbers for footnotes, cite the page on which the footnote appears, not the page where the footnote reference appears in the text.
6. Smith, 1990, note 66 on p. 34.
The bibliography should include books and articles referred to in the notes, but should only include the abbreviation and its expansion (see above item) of archives or newspapers, not specific page or article references. The publisher should be provided. Italicise book and journal titles.
The style given here is a bibliographic style based on those commonly used for exhibition catalogues. The essential feature is that every footnote reference, including the first, takes the short form (Smith, 2000), and that this short form is used as a label in the bibliography. The formatting is a variant of the Cambridge style.
Wittkower, 1961, pp. 160-63.
Note that there is no comma between author and date of the label. Use 'p.' for a single page reference, or 'pp.' for a multiple one.
Wittkower, 1961: Rudolf Wittkower, Bernini. The Sculptor of the Roman Baroque, London: Phaidon, 1961.
Wittkower, 1961:
This is the label field, of the kind employed in exhibition catalogues. This is set in bold for easy recognisability. Note that a colon is the separator. Because exhibition catalogues often have huge numbers of references, in a great diversity of items (essays, catalogue entries, etc.) all these items use short citations (labels) followed by page numbers and so forth, with the full bibliographic details in a general bibliography at the end of the book. The label can be added to an Endnote reference by filling out the field called 'Label'. This is done manually. In principle, you can label the item any way you like, though normally it is the author, or authors (to a maximum of 3) and date, no comma between. You can use labels for archival sites (see below).
Rudolf Wittkower,
This is the author field, with first name first. Note that the separators between all fields except label and author, and place and publisher, is a comma.
Bernini. The
Sculptor of the Roman Baroque,
This is the title field, and is in italics. If the title is in two parts, as here ('Bernini" is the first part 'The Sculptor of the Roman Baroque' is the second) the separator should be either a full stop, as here, or a colon.
London: Phaidon,
These are the place and publisher fields. Note that the separator between place and publisher is a colon. As a rule, include the publisher, but sometimes this is not practicable. Try to be as consistent as possible.
1961.
This is the year field. It is normally the last item in a bibliography reference, and so ends with a full stop. Note that page numbers are not used for full book references in a bibliography, only for book sections or journal articles. (They are always used in footnotes, however.)
Turner, 1979: James Turner, 'The Structure of Henry Hoare's Stourhead', Art Bulletin, 21, no. 1, 1979, pp. 68-77.
'The Structure of Henry Hoare's Stourhead',
This is the article title field. It is always enclosed in inverted commas, not italics. Do not confuse this with the journal title.
Art Bulletin,
This is the journal title field, and is always in italics.
21,
This is the journal volume field. Do not prefix it with 'vol.' or anything else. Use arabic numerals, not Roman.
no. 1,
This is the issue field. It may be 'January' or something similar as well. Normally it is sufficient to omit this and simply use the journal volume field, although for newspapers and other periodicals not normally consulted in bound sets it should be included.
pp. 68-77.
This is the pages field. Use 'p.' for a single page and 'pp.' for a range. Do not use 'pg.' or, in this style, omit the 'p.' Note these conventions for abbreviating number ranges:
pp. 68-77.
pp. 168-77. [i.e. repeat only the last two numbers]
but
pp. 107-9. [i.e. do not have a loose '0' for numbers under 10.
Wittkower, 1961: Rudolf Wittkower, Bernini. The Sculptor of the Roman Baroque, London: Phaidon, 1961.
Wittkower, 1997: Rudolf Wittkower, Bernini. The Sculptor of the Roman Baroque, fourth ed., London: Phaidon, 1997.
Wittkower, 1997a: Rudolf Wittkower, Bernini. The Sculptor of the Roman Baroque, London: Phaidon, 1997.
Wittkower, 1997b: Rudolf Wittkower, Algardi. The Other Sculptor of the Roman Baroque, New York: Abrams, 1997.
Turner, 1979: James Turner, James, 'The Structure of Henry Hoare's Stourhead', Art Bulletin, 21, 1979, pp. 68-77.
Turner, 1979: James Turner, James, 'The Structure of Henry Hoare's Stourhead', Art Bulletin, 21, no.1, 1979, pp. 68-77.
Kitson, 2000: Michael Kitson, 'The Place of Drawings in the Art of Claude Lorrain', in Studies on Claude and Poussin, London: The Pindar Press, 2000, pp. 59-77.
Colantuono, 1986: Anthony Colantuono, 'The Tender Infant: Invenzione and Figura in the Art of Poussin', Ph.D, Johns Hopkins University, 1986.
For thesis that have been published as proper book, e.g. by UMI Research Press, or Garland, treat as a normal book.
Exhibition catalogues without a clearly indicated author/s may be set out as follows, omitting the author field and giving the site, sites, or principal site of the exhibition, in addition to the place of publication of the catalogue, which may not be the same. Construct the label from the site or sites of the exhibition and the date.
Washington, 1986: The Age of Bruegel: Netherlandish Drawings in the Sixteenth Century, exh. cat., Washington, National Gallery of Art, Cambridge, Mass.: MIT Press, 1986.
Washington, Paris and Berlin, 1990: The Age of Michelangelo, exh. cat., Washington, National Gallery of Art; Paris, Louvre; Berlin, GemŠldegalerie, Washington: National Gallery of Art, 1990.
Malibu, 1986: The J. Paul Getty Museum. Handbook of the Collections, Malibu: J. Paul Getty Museum, 1986.
You can construct the label in a minimal form, so that the bibliography looks like this:
ASV: Rome, Archivio Segreto Vaticano.
In which case the footnotes will look like this:
22. ASV, Fondo Rospigliosi, 1140, fols. 33r-37v.
Or more fully, so that the bibliography looks like this:
ASV Rospigliosi 1140: Rome, Archivio Segreto Vaticano, Fondo Rospigliosi, 1140.
In which case the footnotes will look like this:
22. ASV Rospigliosi 1140, fols. 33r-37v.
Note that, when using the MAJ Style, your should not provide a separate list for archival sources. They should be included with the other bibliography items and presented in alphabetical order of label
If the article is substantial, and has a clear author, it can be cited as an authored article, thus:
Rahill, 2003: Michael Rahill, 'Sorry, But the New NGV is a Failure', The Age, Monday 15 December 2003, Opinion p. 11.
In other cases cite the newspaper generically in the bibliography thus:
The Age: The Age Newspaper, Melbourne.
In the footnote, use the label and the refeence details, thus:
23. The Age, 15 December 2003, ÔOpinionÕ, p. 11.
Use Australian or British language spellings (ÔcolourÕ not ÔcolorÕ) but us a ÔzÕ not an ÔsÕ in words like ÔorganizationÕ.
In words, use hyphen: subject-matter
In sequences of numbers (e.g. pp. 31–33) use an en-dash (option–hyphen) :
For punctuation dashes, use and em-dash (shift-option-hyphen) without spaces at either side:
the cat—for it was a cat—sat
on the mat
Title should be given inlower case except for the first word or the first proper word. Period terms are lower case (settecento), as to adjectival proper nouns (veneziano), though proper names are in capitals (Venezia)
Busiri Vici, 1974: A. Busiri Vici, Jan Franz Van Bloemen, Orizzonte,
e l''origine del paesaggio romano settecentesco, Rome: Ugo Bozzi, 1974.
In titles of publications in English, capitalise first word, last word, all nouns, pronouns, adjectives, verbs, adverbs, and subordinate conjunctions. Lowercase articles, coordinate conjunctions, prepositions, and the to in infinitives. Follow these rules regardless of the capitalization used on the bookÕ s title page.
The capitalisation of foreign titles in general follows the capitalisation of the language as it is used.
For capitalsation of particles, follow the usage of the named individual or tradition: Tolnay, Schlosser, but de la Tour, dÕ Hulst, de Sta‘l, von Blanckenhagen, Der Nersessian, Van Buren, van Gogh, van der Weyden (in general, lowercase the particle in European names).
Titles: Capitalise: Cardinal, Monsignor, Papal Legate, Papal Nuncio, Pope; but when used generically use lower case, e.g. 'most Baroque popes practised nepotism'. Foreign titles should be capitalised even when not capitalised in the original language: e.g. 'Duc de Bourgogne' not 'duc de Bourgogne'.
In general, sharply delimited period titles are capitalized, whereas large periods and terms applicable to several periods are not: e.g., Archaic, Baroque, Early and High Renaissance, Early Christian, Gothic, Greek Classicism of the fifth century (otherwise, classicism), Cinquecento, Imperial, Impressionism, Art Nouveau, Islamic, Mannerist, Middle Ages, Neoclassicism for the late eighteenth-century movement (otherwise, neoclassicism), Post-Impressionism, Pre-Columbian, Rococo, Roman, Romanesque, Romantic period, Xth Dynasty. antique, antiquity, classicism (see above), medieval, modern, neoclassicism (see above), postmodern, prehistoric, quattrocento. Capitalize theological terms: Apostles, Archangel Gabriel, Baptism, Benedictional, Child, Christ Child, Church Fathers, Crucifixion, Eucharist/Eucharistic, Evangelists, God the Father, Gospel Book, Heaven, Holy Communion, Immaculate Conception, Incarnation, Infant, Judgment Day, Judgment of Solomon, Man of Sorrows, Mass, Massacre of the Innocents, Mother, Nativity, Original Sin, Passion Play, Pontifical, Prophets and Sibyls, Scripture, Three Marys, Virtues and Vices (capitalise each of them, e.g., Envy/Invidia).
In general, capitalise formally named theological terms and lowercase those generically referred to: archangels, birth and death of Christ, breviary, canon tables, communion, disciples, his birth (no capitalized pronominal adjectives), prayer book, sacrament.
plein-air painting.
Use single hard returns between paragraphs. That is, do not add an extra line. These will be added as part of the text style. Do not manually indent the beginning of paragraphs. Indents will be applies as part of the text style.
Ô1620sÕ not Ô1620Õ sÕ
Ônineteenth centuryÕ not ÔC19Õ or ÔNineteenth CenturyÕ
Hyphenate centuries only when used adjectivally:
Ônineteenth-century artÕ but Ôthe art of the nineteenth centuryÕ
'spring' not 'Spring'
ÔP.G. WodehouseÕ not ÔP. G. WodehouseÕ (no spaces between initials).
ÔSir E.J. Poynter, PRAÕ not ÔSir E. J. Poynter P. R. A.Õ
ÔHMSOÕ not ÔH.M.S.O.Õ
Use Ôhe or sheÕ or Ôshe or heÕ Ôhis or herÕ or Ôher or hisÕ or ÔhisÕ or ÔherÕ to taste. Do not use Ôs/heÕ , or ÔtheirÕ as a singular pronoun.
Provide list of illustrations thus:
Artist, Title, date. Dimensions and medium. Location. (Copyright owner of photograph.)
Fig.1. Felicity Farmer, Underneath the Arches: A Study of Bridge Life, 1888. Oil on canvas, 26 x 46 cm. Birdsville, National Gallery of the Outback, inv. no. 1968-56. (National Gallery of the Outback.)
(National Gallery of the Outback.)
Note that the full stop is within the bracket.
Whether dimensions and medium are included may vary, but should be consistently present or not present throughout an article.
Dimensions should be in centimetres (normally to no more than one decimal place), except for small works, including works on paper, which should be in millimetres (normally no decimal places), and for large works of sculpture or architecture which may be in metres (normally two decimal places). Abbreviations are 'cm' 'mm' and 'm', without a full-stop afterwards (unless, of course, at the end of a sentence). Height precedes with, and the dimensions are separated by space—lowercase x—space:
References to illustrations in text appear as '(Fig. 4)' etc. (space after the full stop and before the letter) :
É they say that Felicity Farmer's Underneath the Arches: A Study of Bridge Life, (Fig. 4) is a painting that É
Long titles that are repeated should be abbreviated in such a way that they read well and the identity of the work is unambiguous:
É they say that Farmer's Underneath the Arches went on to become the most popular painting in the National Gallery of the Outback É
If the work is referred to late in the article the figure reference should be repeated.
Authors should indicate in the list of illustrations whether the illustration should be 'large', 'normal', or 'small', and whether those illustrations that are 'essential' and those which are only 'supplementary'. MAJ endeavours to illustrate articles as fully as possible.
Ensure that any requirements of the copyright holder about the descriptions of works of art are met. These are often excessive. Dimensions or other material not consistent with the MAJ house style may be edited out but normally inventory numbers and funding source (e.g. 'Felton Bequest'; 'Gift of the late Amabel Bettina in memory of her husband Jon Bettina') will be retained. If the author has reason to disagree with the attribution the artist as the author sees it should be prefaced by 'here attributed to' and be accompanied by a footnote or text discussion that explains or justifies the change and makes it clear what the 'official' attribution is.
All costs of purchasing or hiring photographs, and all reproduction fees, including providing copies of MAJ to the copyright owners, are to be met by the author.
E-Maj only accepts illustrations if
documented proof of copyright clearance is provided, or if a signed statement
on paper is provided that the author owns the image copyright is provided.
Links to websites with the necessary illustration can be provided. These links
should be pasted into the text after the figure number as follows:
É they say that CaravaggioÕs Boy Bitten by a Lizard in the National Gallery, London, (Fig. 4: http://www.artgallery.nsw.gov.au/__data/page/3230/Caravaggio-Boy-bitten-capt3-.jpg) is a painting that É
Any links that donÕt work will be deleted by the editors.
Authors are responsible for obtaining original photographs from copyright owners and for obtain publication permission and paying reproduction fees.
Sample letter:
Museum X
Dear Sir/Madam,
I am a postgraduate research student in
the School of Art History, Cinema, Classics and Archaeology at the University
of Melbourne, and I would like to purchase an 8Õ x 10Õ (20 x 25
cm.) black and white photograph or high resolution scan of the following work
in your collection:
Rom Toberts, Shaving the Rams, 1888, inventory number 56789/K.
I would also like to obtain permission
to reproduce this photograph in my forthcoming article in Melbourne Arts
Journal entitled ÔA
New Interpretation of Rom TobertsÕ Shaving the Rams . As this is a scholarly non-profit
journal I would be grateful if you could waive the reproduction fee.
I shall of course be happy to send you
an copy of the article.
Yours sincerely,
Jeremiah Johnson
If you already have the photo the letter should simply ask for reproduction permission.