Fees are subject to change.This book is printed on acid-free paper and produced in a sustainable manner.Notes to Contributors: Muqarnas will consider for publication articles on all aspects of Islamic visual cultures, historical and contemporary. Articles submitted for publication are subject to review by the editors and/or outside readers. Manuscripts should be no more than 50 double-spaced typed pages of text (not including endnotes) and have no more than 25-30 illustrations. Exceptions can be made for articles dealing with unpublished visual or textual primary sources, but if they are particularly long, they may be divided into two or more parts for publication in successive volumes. All submissions should be accompanied by a full CV giving academic status and a list of publications. Both text and endnotes should be double-spaced; endnotes should conform to the usage of the latest edition of The Chicago Manual of Style. Illustrations should be labeled and accompanied by a double-spaced caption list. Authors are responsible for obtaining permission to reproduce copyrighted illustrations and for supplying the proper creditline information. For the transliteration of Arabic, Persian, and Ottoman Turkish, Muqarnas follows the system used by the International Journal of Middle East Studies. All transliterated words and phrases in the text and transliterated authors' names and titles in the endnotes must follow this system. Exceptions are proper nouns (names of persons, dynasties, and places) and Arabic words that have entered the English language and have generally recognized English forms (e.g., madrasa, iwan, mihrab, Abbasid, Muhammad); these should be anglicized and not italicized. Place names and names of historical personages with no English equivalent should be transliterated but, aside from ʿayn and hamza, diacritical marks should be omitted (e.g., Maqrizi, Fustat, Sanʿa). A detailed style sheet and further information can be obtained at http://agakhan.fas.harvard.edu (under Publications), or by writing to the Managing Editor,

While the anonymous Viaggio da Venetia al Sancto Sepolchro et al Monte Sinai, first published in Venice in 1518, was the most popular Holy Land guidebook in Renaissance Italy, the historical origins of the book have never been fully understood. From four illustrated versions of an earlier manuscript guide, the Libro d’Oltramare (1346–50), one can hypothesize about both the text and its author. The ultimate prototype for the Viaggio da Venetia was very likely one or more of these illustrated manuscripts, and the original author of both the text and illustrations was the Franciscan pilgrim Niccolò da Poggibonsi. Despite the eventual erosion of his name from the printed versions of the guidebook, the assertiveness and originality of the author parallels the production of other vernacular literature in mid-fourteenth-century Italy. Unlike Latin guidebooks of previous centuries, the intent to include illustrations that re-create the pilgrimage experience and the unprecedented descriptiveness of the prose together suggest that the book can be considered the foundational text for the genre of the illustrated pilgrimage guidebook.

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