Dr Miriam Gill, FSA and FHEA

BA (Oxon)

PhD (Courtauld Institute),

Fellow of the Society of Antiquaries

Fellow of the Higher Education Academy


Secretary of the community benefit society which runs LVC and member of the Board of Directors.

Vaughan Open Research Forum Coordinator

Art history tutor


Miriam has taught art history and history to mature students over a period of 20 years in a wide variety of institutions including Morley College, London, and for the universities of Birmingham, Nottingham, Oxford and Cambridge. She has worked for the Vaughan Centre for Lifelong Learning and at the former Vaughan College since 1998. She was the course director for the Certificates in Art History and Architectural History and has been a tutor for the part-time Certificate and BA in Humanities and Arts. She also teaches at the Richard Attenborough Centre.

Miriam’s teaching style is focused on images, interactive and multi-disciplinary. She enjoys the opportunity to introduce students to art in its original context, particularly wall paintings, and to help students to ‘get their eye in’. She also enjoys the wealth of illuminating comparisons and iconographic detail which can be ‘unpicked’ through the comparative study of projected images.

Over past years, Miriam has co-edited two CD ROMs for Christianity and Culture, University of York. She wrote about painted churches as part of a web project for the Churches Conservation Trust. Miriam is currently writing a chapter on the representation of women in medieval Christian Art for Routledge. She examined the recently discovered wall paintings in the north transept at Ely Cathedral.


  • ‘Adam Easton and the Lutterworth Wall Paintings Revisited’, in Cardinal Adam Easton (c. 1330-1397), Monk, Scholar, Theologian, Diplomat, ed. by Miriam Wendling (Amsterdam: AUP, 2020).
  • ‘Review of The ‘Arma Christi’, The Journal of Ecclesiastical History, 66(4) (2015).
  • ‘Wall painting’, Encyclopedia of Medieval Dress and Textiles (Leiden: Brill, 2011).
  • The Doom in Holy Trinity church and wall-painting in medieval Coventry‘ , Coventry: Medieval Art, Architecture and Archaeology in the City and its Vicinity, ed. by L. Monckton and R.K. Morris (BAA, 2011).
  • ‘Medieval Wall Painting of The Doom, Holy Trinity Church, Coventry’, in The History of British Art, 600-1600 , ed. by T. Ayers (Tate, 2008), pp. 200-2.
  • ‘Monastic Murals and Lectio in the later Middle Ages’, in Medieval Monastic Culture, ed. by J. Clark and J. Greatrex (The Boydell Press, 2007), pp. 55-74.
  • ‘From ‘urban myth’ to monumental image: English Warning to Swearers’ in The Hands of the Tongue: Essays on Deviant Speech, ed. by E. Craun, Kalamazoo, International Medieval Congress, Studies in Medieval Culture no. 47 (2007).
  • ‘Reading images’: Church murals and collaboration between media in medieval England’ , in Collaboration in the Arts from the Middle Ages to the Present: Studies in European Cultural Transition, no. 35, ed. by S. Wood and S. Bigliazzi (Aldershot: Ashgate, 2006), pp. 17-32.
  • ‘Appendix on wall paintings’, The Archaeology of the Medieval Cathedral and Priory of St. Mary, Coventry, ed. by M. Rylatt and P. Mason (Coventry: Coventry City Council, 2004).
  • ‘The wall paintings in Eton College Chapel: the Making of a late medieval Marian cycle’ , in Making Medieval Art, ed. by P. Lindley (Paul Watkins, 2003), pp. 101-120.
  • ‘Preaching and images in late medieval England’ in Preacher, Sermon and Audience in the Middle Ages, ed. by C. Muessig (Leiden: Brill, 2002), pp. 155-180.
  • ‘Female piety and impiety: selected images of women and their reception in wall paintings in England after 1300’ in Gender and Holiness, ed. by S. Riches and S. Salih (London: Routledge, 2002), pp. 101-120.
  • ‘The Speculum Historiale as a source for art: the Eton College Wall Paintings’, The Vincent of Beauvais Newsletter, 24 (1999).
  • ‘Recent work on monastic wall paintings’, Monastic Research Bulletin (1999).
  • ‘Sacred and Secular: The chantry paintings of Sir Thomas de Bradeston at Winterbourne’ in Small is Cosmic. Millennial Issues in Parochial Perspective, ed. by E. Bailey (Winterbourne, 1998), pp. 30-5.
  • ‘The lost wall paintings of Halesowen’, Worcestershire Archaeological Society, 3rd s, 16 (1998), 133-141.
  • Kenelm cunebearn … haudes bereafed: a reconstructed cycle of wall paintings from St Kenelm’s Chapel, Romsley’, Journal of the British Archaeological Association, 149 (1996), 23-36.
  • The saint with a scythe: A previously unidentified wall painting in the church of St Andrew, Cavenham’, Proceedings of the Suffolk Institute of Archaeology, 37 (1995), 245-54.
  • ‘St George, Our Lady’s Knight: The wall painting at Astbury in Cheshire’, Conservation News, 58 (1995), 49-50.
  • ‘Now help, Saynt George, Oure Ladye Knyght…to strengthe our Kyng and England ryght.Rare scenes of Saint George in a wall painting at Astbury, Cheshire’, Lancashire and Cheshire Antiquarian Society, 91 (1995), 91-102.

Co-authored Publications

  • Miriam Gill and Ellie Pridgeon, ‘Marking Time and Space: A Scheme of Wall Painting at Raunds, Northamptonshire’, in Performance, Ceremony and Display in Late Medieval England’, Proceedings of the 2018 Harlaxton Symposium, Harlaxton Medieval Studies, 30, ed. by Julia Boffey (Donington: Shaun Tyas, 2020).
  • Lucy Faire and Miriam Gill, ‘Phoenix from the Ashes: The Origins and Development of Leicester Vaughan College’, in Cilla Ross and Malcolm Noble, eds, Reclaiming the University for the Public Good: Experiments and Futures in Co-operative Higher Education (London: Palgrave Macmillan, 2019).
  • M. Gill and R.K. Morris, ‘A wall painting of the Apocalypse in Coventry rediscovered’ Burlington Magazine, August (2001), 467-473.
  • M. Gill and H. Howard, ‘Glimpses of glory: paintings from St Mark’s Hospital, Bristol’ in ‘Almost the Richest City’: Bristol in the Middle Ages, ed. by L. Keen (Leeds, 1997), 97-106.
  • M. Gill, T. Manning, D. Park and S. Stewart, ‘The gatehouse wall painting’, Devon Archaeological Society, 54 (1996), 317-23.


Miriam has been the external examiner for a number of doctoral theses and is a peer-reviewer for publications in her field.