{"title":"Romanesque Art","authors":"M. Stokstad","doi":"10.4324/9780429037184-8","DOIUrl":"https://doi.org/10.4324/9780429037184-8","url":null,"abstract":"","PeriodicalId":43922,"journal":{"name":"GESTA-INTERNATIONAL CENTER OF MEDIEVAL ART","volume":"138 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2021-10-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78206896","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
First-person commentaries by artists of the late Middle Ages rarely survive. Consequently, artistic output of the period is more easily examined in terms of iconography, patronage, and wider social and historical trends. This article, however, considers a unique but neglected corpus of tiny inscriptions hidden in miniatures painted by assistants of the Bourges-based book illuminator Jean Colombe (ca. 1430–93) and his sons Philibert and François in order to understand the temperament of these often voiceless and nameless artisans. The minute strings of text, found within a closely connected group of illuminated vernacular history texts, contain complaints in French about wasted time, labor without profit, and days lost in loyal service. A careful examination of the manuscripts has revealed additional inscriptions of this type beyond those already noted. In terms of content, these inscriptions are virtually unprecedented in the history of manuscript illumination, though they are representative of wider patterns of social discord between masters and journeymen at the end of the Middle Ages. By situating these complaints within both the immediate context of the overburdened Colombe workshop and the wider cultural and economic climate, this investigation provides new insight into the concerns, grievances, and preoccupations of artists at the close of the fifteenth century. The article problematizes the idea of a monolithic and harmonious workplace while shedding light on an otherwise lost network of artistic relationships.
{"title":"In Search of “Temps perdu pour Colombe”","authors":"N. Herman","doi":"10.1086/715117","DOIUrl":"https://doi.org/10.1086/715117","url":null,"abstract":"First-person commentaries by artists of the late Middle Ages rarely survive. Consequently, artistic output of the period is more easily examined in terms of iconography, patronage, and wider social and historical trends. This article, however, considers a unique but neglected corpus of tiny inscriptions hidden in miniatures painted by assistants of the Bourges-based book illuminator Jean Colombe (ca. 1430–93) and his sons Philibert and François in order to understand the temperament of these often voiceless and nameless artisans. The minute strings of text, found within a closely connected group of illuminated vernacular history texts, contain complaints in French about wasted time, labor without profit, and days lost in loyal service. A careful examination of the manuscripts has revealed additional inscriptions of this type beyond those already noted. In terms of content, these inscriptions are virtually unprecedented in the history of manuscript illumination, though they are representative of wider patterns of social discord between masters and journeymen at the end of the Middle Ages. By situating these complaints within both the immediate context of the overburdened Colombe workshop and the wider cultural and economic climate, this investigation provides new insight into the concerns, grievances, and preoccupations of artists at the close of the fifteenth century. The article problematizes the idea of a monolithic and harmonious workplace while shedding light on an otherwise lost network of artistic relationships.","PeriodicalId":43922,"journal":{"name":"GESTA-INTERNATIONAL CENTER OF MEDIEVAL ART","volume":"60 1","pages":"217 - 247"},"PeriodicalIF":0.4,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48647900","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article is the first critical study of a small panel painting of St. Katherine of Alexandria, discovered sixty years ago on the reverse of the well-known micromosaic icon of the Man of Sorrows at Sta. Croce in Gerusalemme in Rome. Proceeding from close visual and material analyses, supplemented by unpublished conservation photographs, the article calls into question the original identity of the figure represented, revealing the extent to which it was adapted on the panel’s journey through the Mediterranean between Byzantium and Rome. The article spotlights the southern Italian leg of that journey. It was in Apulia, in an act of repurposing and rededication, that the unknown original figure depicted on the panel was transformed into Katherine of Alexandria and that this transformed image was joined with the micromosaic Man of Sorrows to form one bifacial icon. In elaborating on the implications of this rededication, the article revises the theory of the double-sided icon’s patronage in Italy, connecting it instead to major political figures in Angevin Naples. Beyond new historical details, research into the adventure of the bifacial Sta. Croce icon affords fresh insight into how such foreign objects were received in the Latin West ca. 1400. While the micromosaic side of the icon is best known for its associations with the Mass of St. Gregory, a legend that pegged the micromosaic’s origins to Rome, its fusion with St. Katherine speaks to a now-eclipsed origin tradition for the icon, one that underscored a provenance in the Greek East, specifically Egypt, the epicenter of Katherine’s cult. Katherine’s unconventional costume, the style in which she was depicted, the inclusion of Greek epigraphy, and the distinctive punchwork ornamentation of the gold ground all contributed to this conceit, which indicates a desire to emulate the requisite terms of dedication customary in the Christian East.
这篇文章是对亚历山大的圣凯瑟琳的一幅小板画的第一项批判性研究，这幅画是60年前在斯塔著名的悲伤之人的微马赛克图标的背面发现的。克罗齐在耶路撒冷，克罗齐在罗马。从近距离的视觉和材料分析出发，辅以未发表的保护照片，这篇文章对所代表的人物的原始身份提出了质疑，揭示了它在拜占庭和罗马之间的地中海之旅中被改编的程度。这篇文章重点报道了这段旅程中的意大利南部。正是在阿普利亚，在重新利用和重新奉献的行为中，面板上描绘的未知原始人物被转变为亚历山大的凯瑟琳，这一转变后的形象与微马赛克的悲伤之人结合在一起，形成了一个双面偶像。在详细阐述这种重新奉献的含义时，文章修改了双面圣像在意大利的赞助理论，将其与那不勒斯安热时期的主要政治人物联系起来。除了新的历史细节，研究双面人的冒险经历。克罗克图标提供了一个新的视角，让我们了解大约1400年拉丁西方是如何接受这些外来物品的。虽然这个图标的微马赛克一面最出名的是它与圣格雷戈里弥撒(Mass of St. Gregory)的联系，传说这幅微马赛克的起源与罗马有关，但它与圣凯瑟琳(St. Katherine)的融合，说明了这个图标现在已经黯然失色的起源传统，强调了它的起源在希腊东部，特别是埃及，凯瑟琳崇拜的中心。凯瑟琳非传统的服装，她被描绘的风格，希腊铭文的包含，以及金色地面上独特的打孔装饰都促成了这一幻想，这表明了模仿基督教东方奉献习惯的必要条件的愿望。
{"title":"Compounding Greekness: St. Katherine “the Egyptian” and the Sta. Croce Micromosaic","authors":"J. Lansdowne","doi":"10.1086/715503","DOIUrl":"https://doi.org/10.1086/715503","url":null,"abstract":"This article is the first critical study of a small panel painting of St. Katherine of Alexandria, discovered sixty years ago on the reverse of the well-known micromosaic icon of the Man of Sorrows at Sta. Croce in Gerusalemme in Rome. Proceeding from close visual and material analyses, supplemented by unpublished conservation photographs, the article calls into question the original identity of the figure represented, revealing the extent to which it was adapted on the panel’s journey through the Mediterranean between Byzantium and Rome. The article spotlights the southern Italian leg of that journey. It was in Apulia, in an act of repurposing and rededication, that the unknown original figure depicted on the panel was transformed into Katherine of Alexandria and that this transformed image was joined with the micromosaic Man of Sorrows to form one bifacial icon. In elaborating on the implications of this rededication, the article revises the theory of the double-sided icon’s patronage in Italy, connecting it instead to major political figures in Angevin Naples. Beyond new historical details, research into the adventure of the bifacial Sta. Croce icon affords fresh insight into how such foreign objects were received in the Latin West ca. 1400. While the micromosaic side of the icon is best known for its associations with the Mass of St. Gregory, a legend that pegged the micromosaic’s origins to Rome, its fusion with St. Katherine speaks to a now-eclipsed origin tradition for the icon, one that underscored a provenance in the Greek East, specifically Egypt, the epicenter of Katherine’s cult. Katherine’s unconventional costume, the style in which she was depicted, the inclusion of Greek epigraphy, and the distinctive punchwork ornamentation of the gold ground all contributed to this conceit, which indicates a desire to emulate the requisite terms of dedication customary in the Christian East.","PeriodicalId":43922,"journal":{"name":"GESTA-INTERNATIONAL CENTER OF MEDIEVAL ART","volume":"60 1","pages":"173 - 215"},"PeriodicalIF":0.4,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41780936","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The Jewish Middle Ages have produced little in the way of writing on aesthetics, and what exists was largely generated by rabbis issuing opinions on legal matters concerning art objects. When rabbis wrote about Torah and its study, however, their writing became visually charged, especially in Iberia and regions within the Sephardic orbit, where rabbinic writing was steeped in the visual culture of an Islamicate world in which Jews were robust participants, even after the majority of them moved to the Christian kingdoms of northern Iberia. This article argues that the geometric designs present in decorative carpet pages in some Iberian Hebrew Bibles are paralleled by the metaphorical and visually sensitive writing produced about Torah and its study. These complex and arresting carpet-page designs perform a number of functions: they beautify the codices, aid in the performance of Torah (and, by extension, the performance of patronage), and mirror the ideation present in this writing, thereby reinforcing it.
{"title":"The Iberian Hebrew Bible: Rabbinic Writings and Ornamental Carpet Pages","authors":"Julie A. Harris","doi":"10.1086/715058","DOIUrl":"https://doi.org/10.1086/715058","url":null,"abstract":"The Jewish Middle Ages have produced little in the way of writing on aesthetics, and what exists was largely generated by rabbis issuing opinions on legal matters concerning art objects. When rabbis wrote about Torah and its study, however, their writing became visually charged, especially in Iberia and regions within the Sephardic orbit, where rabbinic writing was steeped in the visual culture of an Islamicate world in which Jews were robust participants, even after the majority of them moved to the Christian kingdoms of northern Iberia. This article argues that the geometric designs present in decorative carpet pages in some Iberian Hebrew Bibles are paralleled by the metaphorical and visually sensitive writing produced about Torah and its study. These complex and arresting carpet-page designs perform a number of functions: they beautify the codices, aid in the performance of Torah (and, by extension, the performance of patronage), and mirror the ideation present in this writing, thereby reinforcing it.","PeriodicalId":43922,"journal":{"name":"GESTA-INTERNATIONAL CENTER OF MEDIEVAL ART","volume":"60 1","pages":"121 - 139"},"PeriodicalIF":0.4,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48114726","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
An oft-referenced but little scrutinized depiction of a puppet performance in Herrad of Hohenbourg’s Hortus deliciarum (ca. 1185, destroyed 1870) provides an opening into the study of the relationship between two types of performative objects—books and puppets. From the twelfth century onward, puppetry was an increasingly popular and widely practiced public art in Western Europe, associated with the lowest class of entertainer but present in settings from the urban marketplace to the courts of both secular and ecclesiastical princes, and in the case of Hohenbourg Germany, princesses. Puppetry intersected with both secular literature and the liturgy in the form of enactments of chansons de geste and liturgical drama. The puppet show in the Hortus deliciarum has often been cited as a literal illustration of medieval puppetry, but here I am concerned rather with its moral dimensions and the way it participates in the framing of gender and performance within the trope of vanitas vanitatum (vanity of vanities). The collective reading, viewing, and singing, in short, the performance of the Hortus deliciarum as a book is imagined in contrast to the worldly undertakings of the canonesses’ male relations, namely knights and nobles, framing the monastic life of the women as the more spiritually worthy. Valuable as early evidence of puppetry in Western Europe, the Hortus deliciarum’s representation of a puppet show is yet more significant as an indicator of the sophisticated interpretive skills of its original audience of female monastics.
Herrad of Hohenbourg的《Hortus deliciarum》(约1185年，1870年销毁)中对木偶表演的描述经常被提及，但很少被仔细研究，这为研究两种表演对象——书籍和木偶之间的关系提供了一个机会。从12世纪开始，木偶戏在西欧成为一种越来越受欢迎和广泛实践的公共艺术，与最低阶层的艺人有关，但从城市市场到世俗和教会王子的宫廷，以及在德国霍恩堡的情况下，公主。木偶戏与世俗文学和礼拜仪式以圣歌和礼拜戏剧的形式相交。Hortus deliciarum中的木偶戏经常被引用为中世纪木偶戏的字面例证，但在这里，我更关心的是它的道德维度，以及它在“虚荣的虚荣”(vanitas vanitatum)的比喻中参与性别框架和表演的方式。集体阅读，观看和歌唱，简而言之，将《美食》作为一本书的表演被想象成与女圣徒的男性关系，即骑士和贵族的世俗事业形成对比，将女性的修道生活框定为更有精神价值的生活。作为西欧木偶戏的早期证据，Hortus deliciarum对木偶戏的表现更为重要，因为它表明了原始观众女修道院的复杂解释技巧。
{"title":"Puppets, Manuscripts, and Gendered Reading in the Hortus deliciarum","authors":"A. Sand","doi":"10.1086/715454","DOIUrl":"https://doi.org/10.1086/715454","url":null,"abstract":"An oft-referenced but little scrutinized depiction of a puppet performance in Herrad of Hohenbourg’s Hortus deliciarum (ca. 1185, destroyed 1870) provides an opening into the study of the relationship between two types of performative objects—books and puppets. From the twelfth century onward, puppetry was an increasingly popular and widely practiced public art in Western Europe, associated with the lowest class of entertainer but present in settings from the urban marketplace to the courts of both secular and ecclesiastical princes, and in the case of Hohenbourg Germany, princesses. Puppetry intersected with both secular literature and the liturgy in the form of enactments of chansons de geste and liturgical drama. The puppet show in the Hortus deliciarum has often been cited as a literal illustration of medieval puppetry, but here I am concerned rather with its moral dimensions and the way it participates in the framing of gender and performance within the trope of vanitas vanitatum (vanity of vanities). The collective reading, viewing, and singing, in short, the performance of the Hortus deliciarum as a book is imagined in contrast to the worldly undertakings of the canonesses’ male relations, namely knights and nobles, framing the monastic life of the women as the more spiritually worthy. Valuable as early evidence of puppetry in Western Europe, the Hortus deliciarum’s representation of a puppet show is yet more significant as an indicator of the sophisticated interpretive skills of its original audience of female monastics.","PeriodicalId":43922,"journal":{"name":"GESTA-INTERNATIONAL CENTER OF MEDIEVAL ART","volume":"60 1","pages":"157 - 172"},"PeriodicalIF":0.4,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45284755","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article focuses on Parma Cathedral’s episcopal throne, which is an exemplar among cathedrae with animal imagery. Embodying the more abstract aspects of their owners’ authority, animals occupy a prominent place within the seat’s decoration, thereby distilling the human–animal relationship in a way that links the legitimization of power to the act of sitting. Despite its extraordinary iconography and quality, the throne made by Benedetto Antelami (ca. 1178) is still relatively obscure. It is adorned with atlas figures carved in the round and two equestrian reliefs on the armrests, which connect riding to dominion and power while simultaneously transforming the act of enthroning and dethroning into a kind of allegory. Against the background of a more general discussion of animal depictions on medieval chairs, this article addresses new questions concerning the Parma cathedra’s animal décor, its object biography, patron, and possessor, as well as its place and role within the liturgy.
{"title":"Riders on the Throne: Animal Agency in Benedetto Antelami’s Parma Cathedra","authors":"Sabine Sommerer","doi":"10.1086/715156","DOIUrl":"https://doi.org/10.1086/715156","url":null,"abstract":"This article focuses on Parma Cathedral’s episcopal throne, which is an exemplar among cathedrae with animal imagery. Embodying the more abstract aspects of their owners’ authority, animals occupy a prominent place within the seat’s decoration, thereby distilling the human–animal relationship in a way that links the legitimization of power to the act of sitting. Despite its extraordinary iconography and quality, the throne made by Benedetto Antelami (ca. 1178) is still relatively obscure. It is adorned with atlas figures carved in the round and two equestrian reliefs on the armrests, which connect riding to dominion and power while simultaneously transforming the act of enthroning and dethroning into a kind of allegory. Against the background of a more general discussion of animal depictions on medieval chairs, this article addresses new questions concerning the Parma cathedra’s animal décor, its object biography, patron, and possessor, as well as its place and role within the liturgy.","PeriodicalId":43922,"journal":{"name":"GESTA-INTERNATIONAL CENTER OF MEDIEVAL ART","volume":"60 1","pages":"141 - 155"},"PeriodicalIF":0.4,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41838784","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
A. Sullivan, Gabriel-Dinu Herea, Vladimir Ivanovici
Sunlight has long been harnessed to define and accentuate sacred space. This study explores several light phenomena carefully observed in the late fifteenth-century church of the Holy Cross at the former Pătrăuţi Monastery in Moldavia (modern Romania), arguing that the edifice was designed and decorated relative to the direction of sunlight on important dates throughout the liturgical year. While such use of natural light has been observed in other medieval and early modern Christian buildings, the case of Pătrăuţi stands out for its mise-en-scène of moving sunlight. Denoting awareness of cosmic phenomena and architectural know-how, the case study also attests to a careful coordination of the design of architecture, decoration, and ritual. The historic importance of the church, as one of the earliest and best-preserved examples of its kind in Moldavia, gives particular relevance to the studied light effects. The complex principles used to deploy light in this historically significant church invite further analyses along similar lines of inquiry for other medieval and early modern churches both in Moldavia and throughout the Byzantine and Slavic cultural spheres.
{"title":"Space, Image, Light: Toward an Understanding of Moldavian Architecture in the Fifteenth Century","authors":"A. Sullivan, Gabriel-Dinu Herea, Vladimir Ivanovici","doi":"10.1086/712643","DOIUrl":"https://doi.org/10.1086/712643","url":null,"abstract":"Sunlight has long been harnessed to define and accentuate sacred space. This study explores several light phenomena carefully observed in the late fifteenth-century church of the Holy Cross at the former Pătrăuţi Monastery in Moldavia (modern Romania), arguing that the edifice was designed and decorated relative to the direction of sunlight on important dates throughout the liturgical year. While such use of natural light has been observed in other medieval and early modern Christian buildings, the case of Pătrăuţi stands out for its mise-en-scène of moving sunlight. Denoting awareness of cosmic phenomena and architectural know-how, the case study also attests to a careful coordination of the design of architecture, decoration, and ritual. The historic importance of the church, as one of the earliest and best-preserved examples of its kind in Moldavia, gives particular relevance to the studied light effects. The complex principles used to deploy light in this historically significant church invite further analyses along similar lines of inquiry for other medieval and early modern churches both in Moldavia and throughout the Byzantine and Slavic cultural spheres.","PeriodicalId":43922,"journal":{"name":"GESTA-INTERNATIONAL CENTER OF MEDIEVAL ART","volume":"60 1","pages":"81 - 100"},"PeriodicalIF":0.4,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/712643","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48924063","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
At the turn of the fourteenth century, eremitic life—typified by the third- and fourth-century saints known as the Desert Fathers—was presented as a spiritual ideal not only for mendicant friars who struggled to balance the vita activa with the vita contemplativa, but also for the laity, who were encouraged to withdraw to their own “desert” or to any space where they could connect with God. Art historians have traditionally explored the significance of the Desert Fathers during this period by examining wall and panel paintings, while illustrated copies of the tradition’s fundamental text have gone largely unremarked. This article addresses New York, The Morgan Library & Museum, MS M.626, a richly illuminated manuscript of the Vitae patrum, focusing on its abundant illustrations depicting the Desert Fathers’ battles with demons, which is an unusual feature among the illuminated manuscripts of the Vitae patrum from the period. By showing how the Desert Fathers struggled with demons, the Morgan manuscript teaches its viewers to value and exercise the skill of spiritual focus. Its illustrations, which train the viewers in the habits of the mind that make meditation, contemplation, and prayer possible, broaden our understanding of how images participated in the rise of the eremitic ideal, reinforcing and instructing the faithful in the modes of piety exemplified by the Desert Fathers.
{"title":"Into the Desert: Demons, Spiritual Focus, and the Eremitic Ideal in Morgan MS M.626","authors":"Denva Gallant","doi":"10.1086/712634","DOIUrl":"https://doi.org/10.1086/712634","url":null,"abstract":"At the turn of the fourteenth century, eremitic life—typified by the third- and fourth-century saints known as the Desert Fathers—was presented as a spiritual ideal not only for mendicant friars who struggled to balance the vita activa with the vita contemplativa, but also for the laity, who were encouraged to withdraw to their own “desert” or to any space where they could connect with God. Art historians have traditionally explored the significance of the Desert Fathers during this period by examining wall and panel paintings, while illustrated copies of the tradition’s fundamental text have gone largely unremarked. This article addresses New York, The Morgan Library & Museum, MS M.626, a richly illuminated manuscript of the Vitae patrum, focusing on its abundant illustrations depicting the Desert Fathers’ battles with demons, which is an unusual feature among the illuminated manuscripts of the Vitae patrum from the period. By showing how the Desert Fathers struggled with demons, the Morgan manuscript teaches its viewers to value and exercise the skill of spiritual focus. Its illustrations, which train the viewers in the habits of the mind that make meditation, contemplation, and prayer possible, broaden our understanding of how images participated in the rise of the eremitic ideal, reinforcing and instructing the faithful in the modes of piety exemplified by the Desert Fathers.","PeriodicalId":43922,"journal":{"name":"GESTA-INTERNATIONAL CENTER OF MEDIEVAL ART","volume":"60 1","pages":"101 - 119"},"PeriodicalIF":0.4,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/712634","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42552839","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Sharon E. J. Gerstel, C. Kyriakakis, S. Antonopoulos, K. Raptis, James Donahue
Were Byzantine writings about the intermingling of human and angelic voices within ecclesiastical settings merely reflections of mystical theology, or were they actual observations about the movement of sound? Focusing on Thessaloniki, we consider how Byzantine writers described the voices of angels, how certain chants in the divine services animated the voices of celestial beings, and how and where painters represented angels, particularly within the city’s monastic churches. We then turn to the study of the acoustical property of reverberation in eight Byzantine churches in the city in order to investigate whether undefined voices heard by subjective listening could be documented by objective, scientific testing.
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For over 125 years, historians have speculated about the intended, presumed Capetian royal recipients of the four earliest Bibles moralisées, four of the most significant manuscripts from Gothic Paris. Of these codices, only Vienna, Österreichische Nationalbibliothek (ÖNB) MS 1179, the Vienna Latin Bible moralisée, contains a written presentation inscription. Erased long ago, it has nevertheless frustrated scholars’ efforts to read it. Multispectral Imaging now reveals the name of the non-Capetian intended recipient. This article offers an explanation of why, when, and for whom the manuscript may have been produced, revealing it as a witness to Denmark’s greater role in Capetian territorial ambitions and diplomacy than historians have generally appreciated. In the course of establishing for whom the manuscript was made, the article explains why the long-accepted argument for dating this manuscript to 1219 or later is invalid, and proposes an earlier terminus post quem of 1208 for both the earlier Old French Bible moralisée and this codex. Implicitly, these discoveries undermine assumptions regarding the recipients of the other supposed Capetian Bibles moralisées. Finally, this study provides evidence of the Vienna Latin Bible moralisée’s hitherto unknown history between its early thirteenth-century creation and the 1730s, when it was rebound for the library of Prince Eugene of Savoy.
125年来，历史学家们一直在猜测，最早的四本《圣经》道德教案(四本来自哥特式巴黎的最重要的手稿)的接收者是谁。在这些抄本中，只有维也纳，Österreichische Nationalbibliothek (ÖNB) MS 1179，维也纳拉丁圣经moralis e，包含一个书面的介绍题词。它在很久以前就被抹去了，尽管如此，学者们阅读它的努力仍然受挫。多光谱成像现在揭示了非卡佩特人的预期接受者的名字。这篇文章解释了为什么，何时，为谁制作了这份手稿，揭示了丹麦在卡佩王朝的领土野心和外交中比历史学家普遍认为的更重要的作用。在确定手稿是为谁而写的过程中，文章解释了为什么长期以来被接受的将手稿定在1219年或更晚的说法是无效的，并提出早期的古法语圣经moralis和本手抄本的最终日期都是1208年。隐含地，这些发现破坏了关于其他假定的卡佩特圣经道德标准接受者的假设。最后，这项研究提供了维也纳拉丁圣经道德标准的证据，从13世纪早期的创作到18世纪30年代，这段迄今为止未知的历史，当时它是为萨沃伊亲王尤金的图书馆重新制作的。
{"title":"The King in the Manuscript: The Presentation Inscription of the Vienna Latin Bible moralisée","authors":"K. Tachau","doi":"10.1086/712635","DOIUrl":"https://doi.org/10.1086/712635","url":null,"abstract":"For over 125 years, historians have speculated about the intended, presumed Capetian royal recipients of the four earliest Bibles moralisées, four of the most significant manuscripts from Gothic Paris. Of these codices, only Vienna, Österreichische Nationalbibliothek (ÖNB) MS 1179, the Vienna Latin Bible moralisée, contains a written presentation inscription. Erased long ago, it has nevertheless frustrated scholars’ efforts to read it. Multispectral Imaging now reveals the name of the non-Capetian intended recipient. This article offers an explanation of why, when, and for whom the manuscript may have been produced, revealing it as a witness to Denmark’s greater role in Capetian territorial ambitions and diplomacy than historians have generally appreciated. In the course of establishing for whom the manuscript was made, the article explains why the long-accepted argument for dating this manuscript to 1219 or later is invalid, and proposes an earlier terminus post quem of 1208 for both the earlier Old French Bible moralisée and this codex. Implicitly, these discoveries undermine assumptions regarding the recipients of the other supposed Capetian Bibles moralisées. Finally, this study provides evidence of the Vienna Latin Bible moralisée’s hitherto unknown history between its early thirteenth-century creation and the 1730s, when it was rebound for the library of Prince Eugene of Savoy.","PeriodicalId":43922,"journal":{"name":"GESTA-INTERNATIONAL CENTER OF MEDIEVAL ART","volume":"60 1","pages":"1 - 30"},"PeriodicalIF":0.4,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/712635","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47453577","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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