{"title":"Back Matter","authors":"","doi":"10.1086/703999","DOIUrl":"https://doi.org/10.1086/703999","url":null,"abstract":"","PeriodicalId":43922,"journal":{"name":"GESTA-INTERNATIONAL CENTER OF MEDIEVAL ART","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/703999","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44392106","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}
{"title":"Encounter: Louis Grodecki","authors":"M. Caviness","doi":"10.1086/698838","DOIUrl":"https://doi.org/10.1086/698838","url":null,"abstract":"","PeriodicalId":43922,"journal":{"name":"GESTA-INTERNATIONAL CENTER OF MEDIEVAL ART","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2018-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/698838","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47971343","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 mosaic map of Madaba, Jordan, has been attracting visitors and puzzling art historians since it was uncovered in the 1890s. The largest extant fragment of the map encompasses modern Jordan, Israel, the Palestinian territories, Lebanon, and parts of Egypt. It depicts rivers, mountains and deserts, villages and cities, and has more than 150 inscriptions that describe them. Previous analyses of the mosaic have been based on two assumptions: that it was designed for an early Byzantine church and that this supposed church was roughly similar in form to the nineteenth-century church that now houses the mosaic. On the basis of this presumed ecclesiastical context, the map has been interpreted either as a pilgrimage guide or as a unique expression of a Christian worldview, displaying all the sacred sites of the Holy Land with Jerusalem at the center. The mosaic does not fit well into a church setting, however, either physically or in terms of its content. It contains little overtly Christian imagery, and it does not resemble other Jordanian church floors in its composition, layout, choice of motifs, or use of inscriptions. In addition, it appears to have been designed for a hall with a north–south axis, not an east–west one. After laying out the case against an original church context, I argue that the map was instead designed for a secular hall, most likely one used for legal hearings, and then discuss some new ways of interpreting the architectural motifs on the map in light of this reading.
{"title":"A Reconsideration of the Madaba Map","authors":"B. Leal","doi":"10.1086/698839","DOIUrl":"https://doi.org/10.1086/698839","url":null,"abstract":"The mosaic map of Madaba, Jordan, has been attracting visitors and puzzling art historians since it was uncovered in the 1890s. The largest extant fragment of the map encompasses modern Jordan, Israel, the Palestinian territories, Lebanon, and parts of Egypt. It depicts rivers, mountains and deserts, villages and cities, and has more than 150 inscriptions that describe them. Previous analyses of the mosaic have been based on two assumptions: that it was designed for an early Byzantine church and that this supposed church was roughly similar in form to the nineteenth-century church that now houses the mosaic. On the basis of this presumed ecclesiastical context, the map has been interpreted either as a pilgrimage guide or as a unique expression of a Christian worldview, displaying all the sacred sites of the Holy Land with Jerusalem at the center. The mosaic does not fit well into a church setting, however, either physically or in terms of its content. It contains little overtly Christian imagery, and it does not resemble other Jordanian church floors in its composition, layout, choice of motifs, or use of inscriptions. In addition, it appears to have been designed for a hall with a north–south axis, not an east–west one. After laying out the case against an original church context, I argue that the map was instead designed for a secular hall, most likely one used for legal hearings, and then discuss some new ways of interpreting the architectural motifs on the map in light of this reading.","PeriodicalId":43922,"journal":{"name":"GESTA-INTERNATIONAL CENTER OF MEDIEVAL ART","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2018-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/698839","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43611458","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 term enkolpion encompasses a broad category of objects—crosses, medallions adorned with Christian imagery, and miniature reliquaries, among others—worn around the neck. Protecting the wearer and providing a constant focus for prayer, enkolpia were arguably the most personal and intimate of all devotional artifacts in Byzantium. They were embraced at confession and appealed to in circumstances of danger and anxiety, intensely scrutinized, caressed, and kissed. Yet the agency of these diminutive objects was not limited to their basic religious function. Enkolpia actively participated in various forms of social interaction. They could serve as gifts, collaterals, and safe-conducts and, most important, operate as physical extensions of their owners. This article explores how the Byzantines used and related to devotional pectorals. It has two objectives: first, to recover the significance of enkolpia as a distinct category of objects; and second, to shed new light on the material culture of personal piety as a critical setting for the formation of subjectivity in Byzantium.
{"title":"The Enkolpion: Object, Agency, Self","authors":"I. Drpić","doi":"10.1086/698842","DOIUrl":"https://doi.org/10.1086/698842","url":null,"abstract":"The term enkolpion encompasses a broad category of objects—crosses, medallions adorned with Christian imagery, and miniature reliquaries, among others—worn around the neck. Protecting the wearer and providing a constant focus for prayer, enkolpia were arguably the most personal and intimate of all devotional artifacts in Byzantium. They were embraced at confession and appealed to in circumstances of danger and anxiety, intensely scrutinized, caressed, and kissed. Yet the agency of these diminutive objects was not limited to their basic religious function. Enkolpia actively participated in various forms of social interaction. They could serve as gifts, collaterals, and safe-conducts and, most important, operate as physical extensions of their owners. This article explores how the Byzantines used and related to devotional pectorals. It has two objectives: first, to recover the significance of enkolpia as a distinct category of objects; and second, to shed new light on the material culture of personal piety as a critical setting for the formation of subjectivity in Byzantium.","PeriodicalId":43922,"journal":{"name":"GESTA-INTERNATIONAL CENTER OF MEDIEVAL ART","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2018-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/698842","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47695701","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 examines the fortress of Lucera in northern Apulia (1269–84) as a sign of state building in late medieval southern Italy. First, I assess the completed complex as a physical marker of Angevin territorial consolidation in the newly conquered Kingdom of Naples. Encompassing an area of approximately 49,000 square meters (about 12 acres) with two palaces, housing for Provençal settlers and their families, and facilities for soldiers, workers, royal administrators, and equipment, Lucera’s fortress is paradigmatic of Angevin construction, resettlement, and urban development patterns that connected territory in the kingdom politically, economically, and socially. Second, I consider how the process of construction employed at the fortress relied on the increasingly unified kingdom and the Angevin king Charles I’s firm control over integration. By examining the surviving documents related to the fortress’s construction as well as the physical remains, especially a 600-meter-long portion of the perimeter walls mentioned in the texts as the murus ex parte Florentini (i.e., facing toward the city of Fiorentino), I analyze the costs of construction and the sources of funds, the workers and materials needed and their origins, and the bureaucracy that the crown established for procuring funds, workers, and materials. I argue that Lucera’s fortress and Angevin architecture in general are embodiments of the Angevin state and demonstrate how examining Angevin history by means of its building fabric contributes to studies concerning the processes of medieval building construction, the role of architecture in late medieval political consolidation, and the examination of castle architecture beyond its military value.
{"title":"The Rhetoric and Revelations of Scale at Lucera’s Fortress (1269–84): State Building in the Angevin Kingdom of Naples","authors":"Alexander S. Harper","doi":"10.1086/698841","DOIUrl":"https://doi.org/10.1086/698841","url":null,"abstract":"This article examines the fortress of Lucera in northern Apulia (1269–84) as a sign of state building in late medieval southern Italy. First, I assess the completed complex as a physical marker of Angevin territorial consolidation in the newly conquered Kingdom of Naples. Encompassing an area of approximately 49,000 square meters (about 12 acres) with two palaces, housing for Provençal settlers and their families, and facilities for soldiers, workers, royal administrators, and equipment, Lucera’s fortress is paradigmatic of Angevin construction, resettlement, and urban development patterns that connected territory in the kingdom politically, economically, and socially. Second, I consider how the process of construction employed at the fortress relied on the increasingly unified kingdom and the Angevin king Charles I’s firm control over integration. By examining the surviving documents related to the fortress’s construction as well as the physical remains, especially a 600-meter-long portion of the perimeter walls mentioned in the texts as the murus ex parte Florentini (i.e., facing toward the city of Fiorentino), I analyze the costs of construction and the sources of funds, the workers and materials needed and their origins, and the bureaucracy that the crown established for procuring funds, workers, and materials. I argue that Lucera’s fortress and Angevin architecture in general are embodiments of the Angevin state and demonstrate how examining Angevin history by means of its building fabric contributes to studies concerning the processes of medieval building construction, the role of architecture in late medieval political consolidation, and the examination of castle architecture beyond its military value.","PeriodicalId":43922,"journal":{"name":"GESTA-INTERNATIONAL CENTER OF MEDIEVAL ART","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2018-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/698841","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49256945","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}
{"title":"Front Cover","authors":"","doi":"10.1086/701038","DOIUrl":"https://doi.org/10.1086/701038","url":null,"abstract":"","PeriodicalId":43922,"journal":{"name":"GESTA-INTERNATIONAL CENTER OF MEDIEVAL ART","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2018-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/701038","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41370404","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}
{"title":"Back Matter","authors":"","doi":"10.1086/701052","DOIUrl":"https://doi.org/10.1086/701052","url":null,"abstract":"","PeriodicalId":43922,"journal":{"name":"GESTA-INTERNATIONAL CENTER OF MEDIEVAL ART","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2018-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/701052","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42247520","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 Gospel book known to scholars as the Codex Aureus of St. Emmeram (Munich, Bayerische Staatsbibliothek, Clm 14000) is a lavishly decorated manuscript produced in 870 for the Carolingian king and subsequent emperor Charles the Bald (823–877). Although the manuscript has been much admired and its art frequently reproduced, many questions remain concerning the Codex Aureus and its miniatures, both individually and as parts of a program. This article examines the relationship between text and image in the two full-page miniatures, which represent the enthroned Charles the Bald facing an image of the twenty-four elders adoring the Lamb. It reads the illuminations as a diptych by looking at the writings of John Scotus, known as Eriugena (ca. 810–ca. 877), the poet, philosopher, and master of the school to whom the Codex Aureus’s captions have been attributed. By assimilating the king to Christ, the Word made flesh, the two-page opening captures the king’s imperial aspiration and related expectations for salvation. The miniatures not only compose a statement of ruler theology but also introduce Charles the Bald, who was the principal viewer of the manuscript, to a process of spiritual ascension through intellectual contemplation. This process was designed to elevate the king’s mind above the temporal world in order to accomplish a mystical union with God, a theosis.
{"title":"Vision and Christomimesis in the Ruler Portrait of the Codex Aureus of St. Emmeram","authors":"Riccardo Pizzinato","doi":"10.1086/698840","DOIUrl":"https://doi.org/10.1086/698840","url":null,"abstract":"The Gospel book known to scholars as the Codex Aureus of St. Emmeram (Munich, Bayerische Staatsbibliothek, Clm 14000) is a lavishly decorated manuscript produced in 870 for the Carolingian king and subsequent emperor Charles the Bald (823–877). Although the manuscript has been much admired and its art frequently reproduced, many questions remain concerning the Codex Aureus and its miniatures, both individually and as parts of a program. This article examines the relationship between text and image in the two full-page miniatures, which represent the enthroned Charles the Bald facing an image of the twenty-four elders adoring the Lamb. It reads the illuminations as a diptych by looking at the writings of John Scotus, known as Eriugena (ca. 810–ca. 877), the poet, philosopher, and master of the school to whom the Codex Aureus’s captions have been attributed. By assimilating the king to Christ, the Word made flesh, the two-page opening captures the king’s imperial aspiration and related expectations for salvation. The miniatures not only compose a statement of ruler theology but also introduce Charles the Bald, who was the principal viewer of the manuscript, to a process of spiritual ascension through intellectual contemplation. This process was designed to elevate the king’s mind above the temporal world in order to accomplish a mystical union with God, a theosis.","PeriodicalId":43922,"journal":{"name":"GESTA-INTERNATIONAL CENTER OF MEDIEVAL ART","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2018-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/698840","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45895944","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}
Several medieval building miracles feature plans marked on the ground in dew or snow, which can be understood as acheiropoieta, works not made by human hands. Despite a textual tradition dating back to the ninth century, the earliest depiction of such a plan may be that in the late medieval facade mosaics of Sta. Maria Maggiore in Rome. Three catalysts for this innovation are identified here: the legend, which combined a plan in snow and foundations that opened by themselves; institutional rivalry, as expressed in representations of church foundation and possession of miraculously created images; and increased ecclesiastical involvement in the initial stages of church construction, including delineating the foundations. In turn, the mosaics inspired further depictions of the miraculous plan and set a precedent for visualizing ground plans more widely in late medieval and early modern Italy, since illustrations of foundation rituals in pontificals arguably draw on images of the miracle of the snow. Examining this legendary and liturgical material together indicates that the plan and foundations of a church formed a key point of encounter between its construction and its spiritual significance. It also reveals a type of ground plan—an image of a plan marked on the ground—that can be distinguished in form and associations from other small-scale plans. Simple, schematic, and often cruciform, it was redolent of miraculous and sacred foundations. More broadly, the article demonstrates the potential of ephemeral marks on the ground to inform lasting visual and verbal representations in more conventional media.
{"title":"Sta. Maria Maggiore and the Depiction of Holy Ground Plans in Late Medieval Italy","authors":"Lucy E G Donkin","doi":"10.1086/698843","DOIUrl":"https://doi.org/10.1086/698843","url":null,"abstract":"Several medieval building miracles feature plans marked on the ground in dew or snow, which can be understood as acheiropoieta, works not made by human hands. Despite a textual tradition dating back to the ninth century, the earliest depiction of such a plan may be that in the late medieval facade mosaics of Sta. Maria Maggiore in Rome. Three catalysts for this innovation are identified here: the legend, which combined a plan in snow and foundations that opened by themselves; institutional rivalry, as expressed in representations of church foundation and possession of miraculously created images; and increased ecclesiastical involvement in the initial stages of church construction, including delineating the foundations. In turn, the mosaics inspired further depictions of the miraculous plan and set a precedent for visualizing ground plans more widely in late medieval and early modern Italy, since illustrations of foundation rituals in pontificals arguably draw on images of the miracle of the snow. Examining this legendary and liturgical material together indicates that the plan and foundations of a church formed a key point of encounter between its construction and its spiritual significance. It also reveals a type of ground plan—an image of a plan marked on the ground—that can be distinguished in form and associations from other small-scale plans. Simple, schematic, and often cruciform, it was redolent of miraculous and sacred foundations. More broadly, the article demonstrates the potential of ephemeral marks on the ground to inform lasting visual and verbal representations in more conventional media.","PeriodicalId":43922,"journal":{"name":"GESTA-INTERNATIONAL CENTER OF MEDIEVAL ART","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2018-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/698843","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49350717","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}
{"title":"Art at the Millennium","authors":"M. Stokstad","doi":"10.4324/9780429495038-7","DOIUrl":"https://doi.org/10.4324/9780429495038-7","url":null,"abstract":"","PeriodicalId":43922,"journal":{"name":"GESTA-INTERNATIONAL CENTER OF MEDIEVAL ART","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2018-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73367850","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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