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Cambridge University Press 978-1-107-04047-2 - French Visual Culture and the Making of Medieval Theater Laura Weigert Index More information

INDEX

Figures in the text are indicated by f followed by the ﬁgure number. Chapter endnotes are indicated by n or nn followed by the note number(s). Vengeance in italics refers to the theme and presentations of Vespasian’s destruction of Jerusalem.

Acres, Alfred, 210 La Vengeance Nostre Seigneur par personnages and, Acts of the Apostles (New Testament book), 6, 184–5 131–2 Acts of the Apostles performance, 6, 107 vs. Vengeance paintings and printed texts, 163–5 Adoration of the Lamb staging (Ghent), 53–4, 58 Vengeance performances and, 154, 175–6 Aelred of Rievaulx, 206 Vérard’s printed play texts and, 180, 250n9 Aeneas, 153 violence against Jews in, 163, 250n9 affective devotion, 4–5, 24, 77, 228n13, 15, 241n7 Arras Passion (miniatures) (Arras, BM MS 697) Albret, Marie d’, 125, 131, 150 artist(s) of, 80–3, 82f46, 102 Alexander the Great, 126, 128, 145 Cohen’s incorporations of, 242n22 Altarpiece of the Holy Lamb ( Jan van Eyck), 50, 53, devils in, 99, 100f62, 101f63, 102f64, 123, plate V 54 f32 John the Baptist in, 99, 103f65 Angers Apocalypse (Angers), 245n8 Master of the View of Sainte-Gudule and, 80–1 Anjou, dukes of, 126–8, 245n6 movement depicted in, 85, 88–91, 91f54, 92f55, Anne of Brittany (Queen), 150–3, 151f109 93f56, plate IV Antichrist (story of). See “Jour du Jugement” overview, 77–80 Les Antiquités de Valenciennes (History of performance and, 84–5 Valenciennes), 221 the preacher in, 99, 104 f66, 105f67, 106f68 Apostles Creed in cloth paintings, 183, 185f126 production of, 80–4, 242n28 Archers’ guild. See guilds quantities of, 80 Aristotle (Poetics), 226, 259n22 stylistic features of, 85–9, 86f49, 87f50, 88f51, Arnade, Peter, 68 89f52, 90f53 Arras Passion (in relation to performances) texts accompanying, 84–5 ﬁctionality in, 80, 99, 123–4 viewer participation and, 77, 91–3, 91f54, 92f55, as Passion par personnages, 74, 77–80 93f56, 94 f57, 95f58, 96f59, 97f60, 98f61 performance experience of, 74, 77, 80 art. See visual art in performances spatial organization of, 97–8, 123–4, 243n35 Art Poétique François (Thomas Sébillet), 226 as spectacle, 77 artists. See visual artists in performances viewer’s experience of, 93–7, plate IV Artois, Bonne d’, 131 Arras Passion (manuscript) (Arras, BM MS 697) au vif. See vif, au vif days as divisions in, 79–80, 99 Augustine (Saint), 206 devils in, 99, 123 automata, 51f30, 51, 52f31, 52, 60, 61 Master of the View of Sainte-Gudule as miniaturist of, 80–1, 242n24 banquets Mercadé as author of, 79, 242n13, 131 animate and inanimate representational forms in, personnages in, 78 59–61 the preacher in, 80, 81–4, 99–101, 175, 243n39 of the Burgundian court, 60 production of, 242n28, 243n33 of Charles the Bold, 59–60 representational levels in, 80, 84–5 of Charles V, 6, 127f 89, 131 uniqueness of, 102 of Margaret of York, 59–60 Valenciennes Passion manuscript (1577) and, Feast of the Pheasant, 59–60 77–8, 123–4 increasing scope of, 125–6

279

© in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-04047-2 - French Visual Culture and the Making of Medieval Theater Laura Weigert Index More information

280 INDEX

banquets (cont.) Passion manuscript (1577); Valenciennes of Louis XII, 153 Passion manuscript (before 1577) of Philip the Good, 59–60 Calliopius (editor of Terence), 14, 16f4, 18–19, 45 staging of, 6, 38–41, 126, 127f89, 174 Calvinism, 214, 221–2 stories interchangeable in, 60 Catholic France, 5, 22, 25, 215, 222 vif elements in, 7 Catholic League, 192 See also Duke John of Berry ceremonial entries. See entry ceremonies and Barthes, Roland, 9–10 processions battles portrayed in tapestry Charles IX (King), 215 (overview), 126 Charles of Bourbon (cardinal), 125, 128, 150, See also Vengeance (tapestries) 247–8n45 Baudelaire, Charles, 9 Charles the Bold (Duke of Burgundy), 59–60, 128 Beard, Mary, 232n65 Charles V (King) Beelzebub (devil) banquets of, 6, 131 bishop of Laon confronted by, 191–2 as collector, 128, 245n6 contortions depicted in print, 192–3, 202–3 Charles V (Emperor) demanding to be seen, 196, 201 entry procession of, 43–4, 46–7, 47f27, 48f28, Jews and, 214 49f29, 52, 52f31, 60, 63, 66f40, 73, 236n42 mass parodied by, 202–3 Charles VI (King), 22, 185 Nicole Obry possessed by, 191–3, 202–4 Charles VII (King), 185 theatrical modes preserved in, 217 Charles VIII (King) urban performances and, 201–3 as collector, 135, 150, 247–8n45 Berry, Duke of. See Duke John of Berry compared to Vespasian, 180–1 Berry, dukes of, 126–8 entry processions of, 58, 185, 187, 238n78 Bigongiari, Dino, 232n57, 232n61 Jews expelled by, 181, 252n39 Blanchard, Joël, 27 Vérard’s “Vengeance” dedicated to, 162, 180–1, Blockmans, Wim, 30 215–16, 251–2n39 Bonaventura (pseudo-Bonaventura), 4 Chastellain, Georges, 129 Bouchet, Jean, 6 Chatsworth Vengeance manuscript, 135, 175, 176f123 Boulaese, Jean Christian critiques of theater. See Aelred of Rievaulx; anti-reformist polemics of, 192, 214–15, 221 Augustine (Saint); Coinci, Gauthier de; devils/ Catholic uniﬁcation as goal of, 215–16 the devil; Fouquet, Jean; impersonation; the Eucharist asserted as miracle proof by, 204, Innocent III (Pope); Isidore of Seville; Ralph 209 of Coggeshall; sexuality associated with images asserted as exorcism proof by, 193–6 theater; synod of Utrecht; Tertullian; theater Laon Miracle authenticity asserted by, 191–3, (of Antiquity): negative critiques of 194 f129, 214–15 Christian doctrine, 4–5, 77 miracle proof essential for, 191–2 Chronicles (Jean Froissart), 63, 65f39 Bourbon, Count of, 125, 128, 150 civic performances. See urban performances Brossier, Marthe, 192–3 Clark, Robert L.A., 241n11, 258n4 Brown, Cynthia, 178 classical theater. See theater (classical) Burgundian court cloth paintings. See Vengeance (cloth paintings). banquets in, 59–61 See Apostles Creed; Last Supper ceremonial practices of, 2, 4, 228n9 Clovis (King), 126, 145f107, 145 entry ceremonies and, 26, 183 Cohen, Gustave as patrons, 125–8 Arras miniatures incorporated by, 242n22 secular entertainment and, 62–3 Barthes and, 9 Trojan War tapestries and, 128, 147–9 Catholic church and, 5 Vengeance plays and, 132 Focillon and, 4, 228n11 Burgundian dukes. See Charles the Bold; John the Histoire de la Mise en Scène dans le Théâtre Religieux Fearless; Philip the Bold; Philip the Good; du Moyen Âge, 8 Philip the Handsome literary criticism inﬂuenced by, 9 Butler, Judith, 172 Mâle and, 4 Bynum, Caroline, 206 on miniature subject matter, 74 performance documentation provided by, 8, Cailleau, Hubert. See Valenciennes miniatures 243n36 (1577); Valenciennes miniatures (before 1577); Pirenne and, 228n11 Valenciennes Passion (1547); Valenciennes Réau and, 4, 228n11 Passion frontispiece (1577); Valenciennes texts staged by, 8–9

INDEX 281

on theater/art relationships, 2–5, 8 échaufaudage. See scaffolding Théophiliens theatrical troupe and, 8–9, 23 Eichberger, Dagmar, 30 on violence in the Vengeance, 173–4, 176–7 Eleanor of Habsburg, 182–3, 252n52 Zumthor and, 8–9 Enders, Jody, 22, 122, 173 Coinci, Gauthier de (Miracles of the Virgin), 14 entertainers Coleman, Joyce, 252n49 ﬁgural arrangements and, 27, 61, 70, 72 Comedies (Terence) fools and, 62–4, 68–70 audience platforms in, 41 human bodies and, 61, 68–9 Duke John of Berry as owner of, 14, 16f4, 18, 34, 45 illustrated, 31f14, 38f21, 62f36, 63f37, 64 f38, Lyon woodcut in, 14–15, 17f5, 18, 34, 200 66f40, 67f41, plate II masked performers in, 16f4, 18, 45 in Joanna of Castile manuscript, 28, 61–70 prostitution and, 14–15, 18, 200 vs. personnages, 27, 61, 70, 72 Strasbourg woodcut in, 18, 19f6, 41 Entremetz de Paintrerie (recipes for painted translation of, 178 interludes), 60–1 Vérard and, 11, 178 entry ceremonies and processions See also Terence for Bonne d’Artois, 131 Confraternity of the Passion, 22, 219–20 for Burgundian dukes, 2, 26–7, 182–3 Crossbowmen’s guild. See guilds for Charles V (Emperor), 43–4, 46–7, 47f27, Croy, Robert de (bishop), 121 48f28, 49f29, 52, 52f31, 60, 63, 66f40, 73, 236n42 Daret, Jacques, 53 for Charles VI, 185 days (mystery play divisions), 79, 99, 107, 180 for Charles VII, 185 De Architectura (Vitruvius), 223 for Charles VIII, 58, 185, 187, 238n78 De Fonteine (chamber of rhetoricians), 54–5 of Marie d’Albret, 125, 129, 131, 150 Deposition altarpiece (Rogier van der Weyden), 56 early depiction of, 10 Desrey, Pierre, 6 of Eleanor of Habsburg, 182–3 devils/the devil entertainers in, 28, 61–70 in the Arras Passion manuscript, 99, 100f62, fools in, 62–6, 65f39, 70, 150 101f63, 102f64, 123, plate V of Isabeau of Bavaria, 63, 65f39 associated with the theater, 13–14, 22–3, 203, 232n61 of Louis XI, 129, 131 in audience/performance spatial divisions, 99 of Louis XII, 70 behavior of, 1, 99, 122–3, 201–3 media boundaries crossed in, 26, codiﬁed speech of, 12, 99 50–6 in entry ceremonies, 150 Nine Worthy Men and Women as model for, 125, improvised performances of, 99, 123 129 in the Joanna of Castile manuscript, 28, 39f22 paintings as sources for, 53–5 in Martyrdom of Saint Apollonia, 23 parodied, 63, 69 masked in performances, 122, 202–3 the Passion in, 26, 185 in Miracles of the Virgin, 14, 70 personnages in, 27, 45–56, 71–3 portrayal of, criticized, 14, 122–3 for Philip II, 26 prominence of, 189–90 for Philip Count of Nevers II, 131 Saint Michael and, 28 for Philip the Good, 43, 50, 53–4, 58 theatrical modes preserved in, 202–4 scale of, 2 in urban performances, 99, 122, 201–3 streets as site of, 2 in the Valenciennes Passion manuscripts, 110–18, of Titus, 165 111f75, 113f77, 113f78, 114 f79, 123 Vengeance cloth paintings and, 182–7 See also Beelzebub; Judas Iscariot 252n55 didascaliae, 78, 164 visual art forms in, 2, 26 Diefendorf, Barbara, 257n82 See also Joanna of Castile (entry into Brussels); Dieppe (battle), 131 processional drama Dominguez, Véronique, 11, 228n15 Escouchy, Mathieu d’, 59–60 Donkers, Esther, 30 Etymologies (Isidore of Seville), 13, 33–4 Dox, Donnalee, 13 the Eucharist Dragomirescu, Corneliu, 251n29 the church’s founding and, 210–11 Duke John of Berry exorcism as analogous to, 209–10, 256n60 battle tapestries displayed by, 129 Laon Miracle and, 189, 192, 204–9 Terence’s Comedies owned by, 14, 16f4, 18, 34, 45 the mass and, 206 the Très Riches Heures and, 129, 130f90, 146f108, reformist polemics relating to, 205–6 245n6 See also the mass

282 INDEX

exorcism performance regulations imposed by, 22, 219–20 as divine, diabolical, or human, 204 performances/texts supported by, 2, 220 the Eucharist and, 209–10, 256nn60,61 as Trojan descendants, 148, 153, 248n56 in France, 192 Trojan War tapestries and, 128, 148, 152–3 of Marthe Brossier, 192–3 Vengeance paintings/mystery plays and, 162 the mass and, 204–13 Vengeance performances and, 132 as public display, 196, 200–1 Vérard and, 12, 180–1, 215–16 as theater, 196, 217, 255n23 See also specific kings, e.g., Louis XII in Valenciennes miniatures, 113–18 Fried, Michael, 9–10, 231nn42-3 See also Beelzebub; Miracle of Laon; Miracle of Froissart, Jean (Chronicles), 63, 65f39 Laon prints; Le Thresor From art to theater: Form and Convention in the Eyck, Jan and Hubert van, Altarpiece of the Holy Renaissance (George Kernodle), 37–8 Lamb, 50, 53–6, 54 f32 Gardiner, Harold Charles (Mysteries’ End), 219, 258n1 faire semblant, 7, 58, 61, 149 Garnier, Robert (Les Juives), 226 See also impersonation gesticulatores (jesters or entertainers), 18, 70 Feast of Fools, 64, 211 See also fools Feast of the Pheasant, 59–60 Ghent altarpiece (Altarpiece of the Holy Lamb), 50, Féral, Josette, 1, 10 53–6, 54 f32 fictionality Gideon (conqueror of the Midianites), 126–9, in the Arras Passion, 88–99, 123–4 147–8, 245n8, 131 in battle scenes, 146–7, 149–54 Godfrey of Bouillon (crusader), 6, 149 ruling of 1541 and, 221 God’s Court (Procès de Paradis), 163, 250n9 in medieval performance/theater, 7–8, 10 Göttler, Christine, 206 performance prohibitions and, 22 Gougon, Jean, 223, 225f143 of personnages, 7–8, 45–6, 72, 203 Grandes Chroniques de France (illuminated French spectacle and, 77 history compilation), 6, 127f89, 131 theatrical day divisions and, 79–80 Gréban, Arnoul, 76f44, 74, 79, 93 in the Valenciennes Passion (1547), 121–4 Greenblatt, Stephen, 196 viewer’s space and, 159 Gregory the Great (Saint and Pope), 6, 152, 206, vs. actual violence, 215 207f136, 208f137, 248n49 in visual art, 5–8 Gringore, Pierre, 73, 253n63 Florence tapestry set, 135 Groebner, Valentin, 172, 249n66 Florentius and Meriana, 29, 3f20 Guido Juvenalis (editor of Terence), 19, 21f8 Flores Historiarum (Roger of Wendover), 13 guilds, 22, 30f31, 65–9, 73, 183, 187, 220, 228, Focillon, Henri, 4, 228n11 240n104, 254 fools (in theatrical performances) See also Joanna of Castile (entry into Brussels); codified speech of, 12 Joanna of Castile (illuminated manuscript) in entry ceremonies, 62–6, 65f39, 70, 150 Feast of Fools, 64, 211 Hardison, O. B., 209 Jesus Anay as, 165 Harper, James, 153, 247n37 theater of Antiquity and, 69 Henry VII (King), 152–3 types of, 68–70, 239n98 Hercules, 59–61, 126, 128, 150, 248n45 See also gesticulatores; jesters Héricourt, Christophe de, 193 Forest, Régnault de la, 125, 129, 245n14 Histoire de la Mise en Scène dans le Théâtre Religieux du Fouquet, Jean Moyen Âge (Gustave Cohen), 8 Christian critiques of theater and, 23–4, 200 Hôtel d’Artois, 128–9 as a man of the theater, 80 Hôtel de Bourgogne, 220 Martyrdom of Saint Apollonia, 23–4, 24 f9, 25f11, Huizinga, Johan, 228n9 80, 200, 233n75 theater in the round and, 24 illuminations. See Arras Passion miniatures; theater legacy and, 23–4 Comedies (Terence); Joanna of Castile Francastel, Pierre, 4 (illuminated manuscript); Passion par Francis I (King), 181–2, 215, 248n45 personnages; Perréal, Jean; Terence; Très Riches Frank, Grace, 160 Heures; Valenciennes miniatures (1577) French court and kings (Hubert Cailleau) entry ceremonies for, 26, 126, 223 impersonation, 8, 45, 122–3, 203–9 Jews and, 173, 180–2 See also faire semblant

INDEX 283

Innocent III (Pope), 207–8 poetry depicted in, 71–2 L’Instructif de la seconde rethorique (treatise on portraiture in, 28 rhetoric), 11, 78, 231n48 Rebecca and Isaac in, 29, 43, 44 f26, 46, 53 Isaac and Rebecca, 29, 43, 44 f26, 46, 53, 81 Saint Luke painting the Virgin in, 28, 34 f17, 46, Isabeau of Bavaria, 46, 63–5, 65f39 50, 56, 72, plate III Isidore of Seville, 13–15, 18, 33–4, 69 Saint Michael and the devil in, 28 scaffolding in, 32–6 Jason (Argonauts’ leader), 60, 128 scena in, 32–8 Jerusalem besieged and destroyed. See Vengeance Semiramis (Assyrian queen) in, 28–9, 36f19 headings; Vespasian sensory impressions in, 50, 236n45 jesters. See fools; gesticulatores textiles described in, 47–50 Jesus Anay (fool), 165 three Virgins in, 29, 42, 42f25, 49 Jews Tobias and Sarah, 29, 39f22, 40f23 Anne of Brittany’s funeral and, 152 Tubalcain in, 28, 30, 33f16, 50, 71 Beelzebub and, 213–16 violence portrayed in, 131, 186 expelled from France, 180–2 wild women in, 62f36 Judaism as synonymous with heresy, 221, 258n11 women depicted in, 28–9 Les Juives and, 226 youths in, 28 in the Miracles of the Virgin, 14 John the Baptist, 58, 99, 103f65, 114, 116f82, 116f83, in reformist polemics, 214–15 243n39 stereotyped in Le Mistere de la sainte Hostie (The See also the preacher Mystery of the Sacred Host), 189, 213–15 John the Fearless (Duke of Burgundy), 128 violence against (see violence against Jews) jongleurs, 68 See also Judaea “Jour du Jugement” (illuminated manuscript Joanna of Castile (entry into Brussels) par personnages), 74, 75f42 Brussels civic portrait and, 70–2 Jubal (Tubal) (inventor of music), 28, 30–1, 33f16, guilds in, 28, 65–70 71–2 lighting of, 50, 236n45 Judaea, 126, 131, 135–40, 140f97, 148, 152 overview, 28–72 See also Nero; Vespasian as participatory experience, 45 Judas Iscariot, 110–12, 110f73, 111f75, 112f76, 113f77, personnages in, 27, 45–6 113f78, 114f79, 199 staging of, 43, 47–52, 153, 183, 186–7 Judas Maccabeus, 126 text vs. visual performance of, 72–3 Judgment of Paris (illumination), 29, 51, 51f30, 60, violence portrayal and, 186 238n78 Joanna of Castile (illuminated manuscript) Judith and Holofernes, 35f18, 131, 184, 184f125 Carmelites in, 28, 29f12 Les Juives (Garnier), 226 Charles V’s banquet scene and, 131 Julius Caesar, 126, 128, 145f106, 145 civic and municipal officials in, 28, 30f13, 71 Julleville, Louis Petit de, 219, 249n3 clergy in, 28 Junot, Yves, 221 commentaries on, 30–1 devils in, 28 Kernodle, George, 37–8 entertainers in, 28, 31f14, 61–70, 62f36, 63f37, Kipling, Gordon, 23, 80, 233n75 64 f38, plate II Knipping, Detlef, 255n36 Esther and Ahasuerus in, 40f23, 46 Konigson, Élie, 233n77, 243n41 figural arrangements in, 28–9, 31–60 Florentius and Meriana in, 29, 37f20 Lancaster, Duke of, 147, 154 fools in, 62–6, 68–70 Laon cathedral. See Miracle of Laon prints guilds in, 28, 30f13, 31f14, 32f15, 65–8, 67f41 Laon Miracle. See Miracle of Laon house of pleasure in, 38f21 Last Supper in painted cloth, 186f127 human and inanimate figures interchangeable in, Lebègue, Raymond, 258n13 53–6 Lecuppre-Desjardin, Elodie, 236n45 Jubal in, 33f16 Legaré, Anne-Marie, 30 Judgment of Paris in, 29, 51, 51f30, 60, 238n78 Lentes, Thomas, 206 Judith and Holofernes in, 35f18, 131, 184 Liège (battle), 126, 128 movement depicted in, 50–2 Life of Saint Martin (tapestry), 211–13, 212f139, 213f140 music depicted in, 69, 71–2 Limbourg brothers. See Très Riches Heures overview, 27–73 liturgy, 152, 191, 208, 213 personnages in, 45–6, 53 See also the Eucharist; the mass

284 INDEX

Lives of Urban and Cecilia (tapestry), 6–8, 149 miniatures. See Arras Passion (miniatures); Longtin, Mario, 242n2, 242n18, 244n54 Valenciennes miniatures (1577) (Hubert Louis XI (King), 128–9, 131 Cailleau); Valenciennes miniatures (before Louis XII (King), 150, 153, 181 1577) (Hubert Cailleau) Lucerne Passion manuscript, 132–3, 133f91, 134 f92 Miracle of Laon Lyon tapestry set, 135, 137, 140f97, 148, 150 as anti-Huguenot propaganda, 22, 192 Lyon Terence woodcuts, 14–15, 17f5, 18, 21f8, 35, 45, Boulaese asserting authenticity of, 191–3, 200–8 194 f129, 213, 214–15 Boulaese’s Catholic uniﬁcation goals and, Mâle, Emile, 2–5, 74, 77, 228n11, 228n12 216 manuscripts. See Arras Passion (manuscript); cathedral as theater in, 200–1 Comedies (Terence); Joanna of Castile days as divisions in, 197–8 (illuminated manuscript); Lucerne Passion the Eucharist and, 189, 192, 205–10 manuscript; Miracles of the Virgin (Gauthier de exorcism made public in, 196, 201 Coinci); Terence; Très Riches Heures; eyewitness accounts of, 193–4, 254n11, 254n18 Valenciennes Passion manuscript (1577) factuality of, asserted/contested, 189–91 (Hubert Cailleau); Valenciennes Passion feast day commemorating, 191, 216 manuscript (before 1577) (Hubert the mass and, 202–3, 202f134, 205f135, 215f134 Cailleau) overview, 189–218 Marche, Olivier de la (“Mémoires”), 59 platform stages in, 191–201, 203–4, 216 Margaret of York, 59–60 processions, 196–8 Marrow, James, 94, 242n24, 243n34 sculpted versions of, 193 Marshall, Mary, 13, 232n55, 232n65 textualization of, 198 Martin (Saint), 122, 211–13, 212f139, 213f140 as theater, 22–3, 189–91, 196, 200–4, 216–18, Martin, Hervé, 244n56 253n7 Martin, Jean, 223f141, 223, 224 f142, 225f143 written testimonies of, 193, 254n15 Martyrdom of Saint Apollonia (Jean Fouquet), 23–4, See also reformist polemics 24 f9, 25f11, 80, 200–1, 233n75 Miracle of Laon prints masked performers Boulaese’s inscription, 200f132 as devils, 122, 202–4 broadsheet, 190f130 in English cycle plays, 244n53 doctrine vs. performance in, 217–18 in the Joanna of Castile manuscript, 62, 64 f38, Laon cathedral in, 192–3, 200–1 68–70 vs. literal truth of exorcism, 189–91 in Terence’s Comedies, 14–18, 16f4, 18, 70 the liturgy and, 191 Tertullian’s critique of theater and, 123, 209 the mass in, 202f134, 215f134 the mass medieval theater and, 22–3, 189–91, 196 Beelzebub mocking, 202–3 as miracle proof, 193–6, 198–209, 213–14 as doctrine vs. performance, 211–13 multiplicity of events in, 196–8 exorcism and, 204–13, 202f134 Nicole Obry exorcism in, 190f128, 192–3 in the Laon Miracle, 202f134, 205f135, 215f134 overview, 189–218 Saint Martin and, 211–13, 212f139, 213f140 platform stages in, 196–7, 199–201, 204, 216 in urban performances, 211–13 proliferation of, 193, 254n14 See also the Eucharist; liturgy roodscreen, 199f131 Mass of Saint Gregory, 206–9, 207f136, 208f137 royal publication privileges for, 215 Master of Coëtivy (manuscript illuminator), sequence of events in, 198 135 spectators and spectatorship in, 199f131, 200–2, Master of the View of Sainte-Gudule (painter), 80–1, 201f133 82f46, 85, 88–9, 232n64 text inscriptions in, 195, 201f132, 203 medieval art. See visual art in performances time compressed visually in, 192–3, 197 Meiss, Millard, 232n62, 245n11 urban performance and, 196–215 Menot, Michel, 122–3, 244n54 See also reformist polemics Mercadé, Eustache. “Miracle of Theophilus” (Jean Pucelle as miniaturist attributions to, 79–80, 131 of), 14–15, 15f3, 70 Passion by, 106 “Miracles de Nostre Dame” (illuminated Vengeance by, 156, 158–9, 163–5, 167 manuscript par personnages), 74, 75f43 on visual media, 6 Le Mistere de la sainte Hostie (The Mystery of the Sacred Michael (Saint), 28, 71 Host), 189, 214–15 Michel, Jean, 79 Miracles of the Virgin (Gauthier de Coinci), 14

INDEX 285

Molinet, Jean, 70–1 Pächt, Otto, 228n14 monarchy/monarchies. See Burgundian court; painting(s) French court and kings Francastel on, 4 Mons Passion performance, 8, 43 Franco-Flemish painting, 5 Mons Vengeance performance, 39–40, 132–5, 149, human figures interchangeable with, 26, 46–9, 154, 174–5 47f27, 48f28, 49f29, 182 Montmorency, Duke of, 197–8, 214 portable paintings, 2 morality plays, 11, 239n93 purposes of, 6 Le Mystère par personnages de la vie, passion, mort, realism in, 5 resurrection et ascension de Notre Seigneur spectacle and, 4 Jésus-Christ en 25 journées. See Valenciennes wall painting, 6 Passion frontispiece (1577); Valenciennes See also Arras Passion (miniatures); Joanna of Passion manuscript (1577) Castile (illuminated manuscript); Saint Luke Le Mystère de la Passion (Arnoul Gréban), 74–6, 6f44 Painting the Virgin; Très Riches Heures; mystères (text treatments of momentous events) Valenciennes miniatures (1577); Valenciennes defined, 6–8, 11 miniatures (before 1577); Valenciennes Passion entry ceremonies and, 182–3 manuscript entries; Vengeance (cloth paintings) vs. mystery plays, 6–8, 74–8 paintings on cloth. See Vengeance (cloth paintings) processional ornamentation and, 59 Paris, Louis, 249n3 tapestry subjects as, 126 Parker, John, 209 Vengeance tapestries and, 131–2, 155, 158–9 parliamentary rulings in Paris, 219–22, 258n1 mysteries (sacraments), 209, 211–13 Parshall, Peter, 194 Mysteries’ End (Gardiner), 219–21 Passion par personnages, 74, 76f44, 78–80, 124 mystery plays Passion play printed texts, 11, 77, 177–82 art developing in, 4 See also Vengeance (printed texts) artists painting details from, 74–7 Passion plays banned in Paris, 220 Beelzebub and, 202 Confraternity of the Passion and, 22, 219–21 in Bruges, 26, 40 days as divisions in, 79–80, 99, 107–8 church ceremony and, 211–13 defined, 11 Confraternity of the Passion and, 219–21 entry ceremonies and, 70 increased production of, 74 Martyrdom of Saint Apollonia and, 23–4 Laon Miracle and, 198–203 vs. mystère texts, 6–8, 78 Lucerne manuscript, 132 performance tradition of, 77 in Mons, 8, 39–40, 43 performance/manuscript associations in, 78–80 overview, 74–124 production of, 78–80 in Paris, 26 sacraments in, 211–13 parliamentary ruling against, 22, 219–20 terminologies for, 6–8 production of, 79 See also mystères (text treatments of momentous in Troyes, 6 events); Vengeance (printed texts) in Valenciennes, 1, 41 Mystic Mill (symbolic image), 183, 185 Vengeance plays and, 40, 131–2, 154–9, 175 visual vs. verbal aspects of, 74 Nash, Susie, 228n14, 229n17 See also Arras Passion entries; Valenciennes Nero (emperor), 131, 135–7, 137f94, 140f97, 148, Passion manuscript (1577) 167, 177 Paul III (Pope), 174 Nevers (Burgundian city), 125, 129, 131, 150, 183 Penthesilea(Amazon queen),142,143f102,plateVII,153 Nevers, Countess of, 125, 131 performance. See Arras Passion (in relation to New York tapestry set, 135, 136f93, 139f96, 155f110, performances); Arras Passion (manuscript); 155–6 devils/the devil; entry ceremonies and Nine Worthy Men and Women (staged), 51, 183 processions; mystery plays; personnages; Nine Worthy Men and Women (tapestries), 125–6, tapestry/tapestries; urban performances; 127f89, 128–9, 245n14 Valenciennes Passion frontispiece (1577) Normore, Christina, 60 (Hubert Cailleau); Valenciennes Passion notices (special effects indications). See special manuscript; Vengeance (performances); effects Vengeance (printed texts); visual art in performances; visual artists in performances Obry, Nicole. See Miracle of Laon prints Perréal, Jean, 70, 150, 151f109 Order of the Golden Fleece, 127–8, 148 persona, 32–3, 45, 236n35, 209

286 INDEX

personnages (figures) printed texts. See Passion play printed texts; reading in altarpieces, 53 plays; Vengeance (printed texts) in Arras Passion manuscript, 123–4 Procès de Paradis (God’s court), 163, 250n9 as characters in performances, 11, 45 processional drama citizens performing as, 45 Adoration of the Lamb staging, 53–5, 58 civic identity and, 70–2 artists’ contributions to, 4, 6, 70–2, 150 defined, 6–8, 27, 45–6 Christian themes in, 5 vs. entertainers, 27 Corpus Christi procession, 184 in entry ceremonies, 11, 26–7, 45–6, 53 heaven and hell represented in, 199 ephemeral vs. permanent staging of, 53–60 as spectacle, 77 fictionality of, 7–8, 45–6, 72, 203 thematic variety in, 183 human and inanimate figures interchangeable as, See also entry ceremonies and processions 46, 53–5, 57–61, 72 prostitution, 13, 18, 200, 232n58 in Joanna of Castile manuscript, 45–6, 53 pseudo-Bonaventura, 4 multi-sensory nature of, 50–3 Pucelle, Jean (“Miracle of Theophilus” miniaturist), performance process and, 122–3 14–18, 15f3, 70 performance tradition remnants in, 11 puys (rhetorician chambers), 68 sound emanation and, 58, 71–2 Puys, Remy du, 43–4, 46, 47f27, 48f28, 66f40, 73, tapestries as, 143–50 236n45 terminologies regarding, 6–7, 45, 78, 122–3, 159, Puyvelde, Léo van, 228n12 182–3, 203, 241–2n11 See also Vengeance par personnages; Le Vengeance de Ralph of Coggeshall (Visio Thurkilli relatore, ut Nostre Seigneur par personnages; vif, au vif videtur), 13–14 personnages (acted roles), 6–7, 78, 241–2n11 Ramakers, Bart, 77, 183 Peters, Julie Stone, 178 reading plays, (overview), 177–82 Philip II, count of Nevers, 131 realism, 4–5, 24, 77, 173, 217, 228n14, 228–9n15 Philip II (King), 26 Réau, Louis, 4, 228n11 Philip the Bold (Duke of Burgundy), 128, 131 Rebecca and Isaac, 29, 43, 44 f26, 46, 53 Philip the Good (Duke of Burgundy) reformist polemics banquets of, 59–60 the Eucharist and, 205 entry ceremonies for, 43, 50, 53–6, 58 heresy and, 258n9 Gideon tapestries and, 128–9, 147–8, 245n8 Jews portrayed in, 214–15 Vengeance tapestries of, 154 Laon Miracle and, 196–8, 214–15 Philip the Handsome (Duke of Burgundy), 71–2, medieval religious theater’s demise and, 258n1 152–3 miracles disputed in, 189, 192 Pilate (Pontius Pilate), 110f73, 112, 113f78, 163–4, theater audiences and, 258n1 169, 171f122, 176 in Valenciennes, 221–2 Pirenne, Henri, 228n11 Wars of Religion emerging from, 221–2 platform stages See also Boulaese, Jean in entry processions, 26 Reims. See Vengeance (cloth paintings) illustrated, 41f24, 44f26, 55f33, 56f34 relief sculpture, 26, 193, 198 the Laon Miracle and, 191–3, 196–7, 203 Rey-Flaud, Henri, 233n77 the Laon Miracle prints and, 196–7, 204, 216 rhetorician chambers (Puys), 68 miniatures and, 97 Roger of Wendover (Flores Historiarum), 13, 232n61 multi-storied, 53, 55f33, 56f34 Roman theater, 13, 16f4, 18–19, 37, 123 overview, 34–53 See also theater (classical) in Valenciennes Passion performances, 119–20, Roosebeke (battle), 126, 128 199–203 Runnalls, Graham, 10, 219–20, 241n2, 250n7, 250n9 in Vengeance performances, 131–3, 149 See also scaffolding Saint Bavo’s cathedral altarpiece (Altarpiece of the Poetices libri septem ( Julius Caesar Scaliger), 226 Holy Lamb), 53–4, 54 f32 Poetics (Aristotle), 222, 259n22 Saint Luke painting the Virgin (manuscript Pont, Philippe du, 125, 129 illumination), 28, 34 f17, 50, 56, 72, plate III Pool of Bethesda (symbolic image), 183, 185 See also Joanna of Castile (illuminated manuscript) the preacher (in Passion plays), 80, 99, 101, 104 f66, Saint Luke painting the Virgin (Rogier van der 105f67, 106f68 Weyden), 56, 57f35 See also John the Baptist Saint Michael and the devil (manuscript Prevost, Jehan, 70 illumination), 28

INDEX 287

Saint Vaast, Abbot of, 53 Life of Saint Martin, 211–13, 212f139, 213f140 Saumur tapestry set, 135, 155 Lives of Urban and Cecilia, 6–8, 149 scaffolding (échaufaudage) materiality of, 146, 149 in banquets, 60 Nine Worthy Men and Women, 125–6, 128–9 defined, 32–6 overview, 125–6 in entry ceremonies, 43–6, 70 performance and, 2, 8, 125–6 in the Laon Miracle, 196–7 portability of, 2 multiple/movable, 235n22 sizes of, 126–7 in urban performances, 97 viewer identification with heroes in, 149, 152–4 See also platform stages violence portrayed in, 126, 154–61 Scaliger, Julius Caesar (Poetices libri septem), 226 See also Alexander the Great; Clovis; Gideon; scena (stage in theater), 18–19, 32–4, 36–7, 40, 45, 70 Hercules; Judas Maccabeus; Julius Caesar; Sébillet, Thomas (Art Poétique François), 226–7 Liège (battle); Roosebeke; Trojan War Semiramis (Assyrian queen), 28, 36f19 tapestry series; Vengeance (cloth paintings); Serlio, Sebastiano, 223, 223f141, 224 f142 Vengeance (tapestries); Vespasian Seven Sacraments altarpiece (Rogier van der Weyden Terence (Roman dramatist) (Comedies), See and Workshop), 210f138, 210–11 Comedies (Terence) sexuality associated with theater, 13–18, 23 Terence (manuscript), 14–15, 16f4, 18–19, 34, 45, 70 See also prostitution Térence en François (Vérard, printer), 18, 20f7, 41, 178 Sheingorn, Pamela and Robert L.A. Clark, 241n7 Tertullian (Christian author), 13–15, 23, 123, 203, Smith, Darwin, 77 209, 244n57 Smith, Jeffrey Chipps, 147–8 theater (classical), 12–23, 45, 69-70, 78, 178, 182, Solterer, Helen, 9 223, 223f141, 224 f142, 226 special effects, 108, 109f72, 117–18, 121–2, 202–3 theater (historiography of), 21–5, 189 spectacularisation of Catholic polemic, 192 theater (late medieval drama/theater) stages audiences for, 4–5, 22, 173–7, 221 in Charles V’s entry ceremony, 46 entertainers in, 62–3 in Joanna of Castile’s entry ceremony, 43, 44 f26, fictionality of, 18–22 47–50 Laon Miracle prints and, 189–91, 216–18 in medieval vs. later theater, 35–8 obsolescence of, 222 Miracle of Laon prints and, 216 as spectacle (overview), 74–124 multiplicity/multiple functions of, 38–41, 43, 97, theater of Antiquity and, 21–2, 178, 222–3 223 visual art effects on, 23–5 personnages and, 53–8 visual components of, 74 in the theatrum, 17f5, 18, 19f6, 20f7 See also devils/the devil; Joanna of Castile in the Valenciennes Passion (1547), 1, 41, 118–21 (illuminated manuscript); tableaux vivants; See also Joanna of Castile (entry into Brussels); Valenciennes Passion frontispiece entries; violence platform stages; scaffolding; theater (space; theater (of Antiquity) structures) Cailleau’s miniatures and, 123 statuary/statues, 26, 43, 59–60, 67, 75f43, 128–9, 193 fools and, 69 See also personnages (figures); relief sculpture late medieval theater and, 21–2, 178, 222–3 Strasbourg Terence woodcuts, 18, 19f6, 41 negative critiques of, 14–18, 123, 190–1, 200–1, Swan, Claudia, 194, 230n30 203 Symes, Carol, 77, 231nn52-3 reading vs. performing plays in, 11, 178 synod of Utrecht, 207–8 spatial organization of, 18–21 theater (Roman), 13–14, 16f4, 18–19, 37, 123, 223, tableaux vivants, 27, 37, 53, 59, 233–4n7 225f143 Taillevent (Guillaume Tirel), 60–1 theater (space; structures), 223f141, 224 f142, 225f143 Tammen, Björn, 71 buildings designed specifically for, 222–6, tapestry/tapestries 223f141, 224 f142, 225f143 artists working various media in, 6 in the Comedies, 17f5, 18–21, 19f6 battles portrayed in (overview), 126–30 composition in miniatures and, 118 Burgundian/French courts and, 126–8, 245n6 movable elements in, 43 costs of, 127–8, 185 multiple sites in, 97–9 display areas of, 126, 128, 146–7, 152, 245n8 overview, 33–45 fictionality in, 149–54 social significance of, 23, 233n77 human figures interchangeable with, 26, 126, 128 spaces structured in, 118–21, 159 industry expansion, 125–8 the theatrum and, 15, 21, 232n55

288 INDEX

theater (space; structures) (cont.) guild participation in, 68, 71–2 transformations in, 220–2, 226 Laon Miracle prints and, 196–204 in Vengeance plays, 132–3 medieval theater and, 1–2, 22–4, 188–9, 216–18 See also platform stages; scaffolding; scena vs. negative critiques of theater, 190–1, 221–4 theater (terminologies for), 13–14, 18–21, 33–41, 59, as participatory experiences, 10, 42–3, 50–1, 232n55, 232n57 93–100, 132–5, 159–60 See also scaffolding; scena printed records of, 10–12 théâtre de l’Hôtel de Bourgogne, 220 royal regulations of, 187 theatricality, 1, 8–10, 27, 230n33, 231nn42-44 tapestry and, 1–2, 125–6, 135, 159–60, 212–13 theatrum, 15, 17f5, 18–19, 19f6, 21, 41, 232n58 texts for, 10–12, 27, 68, 70–3, 78–80, 102–5 Théophiliens theatrical troupe, 8–9, 23 transformations in, 220–2, 226 Theophilus legend, 14, 15f3, 70 Vérard’s printed play texts and, 11, 161–8, 177–8, Le Thresor et Entière Histoire... (1578) (exorcism 180, 182 accounts), 190f128, 192–3, 215, 254n17 visual vs. verbal aspects of, 6, 19–21, 71–3, 176–7, Tirel, Guillaume (Taillevent), 60–1 220-1 Titus (emperor) See also entry ceremonies and processions; Mons Vengeance performance and, 154, 174–5 processional drama as painted/print Vengeance subject, 164–6, 166f117 triumphal entry into Rome, 165 Valenciennes (city), 221–2 in Vengeance cloth paintings, 137f94, 164, 166f117 Valenciennes miniatures (1577) (Hubert Cailleau) in Vengeance tapestries, 131, 135, 137, 137f94, 156, Arras Passion manuscript and, 77–8, 106–7, 123–4 163–4 compared with the Arras manuscript, 78, 123–4 Tobias and Sarah, 29, 39f22 compared with the miniatures before 1577, Tournai tapestry set, 135, 137f94, 138f95, 145f106, 107–21, 111f75, 113f78, 114 f79, 115f80, 115f81, 148, 155, 156f111, 158, plate VI 116f82, 117f84, 119f85, 120f87 Trepperal, Jean, 160, 250n7 devils in, 110–18 Très Riches Heures (illuminated manuscript), 129, John the Baptist in, 116f82 130f90, 146–7, 146f108, 245n11 Judas Iscariot in, 110-2, 111f75, 113f77 See also Duke John of Berry miracles performed by Jesus in, 115f80, 115f81, Trie, Clement, 70 116f82, 117f84 Trojan War tapestry series physical structures in, 119f85 Charles VIII and, 248n58 theater of, 121–4 completeness of, indicated, 247n35 Valenciennes miniatures (before 1577) (Hubert display areas of, 128–9 Cailleau) illustrated, 141f100, 142f101, 144 f104, 143f102, compared with the 1577 miniatures, 107–21 143f103, 143f104, 144 f105, plate VII devils in, 110f73 Memnon identified in, 145, 247n37 Judas Iscariot in, 110f73, 112f76 organization of, 139–42 Valenciennes Passion performance (1547) royalty favoring, 126–8, 146–8, 152, 248n62 Cailleau as set designer for, 105 Très Riches Heures and, 129, 130f90, 245n11 devils in, 122 viewer identification with, 153–4 fictionality in, 121–4 Trowbridge, Mark, 237n59 notices of special effects in, 117–18 Tubal (Jubal) (inventor of music), 28, 30, 71–2 overview, 105–6, 121–3 Tubalcain (inventor of metalwork), 28, 33f16, 50, parliamentary ruling (1548) and, 219 30, 71–2 performance of, 1, 104–6, 121–3 Twycross, Meg, 244n53 as spectacle, 77 the stage of, 41, 118–21 urban performances Valenciennes Passion frontispiece (1577) (Hubert church ceremony and, 101–2, 211–13, 220 Cailleau) civic environment of, 2, 28, 71–3, 79, 98–100, the earlier frontispiece and, 120–1 104, 129–32 heaven/hell opposition in, 1, 199, plate VIII conceptualized in manuscripts, 11–12, 72–3, miniatures and, 120–8 78–80, 103–4, 123–4, 175, 187–8 models of, 23–4, 25f10 confined to designated spaces, 22, 220 performance and, 104–5, 189 development of, 1–2, 73, 186–7, 220–1 tapestry and, 126 devils in, 22, 70, 122, 201–3 theatrical elements displayed in, 1–2, 2f1, 3f2, disturbances caused by, 220 plate VIII ruling of 1548 and, 219–21, 258n1 Vengeance cloth paintings and, 187–8

INDEX 289

Valenciennes Passion frontispiece (before 1577) cloth paintings and, 161, 187–8, 249n3 (Hubert Cailleau), 107f69, 107, 120–1, 199 in Mons, 40, 132–5, 149, 154, 174–5 Valenciennes Passion manuscript (1577) (general) in Nevers, 131–50 days as divisions in, 107–8 as Passion sequel, 40, 175 devils in, 110–18 prevalence of, 135–54 notices of special effects in, 108, 109f72, 121–2 printed texts and, 182, 252n49 performance and, 12, 105–7 tapestry and, 154 Valenciennes Passion manuscript (1577) (Hubert “The Vengeance of Our Lord”, 131–2 Cailleau) Vengeance theme in, 131–2, 153–5, 173–7 compared with the manuscript before 1577, 107–10 Vespasian emphasized in, 135–6 devils in, 108f70, 110–18, 111f74, 111f75, 113f77, visual structures in, 132–3, 136–47, 159–60 113f78, 114 f79, 115f80, 115f81, 116f82, 117f84, See also Judaea 123 Vengeance (par personnages) expansion of, 108–10 authorship of, 178, 181 John the Baptist in, 115, 116f82 Jews portrayed in, 250n9 miracles performed by Jesus in, 112–18 by Mercadé, 131–2, 156–9, 163–7, 175–7 performance and, 78, 121–3 as mystères, 188 physical structures in, 118–21, 119f85 overview, 177–88 pictorial space expanded in, 108–10 performance and, 182, 188, 252n49 the stage in, 118–21 by Trepperal (1510), 160, 174, 250n7 summary of events in, 108, 109f72, 117–18, 121 as unifying polemic, 215–17 theater of, 121–4 Valenciennes frontispiece and, 187–8 viewer’s space and, 117–21, 120f87, 123 Vengeance cloth paintings and, 188 Valenciennes Passion manuscript (before 1577) violence against Jews in, 163–8, 180–2 (Hubert Cailleau), 107–10, 118–21 See also Vengeance Nostre Seigneur par personnages Vengeance (altarpiece depictions), 140f98, 141f99 (1491) (Vérard, printer) Vengeance (cloth paintings) Vengeance (tapestries) Biblical themes in, 183–5, 184 f125, 185f126, 186f127 Anne of Brittany’s funeral and, 150–2 display areas of, 182 compositional density in, 137, 159 entry ceremonies and, 182–3, 185–7, 252n58 Jews portrayed in, 154–9 Jerusalem in, 145f107, 162f115, 164f116, 166f117, locations of, 135 167f118, 168f119, plate I Passion and Vengeance stories connected in, 154 Joanna of Castile stagings and, 186–7 of Philip the Good, 154 vs. Mercadé’s Vengeance, 163 siege of Jerusalem in, 138f95, plate VI overview, 161–73 Vespasian as subject in, 126, 135–7, 148, 154 performance and. See Vengeance (performances) violence against Jews in, 139f96, 154–9, 155f110, Pilate as subject of, 171f122 156f111, 157f112, 157f113, 158f114 processional drama and, 182–5 See also Judaea; Nero; Vespasian rarity of, 183 Le Vengeance de Nostre Seigneur par personnages Reims Vengeance performance and, 161–2, 188, (Mercadé), 80, 131–2, 156, 158–9, 163–7, 249n3 175–7 royal regulations and, 187 “Vengeance for the death of Jesus Christ that Titus attacking Jerusalem in, 166f117 Vespasian and Titus exacted on the Jews of Vérard’s Vengeance Nostre Seigneur par personnages Jerusalem and elsewhere” (performance), 154 and, 161–73 Vengeance Nostre Seigneur par personnages (1491) Vespasian in, 170f121 (Vérard, printer) viewer’s vantage points established in, 170–2, anti-Jewish themes in, 163, 181 187–8 dedicatory inscription in, 180 violence against Jews in, 158, 164 f116, 169f120, dedicatory portrait in, 179f124, 215–16 172 miniatures from, 176, 176f123 Vengeance (manuscript) (British Library/ Procès de Paradis in, 163 Chatsworth), 135, 175, 176f123 readership for, 215–16 Vengeance (manuscript) (Arras, BM, MS 697). royal support for, 182 See Arras Passion (manuscript) (Arras, BM, MS versions of, 161–3, 178 697) violence against Jews in, 181 Vengeance (performances) woodcuts in, 179f124, 180 Arras Passion manuscript and, 154, 175–6 Venice tapestry set, 135, 155–9, 157f112, 157f113, Beelzebub and, 202 158f114, 172

290 INDEX

Vérard, Anthoine violence against Jews anti-Jewish themes in, 166–7, 180–2 in Arras Passion manuscript, 80 French royalty and, 12, 182, 215–16 in cloth paintings, 154–9, 164 f116, 169f120, frontispieces by, 178, 180–1 172 as Jardin de Plaisance printer, 11, 78, 231n48 in Mons Vengeance, 154 as play text producer, 178–80, 251n37 in Paris, 215 Térence en François and, 20f7, 178 Passion plays and, 174 Terence’s Comedies printed by, 11, 178 in the provinces, 181 See also Vengeance Nostre Seigneur par personnages records of, 251n24 (1491) (Vérard, printer) in tapestries, 154–9, 155f110 Veronica (veil of Veronica), 131, 135, 136f93, 163–4 in Vengeance manuscripts, 177 Vespasian (emperor) in Vengeance Nostre Seigneur par personnages as ceremonial entry subject, 183 (Vérard), 163–8, 180–1 Charles VIII compared to, 180–1 in Vengeance printed texts, 163–8, 180–2 as cloth painting subject, 169, 169f120, 170f121 in Vengeance tapestries, 139f96, 154–9, 155f110, conversion of, 131 156f111, 157f112, 157f113 ﬁctionality in battles scenes of, 146–7, 149–54, 159 Visio Thurkilli relatore, ut videtur (Ralph of Judaea conquered by, 126, 131, 135–8, 148, 152 Coggeshall), 13–14 as painted/print Vengeance subject, 163–4, 169f120 Vitruvius (De Architectura), 223 as performance subject, 131–6, 152 as tapestry subject, 126, 135–7, 136f93, 137f94, Wars of Religion, 22, 214, 221–2 140f97, 148, 154 West, William, 13 See also Vengeance headings Weyden, Rogier van der “Le Viandier” (recipe compilation), 60–1 Deposition altarpiece by, 56 Vienna tapestry set, 135 Saint Luke Painting the Virgin, 56, 57f35 vif, au vif (alive, lifelike) (theatrical quality), 6–8, Seven Sacraments altarpiece, 210–11, 210f138 58–61, 189, 193–6, 230n30, 254–5n22 Wicart, Louis, 105–6, 123, 221 See also personnages wild men/wild women, 46, 47f27, 61, 62f36, Vigne, André de la, 199, 253n63 68–70 violence Winn, Mary Beth, 251n37 audience experience and, 23, 160, 173–7 Wisch, Barbara, 174, 251n24 forms of, 154–9 Wood, Christopher, 228n14 in medieval drama, 12, 22–3, 188 Wright, Stephen, 132 prompting violence, 129–47, 174, 249n60, 249n66 Young, Karl, 208–9 in Vengeance performance, 173–5 See also battles portrayed in tapestry Zumthor, Paul, 8–10