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Supplementum 2017 Exchanges and Interactions in the Arts of Medieval Europe, Byzantium, and the Mediterranean Seminarium Kondakovianum, Series Nova Université de Lausanne • Academy of Sciences of the Czech Republic • Masaryk University • C CONVIVIUM SUPPLEMENTUM 2017 Exchanges and Interactions in the Arts of Medieval Europe, Byzantium, and the Mediterranean Seminarium Kondakovianum, Series Nova Journal of the Department of Art History of the University of Lausanne, of the Department of Art History of the Masaryk University, and of the Institute of Art History of the Academy of Sciences of the Czech Republic Editor-in-chief / Ivan Foletti Executive editors / Klára Doležalová, Karolina Foletti, Zuzana Frantová, Sára A. Hudcovicová, Martin F. Lešák, Leoš B. Mátl, Adrien Palladino, Veronika Tvrzníková, Johanna Zacharias Typesetting / Anna Kelblová, Monika Kučerová, Berta K. Marešová, Petr M. Vronský Cover design / Petr M. Vronský Publisher / Masarykova univerzita, Žerotínovo nám. 9, 601 77 Brno, IČO 00216224 Editorial Office / Seminář dějin umění, Filozofická fakulta Masarykovy univerzity, Arna Nováka 1, 602 00 Brno Print / Tiskárna Didot, spol s r.o., Trnkova 119, 628 00 Brno E-mail / [email protected] http://www.earlymedievalstudies.com/convivium.html © Ústav dějin umění AV ČR , v. v. i. 2017 © Filozofická fakulta Masarykovy univerzity 2017 © Faculté des Lettres, Université de Lausanne 2017 Published / November 2017 Reg. No. MK ČR E 21592 ISSN 2336-3452 (print) ISSN 2336-808X (online) ISBN 978-80-210-8779-8 Università Cattolica del Sacro Cuore, among its programmes of promotion and valorization of in-house research contributed to the development of this research project and the dissemination of its results. The Associazione Volto Ritrovato also contributed in the same way. supplementum committees Editors—Klára Benešovská (Academy of Sciences of the Czech Republic ), Ivan Foletti (Masaryk University, Brno), Herbert L. Kessler ( Johns Hopkins University, Masaryk University, Brno), Serena Romano ( Université de Lausanne), Elisabetta Scirocco (Bibliotheca Hertziana, Max-Planck-Institut für Kunstgeschichte), & Hans Belting (Staatliche Hochschule für Gestaltung in Karlsruhe) Editor - in - chief — Ivan Foletti Executive editors — Klára Doležalová, Karolina Foletti, Zuzana Frantová, Sára A. Hudcovicová, Martin F. Lešák, Leoš B. Mátl, Adrien Palladino, Veronika Tvrzníková, Johanna Zacharias Editorial board — Michele Bacci ( Université de Fribourg), Xavier Barral i Altet ( Université de Rennes, Università di Venezia Ca’ Foscari), Nicolas Bock ( Université de Lausanne), Valentina Cantone ( Università di Padova), Clario Di Fabio ( Università di Genova), Ondřej Jakubec ( Masaryk University, Brno), Xenia Muratova ( Université de Rennes), Assaf Pinkus ( Tel Aviv University), Jiří Roháček ( Institute of Art History, Academy of Sciences of the Czech Republic), Erik Thunø (Rutgers Unive rsity), Alicia Walker ( Bryn Mawr College) The European Fortune of the Roman Veronica in the Middle Ages edited by Amanda Murphy, Herbert L. Kessler, Marco Petoletti, Eamon Duffy & Guido Milanese with the collaboration of Veronika Tvrzníková contents the european fortune of the roman veronica in the middle ages i. the origins of the fame of the roman veronica 12 Herbert L. Kessler introduction: The Literary Warp and Artistic Weft of Veronica’s Cloth 32 Zbigniew Izydorczyk The Cura Sanitatis Tiberii a Century after Ernst von Dobschütz 50 Rémi Gounelle & Céline Urlacher-Becht Veronica in the Vindicta Salvatoris 58 Barry Windeatt ‘Vera Icon’? The Variable Veronica of Medieval England 72 Federico Gallo De sacrosanto sudario Veronicae by Giacomo Grimaldi. Preliminary Investigations 84 Nigel Morgan ‘Veronica’ Images and the Office of the Holy Face in Thirteenth-Century England ii. the devotion and cult of the veronica 102 Aden Kumler Signatis… vultus tui: (Re) impressing the Holy Face before and after the European Cult of the Veronica 114 Rebecca Rist Innocent iii and the Roman Veronica: Papal pr or Eucharistic Icon? 126 Guido Milanese Quaesivi vultum tuum. Liturgy, figura and Christ’s Presence 136 Jörg Bölling Face to Face with Christ in Late Medieval Rome. The Veil of Veronica in Papal Liturgy and Ceremony 144 Uwe Michael Lang Origins of the Liturgical Veneration of the Roman Veronica iii. the promotion of the veronica cult 158 Gisela Drossbach The Roman Hospital of Santo Spirito in Sassia and the Cult of the Vera Icon 168 Kathryn M. Rudy Eating the Face of Christ. Philip the Good and his Physical Relationship with Veronicas 180 Étienne Doublier Sui pretiossisimi vultus Imago: Veronica e prassi indulgenziale nel xiii e all’inizio del xiv secolo 194 Marc Sureda i Jubany From Holy Images to Liturgical Devices. Models, Objects and Rituals around the Veronicae of Christ and Mary in the Crown of Aragon (1300–1550) 218 Chiara Di Fruscia Datum Avenioni. The Avignon Papacy and the Custody of the Veronica iv. the spread of the veronica cult 232 Hanneke van Asperen ‘Où il y a une Veronique attachiée dedens‘. Images of the Veronica in Religious Manuscripts, with Special Attention for the Dukes of Burgundy and their Family 250 Marco Petoletti & Angelo Piacentini The Veronica of Boniface of Verona 260 Stefano Candiani The Iconography of the Veronica in the Region of Lombardy: 13th–14th Centuries 274 Raffaele Savigni The Roman Veronica and the Holy Face of Lucca: Parallelism and Tangents in the Formation of their Respective Traditions 286 Raffaella Zardoni & Emanuela Bossi & Amanda Murphy The Iconography of the Roman Veronica. From the Repertoires of Karl Pearson to Veronica Route 302 photographic credits 10 I. The Origins of the Fame of the Roman Veronica introduction The Literary Warp and Artistic Weft of Veronica’s Cloth Herbert L. Kessler For Jeffrey Hamburger at sixty In featuring Saint Veronica proffering the portrait impressed on a cloth she has just used 1 / Jacquemart de to wipe Christ’s face, Jacquemart de Hesdin’s depiction of Christ on the Way to Calvary in Hesdin, “Christ on the Way to Calvary”, Paris seems entirely natural (Musée du Louvre; [Fig. 1])1. Neither of the painting’s principal ca 1400–1410 / Paris, visual models portrays a securely identifiable relic image or Saint Veronica, however, not Musée du Louvre Pietro Lorenzetti’s fresco at Assisi, from which the nude thieves, soldier seen from the back, and hanging Judas derive 2, nor Simone Martini’s panel, also in the Louvre, which provided the Jerusalem gate, the little boy, Mary and John3. Indeed, only a few scattered works vie for chronological precedence with Jacquemart’s early fifteenth-century painting including Saint Veronica in the Passion narrative, most notably, an early fifteenth-century 1 Jacquemart’s painting has been much discussed largely in terms of attribution and original context see: Erwin Panofsky,Early Netherlandish Painting, Cambridge, ma 1953, p. 82; Otto Pächt, “Un tableau du Jacquemart de Hesdin?”,Burlington Magazine, xcviii (1956), pp. 146–53; Millard Meiss, French Painting in the Time of Jean de Berry, London 1967, vol. 1, pp. 160–169; Her- man T. Colenbrander, “‘Scripta manent’. Jacquemart de Hodin, Painter from Mons?”, in Manuscripts in Transition. Recycling Manuscripts, Texts and Images, Brigitte Dekeyzer, Jan van der Stock eds, Louvain 2005, pp. 225–233; Eberhard König, Vom Psalter zum Stundenbuch. Zwei bedeutende Handschriften aus dem 14. Jahrhundert, Leipzig 2015, pp. 314–333; Herbert L. Kessler, “Veronica’s Textile”, in The Primacy of the Image in Northern European Art, 1400–1700: Essays in Honor of Larry Silver, Leiden 2017, pp. 125–139. Although usually considered to be a folio detached from a manuscript, perhaps the Grandes Heures of the Duc de Berry, the seriously damaged depiction may qualify, instead, as an independent “parchment painting” of the genre Kathryn M. Rudy has studied in Postcards on Parchment. The Social Lives of Medieval Books, New Haven 2015. 2 Alessio Monciatti, “Il transetto meridionale della Basilica inferiore di San Francesco (entro il 1319?)”, in Pietro e Ambrogio Lorenzetti, Chiara Frugoni ed., Florence 1998, pp. 26–55. 3 Simone’s panel was at the Chartreuse de Champmol near Dijon from at least 1791, Hendrik W. van Os and Marjan Rink- leff-Reinders, “De reconstructie van Simone Martini’s zgn. Polyptiek van de Passie”, Nederlands Kunsthistorisch Jaarboek, xxiii (1972), pp. 13–26; Pierluigi Leone de Castris, Simone Martini, Milan 2003, pp. 300–310, 362–363. 13 introduction Netherlandish Biblia Pauperum in the British Library (King’s, ms 5, fol. 16r)4. The familiar feature is, in fact, the product of separate thirteenth- and fourteenth-century developments in literature and art that, for centuries, continued to be formed into diverse patterns. The conference held at Magdalene College Cambridge on 4–5 April 2016 sought to unravel individual threads that contributed to the history of Saint Veronica and the face of Christ imprinted on her veil; this volume of the papers presents the results. Saint Veronica herself appeared in art relatively late; the earliest portraits are the fresco in Santa Veronica de Hoè that Stefano Candiani discusses here, a statue from 1313–1315 in Écouis (southeast of Rouen)5, a marginal figure in the Parisian Book of Hours of Yolande of Flanders, dated 1353–1358 (British Library, Yates Thompson, ms 27, fol. 44v; [Fig. 2]), and the Lombard manuscripts Candiani introduces6. These seem to be composites made from conventional portraits; in the Book of Hours, for instance, Saint Veronica is the mirror-image of the saint opposite
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