The Body of Eve in Andrea Pisano's "Creation" Relief Author(s): Jack M. Greenstein Source: The Art Bulletin, Vol. 90, No. 4 (Dec., 2008), pp. 575-596 Published by: College Art Association Stable URL: http://www.jstor.org/stable/20619639 . Accessed: 17/11/2013 21:10

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This content downloaded from 209.129.16.124 on Sun, 17 Nov 2013 21:10:54 PM All use subject to JSTOR Terms and Conditions The Body of Eve in Andrea Pisano's Creation Relief

Jack M. Greenstein

are so Few themes fraught with social, moral, and political cleaned surface at close range partly compensates for itspoor as significance the Creation. To this day, the Genesis stories state of preservation.3 Carved and installed during the tenure of God man and woman are and as creating read, misread, by of di Bondone (1267/75-1337) capomaestroof the the faithful as confirming the positions of their church about campanile project, 1334-37, it had been set well above eye personal behavior and proper social order. Little surprise, level in the lowest register of themain, west facade of the bell then, that the history of Creation exegesis and iconography is tower, where it was second from the north in a row of seven often mined by scholars to reveal the fundamental attitudes historiated panels, next to the Creation ofAdam.4 The panels and ideologies of past societies. to the south were not the usual scenes of the Fall and Expul As of members their society and church, Renaissance artists sion, but Adam and Eve atWork and then four of their descen shared the fundamental attitudes and beliefs of their contem dants: Jabal, the firstshepherd; Jubal, the firstmusician; Tub poraries. But these "professional visualizer[s] of the holy alcain, the firstblacksmith; and Noah, the firstwinemaker.5 stories" also had artistic commitments tech was on regarding style, The cycle continued the other facades with hexagonal and which most other of as nique, expressive means, interpreters panels put it "the discoverers of not of Genesis did share.1 These commitments conditioned the arts":6 Gionitus, the firstastronomer; Building, Medicine; not themanner in only which theyworked but also the way Hunting, Weaving, Phoroneus, the inventor of law; and Daeda that they read the biblical texts, interpreted the earlier im lus, the inventor of flight,on the south face; then, on the east and understood the world that or ages, they depicted. face, Navigation Commerce, Hercules, the bringer of civiliza were Naturalistically rendered human figures the primary tion; Agriculture,Theatrics', and Architecture,and finally,on the expressive vehicle of Italian Renaissance art. In addition to north face, Sculpture and Painting. This cycle of themechan the sensuous of art appeal corporeal beauty, they gave much ical, practical, and civil artswas complemented in the register outer of itsmeaning. Artists fashioned the appearance of the above by diamond-shaped panels of the Planets, Virtues, human to serve as an index for what was on body going Liberal Arts, and Sacraments. within. The narrative or of was com There is no record the of subject, istoria, painting contemporary naming sculptor of bodies posed that moved among themselves and with the Creation ofEve or of the other six hexagonal panels on the to the viewer both to thematter at west facade. sources state regard perform hand and Early that Giotto, "the most sover to how the felt it. In display figures about sculpture, the virtu, eign master in painting of his time," was designer of the or of of was strength character, notable and holy personages tower, and also indicate that Pisano, the sculptor of the embodied in statues with an upright, contrapposto stance, bronze doors (1330-36) of the Baptistery across the street which made visible the work of the muscles the from the succeeded as cor arranging campanile, Giotto capomaestro, limbs to hold the even when itwas cloaked body erect, with rected structural flaws in the sections of the tower built by This as a drapery. conception of the human body vehicle for Giotto, and revised his design for the upper stories.7 In his more than met the was summarized in themost showing eye Commentariiof about 1447, Ghiberti ascribed both the design common tenet of Renaissance art: the movements of the and the carving of the "the first two reliefs [istorie]" on the the movements of the soul. but to body express campanile, only these two, Giotto, "inventor and dis The Creation of Eve presented a special challenge to this coverer of so much doctrine, that had been buried since Renaissance of conception artistic expression. The standard around the year 600," the artist who, in his view, "brought medieval iconography of Eve risingweightlessly fromAdam's about the new art, [and] left behind the coarseness of the side, half formed but living and moving as iffully made, was Greeks. ... Giotto saw what others did not add to art. He with the to hardly compatible Renaissance commitment the brought about the natural art and the gracefulness [of art] naturalistic of the human the bib with representation body. Yet, it."8 After describing Giotto's works in painting and lical of God the firstwoman a story constructing from rib mosaic, he explained that the first campanile panels demon extracted from Adam's which this was side, iconography sup strated thatGiotto also most expert in sculpture, for "in did not offer the kind of saw pressed, affective and significant my age I themeasures [provvedimenti]of his hand in the narrative istoria that Renaissance artists and viewers most prized. aforesaid excellently designed reliefs [istorie]"9 as Calvin without For, John conceded, providential interpre Although the Creation reliefs are widely recognized as "this method of woman seem tation, forming may ridiculous, among the best and most naturalistic of the campanile cycle, and . . . that Moses is in dealing fables."2 modern scholars discount Ghiberti's attribution of them to The Creation Eve Andrea Pisano is of by (ca. 1295-1348/9) Giotto. Giotto, it is pointed out, was not a sculptor; Pisano's an of how this was met. A to early example challenge hexagonal revisions the former's design for the tower included greatly marble from the of it is panel campanile Cathedral, expanding the sculptural program, which was not completed now exhibited in the remodeled Museo beautifully dell'Opera until the early quattrocento; and the Creation reliefs are sty del where the to its Duomo, opportunity inspect recently listically congruous with reliefs that were designed, carved,

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rea ecuted it. The centers on the close connec and installed by Pisano after Giotto's death.10 For these present analysis in how sons, there iswide agreement, despite Ghiberti's attribution, tion between style and meaning the campanile panel: Creation were carved under Eve is characterized the naturalistic treatment of her that the panels by Pisano, working through to after his de and what it reveals about the of the Giotto's supervision and, according some, body art, understanding the civic of the and Renaissance signs.11 subject, program campanile, Since the fundamental study by Julius von Schlosser in notions of woman. as an 1896, the campanile cycle has been interpreted ency of the activities needed to clopedic compendium productive The Iconographic Traditions for the Creation of Eve human life in the maintain society and improve postlapsarian The Bible opens with two accounts of the Creation, drawn the the world.12 Schlosser cited panegyric by twelfth-century from different sources. Genesis l:l-2:4a, called the Priestly or German monk as indicative of the reas P-text modern tells the of the Theophilus, positive by scholars, story hexameron, arts in the twelfth and sessment of the that began century the Creation of the world heaven and earth in six days by continued into the Renaissance. Braunfels's daz of the command "Let there be." Wolfgang successive fiats divine speech, account of the urban artistic context in which the zling Light, day, and night are created on day one, the firmament was is no but there isno on program developed longer accepted, on day two,dry land, the surrounding seas, and the plants doubt that the the values and of the on program expressed pride day three, the stars and planets day four, and the fish and Italian Marvin that the city-state.13 Trachtenberg explained fowl on day five. On the sixth day, the creatures of the land two highly unusual omission of the Fall and the Expulsion, are called forth from the earth: first,God creates the cattle, crucial to the of marked the work of subjects story salvation, the beasts, and every creeping thing, then the creatures who Adam and Eve and the arts invented by their descendants as would have dominion over them: the firstcreative activities of human beings, rather than as the consequences of sin.14 Subsequent scholarship refined and And he [God] said: Let us make man to our image and extended these fundamental interpretations, especially by likeness: and let him have dominion over the fishes of the arts a clarifying how the program accorded the productive sea, and the fowls of the air, and the beasts, and thewhole creature that moveth the role in human salvation.15 earth, and every creeping upon Given the lack of firm documentation and the imprecision earth. And God created man to his own image: to the most he of the early sources, it is not surprising that visual image of God he created him: male and female created Eve are devoted to them. analyses of the Creation of panel questions [Gen. 1:26-27, Douay-Rheims translation] note in context of style and attribution. Of special the present treatment In some this was read as is the wide appreciation for the highly naturalistic Jewish exegeses, passage describing set a new the simultaneous creation of man and woman in the form of of the bodies and landscape, which, it is said, a double-faced which was later into two standard in relief sculpture of the time.16Nor is it surprising androgyne, split on the a man and a woman.19 Christian how that the iconographic analyses have centered program beings, interpreters, Eve this which woman the same as a whole, since the composition of the Creation of panel ever, rejected reading, gave common in in creation as man. As a even in hex follows a well-established pictorial formula. As is priority consequence, are there are few of man and woman the history of art, moreover, style and iconography ameral cycles, very images from one as if each were a distinct created at the same time.20 Instead, the sixth was illus treated separately another, day autonomous matter for trated either a scene of the Creation of theAnimals or and analysis.17 by by is un a scene of the Creation of Man or of Woman, based on the The separation of style and iconography especially of Renaissance Creation Art second Genesis account and sometimes set in a fortunate for the study imagery. landscape are in accor embellished with animals.21 is naturalistic to the degree that things depicted account of the Creation dance with what their nature is or is thought to be. Since the The second (Gen. 2:4b-3:24), called theYawist or modern is set on earth Creation storywas, for the religious, an account of how God J-textby scholars, to and with the made. God causes a mist to made natural things as he intended them be, the natural begins plants already was the whole face of the and then he istic treatment of Eve's body at her creation of direct rise, watering ground, was makes man: "And the Lord God formed man of the slime of relevance to the subject. In the campanile relief, Eve rendered in accordance with Aristotelian theories about the the earth: and breathed into his face the breath of life, and were then current in man became a soul" He the Garden natural relation of body and soul, which living (Gen. 2:7). plants were later the of Eden and sets theman, there to and tend it. theological interpretations of the Creation and Adam, keep of naturalistic art. The intro After him not to eat the forbidden fruit,he calls basis for the Renaissance theory commanding the animals from the earth and them before duction of this naturalistic body necessitated subtle revisions forth brings was not de Adam to be named. When Adam finds no to the traditional iconographic formula, which helpmate among a rendered Eve. the God makes a woman and her to him. The veloped to accommodate naturalistically animals, brings a eats the forbidden These subtle revisions call to mind the kind of "pictorial woman, Eve, beguiled by serpent, fruit, some Giotto's It is not when Adam follows suit, the two are ashamed and intelligence" displayed in of works.18 and, to the of attribution realize that are naked. God them, condemns my intention, however, reopen question they reproaches their descendants to live the sweat of their or to enter the controversies over Giotto's role in the design. them and by brow, them from Paradise. Since the features discussed here pertain to the style of and expels be Even within the Yawist there are two versions of how execution as well as the design, the artist of the panel will text, whom scholars ex woman was created, one after the other. The first, told called Andrea Pisano, the sculptor agree right

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13th detail of the Genesis of S. Venice in the 1 Creation ofWoman sequence, century, mosaic, dome, porch Marco, (artwork public domain; photograph provided by Scala/Art Resource, NY)

in the voice of the book's author, describes what God did young man with a cruciform halo, the Logos Incarnate of when he made woman; the second, delivered in a speech by John 1:1. In the Extraction of theRib, he stands, holding a Adam when Eve is brought to him, is an etiological explana cross-topped scepter, behind the outstretched legs of Adam, tion of why she is called a "woman" (virago in the Latin, text): who reclines with torso propped against a mound in the ancient pose for sleep. Bending at the knees and turning his Then the Lord God cast a [Gen. 2:21] deep sleep upon shoulders toward the viewer, he reaches down to remove the Adam: and when he was fast he took one of his ribs, asleep, rib from Adam's left side with his right hand.24 In the Con and filled up flesh for it. [22] And the Lord God built the structionof Woman, Eve stands naked before God, who touches ribwhich he took fromAdam into a woman: and brought her right shoulder with his right hand and grasps her right her toAdam. [23] And Adam said: This now isbone ofmy wrist with his lefthand. She is steady on her feet and her eyes bones, and flesh of my flesh; she shall be called woman, are open. By comparison with the left arm hanging at her was man because she taken from [haec vocabitur virago side, which is bent naturally at the elbow, the right arm, de viro Wherefore a man shall quoniam sumpta est]. [24] of God's seems somewhat as subject attention, limp, if, per leave father and mother, and shall cleave to his wife: and haps, it is not yet complete. In the Introduction ofEve toAdam, they shall be two in one flesh. God holds a cross-topped scepter in his lefthand and guides the naked Eve, whose arms naturally, like the leftarm in Three iconographic traditions for the Creation of Eve were hang the scene, to a before Adam her available to Italian Renaissance artists, all based on the Gen previous spot by touching forearm with his hand. Adam, too, is naked, esis 2 account. The oldest iconography illustrated the actions right right beside a tree with his arm raised. His pose, of God from Genesis 2:21-23a in multiple scenes, starting standing right reminiscent of an ancient a statue of a Roman with the Extraction of the Rib. Although relatively rare, itwas arringatore, mo that the scene illustrates not the well known to Italian artists from the thirteenth-century public speaker, suggests only final clause of Genesis which is inscribed above it at S. saics on the south dome of the atrium of S. Marco, Venice. 2:22, Marco, but also Genesis 2:23, where Adam is In From the late eleventh century on, a single scene with an speaking. fact, to Kurt Weitzmann and Herbert Kessler, the emerging Eve, based on Adam's etiological interpretation of according text of Genesis was written on the same of the the word "woman" in Genesis 2:23b, was much more com 2:23-25 page Cotton Genesis as the illustration and mon. Beginning shortly thereafter, some artists sought to corresponding just above it.25 combine the two traditions by including the rib and a figure same scene. An based on the content of Adam's of the emergent Eve in the iconography speech was much more common. Traceable to the tenth or eleventh It has long been recognized that the S. Marco Genesis it Eve from Adam's not con mosaics repeated the iconography used in a luxury Greek century, presents rising side, a of the medieval codex from the fifth century, known as the Cotton Genesis, structed from rib.26 Ninety percent 275 of the Creation of Eve assembled Zahlten which was all but destroyed by fire in 1731.22 In the Cotton images by Johannes are Genesis and at S. Marco, the creation of woman was illus of this type.27Given the wealth of examples, the compo trated in three scenes: the Extraction of the Rib, the Con sition was surprisingly stable. Roberto Zapperi described it as struction ofWoman, and the Introduction of Eve to Adam a "fallen Y," with Adam's full-length figure constituting the was scenes as a stroke and Eve's the shorter counter (Fig. 1) .23God depicted in all three beardless long part-length figure,

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ca. dome restored 1906 4 Creation of Eve, 1270-75, mosaic, by Arturo Viligiaridi, (artwork in the public domain; photograph provided by Scala/Art Resource, NY)

ca. 2 Wilgelmus (Wilgelmo) of Modena, Creation ofEve, 1099 punction in literal commentaries on Genesis that Eve was detail of a marble with scenes from Genesis, 1110, panel created from Adam's "side" (latus), and Peter Comestor that facade of Modena Cathedral (artwork in the domain; public the rib (costa) was "flesh as well as bone."31 In one of five photograph provided byAlinari/Art Resource, NY) images, there is an opening inAdam's flesh to show that Eve out as the is rendered in the "was taken of man" phrase Douay-Rheims and King James translations. The other 80 woman "taken man" an valid percent depict from equally translation without issuing from within him. In most such images, Eve appears half-length at the outline of his shoulder, flank, or hip, to emphasize, as theologians did, that Eve was made fromAdam's side (Fig. 3). When Adam sleeps with his arm covering his flank, Eve's half figure is often placed above the arm and when she is in front of it so that she ca. of (Fig. 4), 3 Pacino di Bonaguida, Scenes from Genesis, 1320, detail to rise from the side of his chest, Adam's flesh is the Tree ofLife, panel painting, Galleria dell'Accademia di appears as woman Bella Arti, Florence (artwork in the public domain; nevertheless intact is "taken from him" (Fig. 5).32 photograph provided by Scala/Art Resource, NY) This iconography was based on the reading of the Genesis storymost often espoused by Christian interpreters of the Creation of Eve. In Matthew 19:4-6, Jesus is asked by the Pharisees whether he accepted the lawfulness of divorce, stroke. As Adam reclines on the ground, God at his feet which was permitted under theMosaic law.His reply that he draws Eve from his side with a gesture of command and did not linked the lesson at the end of Adam's speech with sometimes also touches her arm, wrist, or hand. Eve appears, the Genesis 1:26-27 account of the creation of man and her her lowest unmade, on upper parts complete, parts rising woman: a a diagonal from Adam toward God. Already alive even in half-formed she her creator with state, acknowledges gestures Who [Jesus] answering, said to them: Have ye not read, of her arms and hands (Figs. 2-5). that he who made man from the beginning, made them As Jerome Baschet has pointed out, this iconography was a male and female? And he said: For this cause shall a man viro literal illustration of the phrase "de sumpta" (Gen. 2:23) leave father and mother, and shall cleave to his wife, and inAdam's The Latin word costa in Genesis speech.29 (costae), they two shall be in one flesh. Therefore now they are not as well as its in several vernacular lan 2:21-22, cognates two, but one flesh. What therefore God hath joined to guages, meant both "rib" and "side," and where the Hebrew let no man asunder. gether, put Bible says that God "closed up flesh in its place" to repair to Adam's body after the extraction, the Latin Bible says that "he Cited by Jesus himself, the conclusion Adam's speech was, to Genesis filled up flesh for it" (my emphases).30 Accordingly, Augus for theologians, the key interpreting the entire tine, Bede, Isidore of Seville, and others said without com 2:21-25 passage. Saint Augustine maintained in his commen

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5 Maestro del Farneto? Creation of Eve, 1298-1300, fresco, restored 1880-85 byMatteo Tassi, Sala dei Notari, Palazzo dei Priori, Perugia (artwork in the public domain; photograph by Ars Color di Paolo Ficola, Perugia)

taryThe Literal Meaning ofGenesis that "there cannot be any rather than the deeds done by God according to the Genesis doubt, since these things [described inGenesis 2:21-22] were text. done and cannot be plain silly, that theywere done to signify Some artists, uneasy about departing from the biblical "33 something. Accordingly, theologians interpreted the rib account of what God did, introduced a rib into the etiological storyas prefiguring the "birth" of the Church from the side of iconography. In a marble relief of about 1138 on the facade Christ on the cross and Adam's "side" as signifying the bond of the basilica of S. Zeno, Verona, Adam is depicted asleep, man woman in Eve was one arm between and marriage. created from turned toward the viewer, with bent under his head Adam's side, rather than his head or feet, they explained, to and the other resting on his raised right side (Fig. 6). The demonstrate that a wife should neither rule over nor be a sculptor Nicholaus modeled the chest to reveal the pectoral slave to her husband, but be joined to him by a "union of muscles and four sets of his ribs. Eve rises half formed in front love," an "equality in companionship [equalitas societatis]," a of Adam's resting right arm, but from behind the outline of "social connection [socialis coniunctio] ."34The iconography of his chest. She turns her head and extends her right arm on a at Eve rising from Adam's side put before the eyes Adam's toward God, who, standing pedestal Adam's feet, of woman made from man's to etiological interpretation flesh, grasps her right wrist with his right hand. According the

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^^9j^9^^^^^^^^^^^BGH^^^^^flS9|^^H9H 6 Nicholaus (Niccol), Creation ofEve, ^H^Hjj^^^^^^^J^^^^^^9HHBHH|^ 1138, marble relief,facade ofS. ^^BfBa^^^Hjjj^Bjjjf^ Zeno,Verona (artwork inthe public ^^FjMjW|BflMB^^jdomain; photograph provided by [J|jflE|jSlBBflfc^ Scala/ArtResource, NY)

inscription, "the rib from which God created woman was Giotto's naturalistic art. Although Ghiberti's attribution is removed."35 Yet in the relief, Eve's hip is still attached to not accepted bymodern scholars, the treatment of the bodies Adam by a rib projecting from the center of his chest.36 This and landscape in the Creation ofEve shows how deserving it iconography was refined in an illustration (ca. 1160) in the was of Ghiberti's respect (Fig. 7).40 God is represented near Missal of St. Michael's of Hildesheim, and in the Hortus the leftedge of the panel as a cloaked, bearded man without delicarium (1167-95) by Herrard von Landsberg, the head, the customary symbols of divinity.A full head taller than the arms, and chest of Eve grow from the top of a rib that God reclining Adam would be if he were standing, God's statu holds in his lefthand, while Adam sleeps at his feet.37 In the esque figure, seen in three-quarter view, fitswithin the hex Millstatt codex (ca. 1180-1200), an angel watches God fash agonal field only because he is bending toward Eve. His right ion the top of the rib into a woman's head with his hands, hand is raised in a gesture of command, which was high even as he extracts it from Adam's side.38 Thereafter, it was lighted by the deep modeling before itbroke off, and his left common to show the rib a woman in extraction arm as becoming is foreshortened in front of his chest, he grasps Eve by scenes. In a in her forearm. The and of his late-twelfth-century relief the cloister of Ge right volume, mass, ponderation rona a to An are Cathedral, late-twelfth-century illustration the body apparent through the broad planes and rhythmic tiquitatesJudaicae by Flavius Josephus from the Abbey of St. folds of the drapery. Its fluttering trail indicates his forward Troud in Limbourg, a Glossed Psalter (ca. 1200) by the Inge motion: with his right foot visibly planted on the sloping borg Psalter workshop, theAnglo-Norman Huntingsfield Psal ground, he leans forward, flexing his knees, to liftEve up. ter (1210-20), the London school Windmill Psalter (late Adam sleeps at his feet, turned toward the viewer on his left thirteenth century), the only surviving copy of Jacob van side with his head nestled in the crook of his left arm, his Maerlant's Spiegel historiael (ca. 1325-75), and a panel by right leg extended, and his left leg drawn back under the Master Bertram of Minden for the altarpiece (1379-83) of right. The softlyrounded contours of his body bring out the St. Peter's Church, Hamburg, Eve sprouts waist up from the mass, musculature, and underlying geometry of his torso and long edge of the rib as God removes it from Adam's chest.39 limbs, even as they convey the sensuous substance of his flesh. These images reconcile the rib story with the emergence The sprawl of his legs, the tilt of his neck, and the outline of iconography by portraying Eve's half-formed body rising his left side, sensitive to the counterpressure of the ground from a rib of bone as it is taken from Adam's side of flesh. on the flesh, describe a reclining pose more weighty and relaxed than had been seen in sculpture since antiquity.41 The Naturalistic Style of the Creation ofEve Eve appears in front of Adam's right arm, emerging on a Ghiberti attributed the two Creation panels on the campanile diagonal from his chest. Facing toward God, she is presented to Giotto because he saw in their reliefs the evidence of in profile with her head overlapping her raised right arm and

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X X 7 Andrea Pisano, Creation ofEve, 1334-37, marble panel from the campanile of , 32% 27V6 in. (83 69 cm). Museo dell'Opera del Duomo, Florence (artwork in the public domain; photograph Mary Ann Sullivan)

so her left arm falling across her flank. The visible foreshort small depression at the center of the belly. The surfaces as ened planes of her body are carved to near natural depth in described are as sensitive to the softmateriality of the flesh proportion to their extension, but because the relief was to the underlying structure of the body. According to Anita sensuous a made to be viewed in situ from below, more is seen of her Fiderer Moskowitz, Eve's "lovely, soft and form, in the was "an intense prone underside than of her back. Her upturned face is conception unequaled Trecento," more to Roman antecedents."42 modeled to beyond the distant, right cheek, her chest response Hellenizing Nonetheless, to there is classical about Eve's state and situation. to beyond the right breast, and her abdomen beyond the nothing

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8 Pisano, Creation of Eve, modern replica viewed in situ on the campanile of Florence Cathedral (artwork in the public domain; photograph Hartill Art Associates)

Formed only from her head to the fork of her legs, she is A pictorial conception is also evident in the relation of the being drawn by God, pulling her forearm against her elbow, trees to the figures. The tree at the left leans to the right in arm a using the like hinged lever rather than a human limb. sympathy with the creator. Its trunk rises parallel to the Although itwas not uncommon forGod to take Eve in hand shinbone of his right leg, and the foliage on the limb above as rose no she fromAdam's side (Figs. 2, 6), in other Creation his fluttering cape echoes the hang of his lowered head, ofEve is she manipulated in so physical a manner. Her up which is framed by the crown of the tree at the center. The turned head, extended neck, upper back, and emerging legs leaning "vertical" established by the leftmost tree and the follow the diagonal path of God's pull, but her belly hangs creator's stance is repeated in the tree at the right,which is parallel to the ground, her right hand (now weather worn) is positioned on the hill above Adam's raised right shoulder. In limp beyond God's grasp, and her left arm (now broken off contrast, the tree rising behind the head of Eve, the only at the elbow) dangles at her side. In other Creation images figure facing and moving to the left, appears to list slightly where Eve's back is curved, it is because she is arching it leftward. The vine spiraling up its truck recalls the tree upward to lift her torso above the diagonal on which she encircling serpent inmany depictions of the Fall, a subject, emerges from Adam's side (Fig. 5); in Pisano's relief, her often blamed on Eve by theologians, that typically followed lower back is curved because her torso is sagging beneath her the Creation of Eve in Genesis cycles but was not illustrated was so on the spine. Never before Eve's emergent body rendered Florence campanile. materially pendulous. The pictorial conception of the relief is crucial for the The composition was pictorially conceived. The action un coordination of the bodies of Adam and Eve in space. Pisano a folds in "virtual" pictorial space deeper than the negative used the traditional compositional formula in which Eve's space between the carved forms. This space is defined by a half-formed body is set in front of the arm resting on Adam's landscape whose undulating ground, rising from front to rear raised flank and yet does not issue through an opening nor and center to sides, accommodated the scene to the viewer's disrupt the continuity of his flesh. Appearing at his chest, her gaze, looking up from below. At the bottom sides of the legs are distinguished from his body by an arris formed by an hexagon, the ground springs from the edges of the panel abrupt change of plane in the carved surface of the relief. and, at the lateral sides, recedes across the frame, which is When the panel was viewed in situ from below, she appeared carved along the lateral and upper edges. The landscape to be emerging in profile from the outline of his flank, as in so space defined extends not only across the panel but also, many pictorial images (Fig. 8) ,44 rare for relief sculpture of the time, virtually into depth.43 At Yet this, too, is an illusion, for a female figure as convinc the rear, this virtual space is set off from the flat ground of inglymodeled as Eve isdeeper from hip to hip than thewidth trees near crest of a man's flank. Careful the panel by the three the of the hill, whose observation reveals that only the crowns corners overlap the three upper of the carved frame. outward-facing half of Eve's left leg is carved in the round Their deeply cut trunks, overlapping branches, and bunches (Fig. 9). Her right leg, the far side of her left leg, and the of leaves produce an illusion of volume at the furthest right half of her abdomen are not rendered in relief but reaches of the pictorial space. simply implied by the foreshortening of the lower back to

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9 Pisano, Creation of Eve, 1334-37, detail, angle view snowing Eve rising fromAdam (artwork in the public domain; photograph by the author)

include a little of themore distant, right buttock and by the Golden Legend account, the fresco shows John's disciples gath positioning of Adam's right arm to disappear behind her. ered in a church where he had dug his own grave, while the These were to accommodate the ascends to heaven in a of "pictorial" feigns necessary Evangelist glory golden light.46 to mass greater breadth of Eve's foreshortened form the lesser Giotto rendered the disciples witli volume and and width of Adam's modeled flank. made the ponderation of their stances visible through the folds of their cloaks. The heavy bulk of their bodies, which An Illusion of Gravity are set firmlyon a consistent ground plane within a unified Within Pisano's naturalistic, pictorial scene, the pendulous space, produces an illusion of gravity,which their gestures configuration of Eve's torso, the dangling arms, and the serve to enhance: two disciples bend low to look into the physicality of God's grasp produce an illusion that her half empty grave, three raise their hands in speech or surprise, to a and one is on the as if fallen in astonish formed body is subject gravity. In classic study,Howard sprawled pavement, Davis showed that an "illusion of gravity"was a distinguishing ment thatJohn has ascended from the ground. As John's left feature of Giotto's works, an expressive device he developed arm breaks the plane of the entablature of the architectural thatwas not exploited by his contemporaries.45 The illusion setting, Christ greets him by taking his leftwrist in his right was produced by arranging the figures and objects, rendered hand. Moshe Barasch has explained that the motif of Christ on a was with mass, volume, and weight, consistent ground plane grasping John's wrist adapted from the traditional ico within a unified pictorial space. Beyond itsnaturalistic effect, nography of theAscension of Christ.47 From the fifth to the was one means eleventh the Ascension of Christ was it of the chief by which the great Florentine century, commonly master characterized his figures: virtuous figures were set in illustrated with Jesus turned in profile and actively ascend stable poses with secure footing on solid ground; instability, ing by climbing or flying through the air to a hand of God unstable ground, and falling or hanging postures were at issuing from a cloud, which grasped the wrist of his out tributes of vice; and the poses and positions of the angels stretched arm.48 According to Barasch, the wrist grasping overcome motif was a derived from ancient where made them appear to gravitywhen they flew mi symbolic gesture, art, raculously in the air. According to Davis, none of Giotto's it indicated "taking possession" or "politely guiding some contemporaries followed his example, and even Giotto did body" to the proper place. In Ascension iconography, it a not produce an illusion of gravity in the Saint Francis cycle at signified Christ's acceptance into heaven: taking in, rather Assisi (ifhe was indeed the painter of these frescoes). Only in than a pulling up. In Giotto's Peruzzi Chapel fresco, Christ the quattrocento did the illusion of gravity and bodies with and a host of saints, all portrayed half-length emerging from become a convention in art. a who is to their ranks. weight general cloud, await the Evangelist, rising In the Ascension of Saint John in the Peruzzi Chapel, S. When his outstretched arm passes beyond the earthly realm Croce, Florence (an example not discussed by Davis), the of the architecture, Christ reaches down from above to grasp on Evangelist John is seen rising diagonally toGod with his head the wrist, placing the palm and four fingers of his hand upturned and arms outstretched, much like Eve in the tradi top with only the thumb circling to the underside. Giotto tional etiological iconography (Fig. 10). Consistent with the emphasized the action by repetition: even though he is al

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10 Giotto di Bondone, Ascension ofSaint John, ca. 1315-35, fresco, Pe ruzzi Chapel, S. Croce, Florence (artwork in the public domain; photograph by Erich Lessing, provided by Art Resource, NY)

ready in Jesus's grasp, John is reaching upward with his left Only in one earlier Creationwas the emergent Eve rendered at are arm, too, and Christ and the anonymous saint his side with weight. The dating and attribution of the reliefs on the their hands down toward it. Since "no force extending visibly facade of are still subject to dispute, but counteracts" the of on Barasch pull gravity John's bulky body, most scholars accept the traditional ascription to Lorenzo maintains that Christ is him an "actually pulling upwards, Maitani, the Sienese architect appointed capomaestroof the action in which the other saints are to . . .what was ready join. cathedral in 1310 with the power "at the expense of the said a God's hand originally symbolic figuration grasping fabric to retain the disciples he shall have desired for the Christ's wrist now becomes a event, an act physical involving designing, figuration and making of stones for the above as well as bodily psychic energies."49 mentioned wall" (that is, the facade).50 In the scene of Eve's Barasch's of the of Christ's action in description physicality creation from Adam's side, Adam sleeps on the ledge of a the Ascension fresco might better apply to God in the campa mound, which is contoured to support his body (Fig. 11). His nile panel. That Giotto transformed a symbolic gesture into a hips are set parallel to the ground, his thighs extend laterally, naturalistic, bodily event in the Ascension ofSaint John iswell his knees are bent to deposit his feet on the ground below, his observed, but since the Evangelist had ascended to the top of torso is turned toward the viewer and propped upright the church before he was met with a wrist grasp, Barasch's against the face of themound, his arms are crossed over his claims for the physical exertion of God might be overstated. chest, and his head rests tilted on his left shoulder. Approach In any event, the illusion of gravity is no less pronounced in ing from beyond Adam's feet, God raises his right hand in a the campanile relief than in the Ascension fresco and the gesture of speech and touches Eve's right shoulder with his examples cited by Davis. God, Adam, and the trees are solidly lefthand. Seated on themound behind Adam, Eve responds placed on the undulating ground, and the effect of their by turning toward God. Her beautifully modeled body is mass, volume, ponderation, and weight, well embodied by from her head to her which into God's visibly complete ankles, pass upright stance, Adam's relaxed pose, and Eve's pen Adam's chest through a large opening, as rent flesh. dulous body, is amplified by the leaning trees. In the Ascen depicted As Kenneth Clark observed, Eve's and sion fresco, the whole of the Evangelist's bulky figure defies pose, proportions, were derived from an ancient Nereid gravity as he floats upward surrounded by golden rays; in the physique sarcophagus, a common source for sensuous female nudes in the Renais campanile panel, only Eve's lower parts rise supernaturally as sance.51 The Eve in a similar in an they are created from Adam by God's command. The fully emergent appears pose illustration in the a formed upper parts of her body are, by contrast, already Pontigny Bible, late-twelfth-century from northeastern which was not known subject to natural, physical forces. Her arms and belly hang manuscript France, at Orvieto.52 have been based on a Nereid heavily, and it is only by the exertion of the creator, manip (Might it, too, And the ofMaitani's Eve was ulating her right arm with a physical force far exceeding the sarcophagus?) pose repeated by a studied gentleness with which Christ grasps thewrist of Saint the Orvietian painter Piero di Puccio in figure of stockier John in the Ascension fresco, that her torso remains above the build in the Genesis fresco formerly at the Camposanto, ground. In short, Pisano's emergent Eve is sagging with her (painted 1389-91, destroyed 1943), where Eve issues directly own arms weight. into God's waiting (Fig. 12).53 These other Nereid-like

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11 Lorenzo Maitani, Creation of Eve, 1310-30, marble relief, facade of Orvieto Cathedral (artwork in the public domain; photograph by the author)

Eves rise weightlessly from Adam's side, and the classical Nereids are balanced (sometimes unconvincingly) on the back of a chariot or a sea horse, but Maitani's Eve is seated on the ground. Her pose is fully comprehendible in terms of her uses muscular action: seated atop the mound, she her right as arm to prop up her torso she turns and leans toward God. Although it is difficult to see how so fulsome a figure rose from Adam's side to the top of the mound, especially with him lying so close to its rocky face, now that she is there, Maitani's Eve seems fully capable of lifting her legs from once are In even in Adam's side, her feet complete. short, her Eve is characterized as an auton incomplete state, Maitani's omous being in full possession of her faculties. Pisano's Eve, in contrast, is dependent on God. With the possible exceptions of her upturned head, extended neck, and open eyes, her pose and are the result not of position 12 Piero di Puccio, Genesis, 1389-91, detail, fresco, formerly in movements from within but of God's in diagonal upward pull the Camposanto, Pisa. Destroyed 1943 (artwork the public and the downward drift of her flesh due to gravity. In her domain; photograph provided by Alinari/Art Resource, NY) cannot own half-formed state, she support her weight.

On Weight as an Artistic Device It was only after the illusion of gravity became a general it even affected his spiritelli, the "little spirits" or sprites, for a coterie of artists in Flor Annunciation convention early quattrocento perched atop the tabernacle of his Cavalcanti ence that the representation of weight was addressed in art (ca. 1428-33).55 Ghiberti, Masaccio, and other artists took up was an critical writing. Weight was reintroduced as an expressive the device, so that by about 1430, contrapposto estab artistic device by in the second and third decades lished convention in the advanced art of Florence.56 of the fifteenth century. His Saint Mark (1411-13), for Or The firstfull analysis of the illusion of weight and gravity as sanmichele, stands on a base covered by a pillow to ensure an artistic device was given by Leon Battista Alberti in his that the unequal depressions beneath the saint's feet are seen commentary On Painting. Composed in Latin and Italian in to correlate with theweight shiftdisplayed by the contrapposto 1435-39 (but circulated mostly in Latin), the commentary arrangement of the torso and limbs (Fig. 13).54 His Saint has long been recognized as the firstpostantique work of art as an George (ca. 1415-17), also forOrsanmichele, is poised on the theory and the earliest extant theory of painting art.57 balls of his feet in a wide and secure stance, which character The Italian version was dedicated to five Florentine artists izes the young warrior as trustworthyand vigilant, ready to the architect , the sculptors Donatello, spring into action for a just cause. In Jeremiah (ca. 1423-25) Ghiberti, and Luca della Robbia, and the (recently deceased) Masaccio Alberti were "in no and II (ca. 1425-36), for the Florence Cathedral painter who, proclaimed, way campanile, a contrappostodisplay of the body supporting its inferior to any of the ancients who had gained fame in these own was These whose works so weight used to invest outwardly ugly, emaciated arts."58 artists, impressed him, however, figures with an inner beauty and strength. So central was are not mentioned in the body of his text; rather, all the were gravity toDonatello's art that, as Charles Dempsey has noted, examples cited to illustrate his theory lostworks known

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With the inclusion of Giotto, Alberti brought to a new level of critical sophistication an encomiastic tradition descending from the painter's lifetime. In a famous passage on the sin of pride (Purgatorio,canto 11, 94-96), Dante had cited Giotto's eclipse of his teacher Cimabue as an example of the fleeting ness of earthly fame.60 Dante did not say what itwas that made Giotto so but a one canto famous, description, earlier (Purgatorio, canto 10, 31-45), of three marble reliefs at the entrance to the circle of pride indicated what itwas that he found most about at an impressive art.61 Gazing Annunciation so lifelike that it put both Polykleitos and nature to shame, the poet in the poem marveled at the gracious pose of the angel delivering the salutation and claimed to hear Mary the words of her speak response, because they "were im . . . printed in her attitude [atto] expressly as a figure is on was at stamped wax."62 That Giotto's early fame due, least in large part, to his portrayal of expressive bodily actions is confirmed by a passage in the Cronica of , noting that construction of the campanile of Florence Cathe dral was begun on July 18, 1334: "And as superintendent and manager of the fabric the commune appointed our fellow citizen Master Giotto, themost sovereign master of painting of his time and the one who more than any other drew each to figure and action according nature."63 It was for his skill in composing figures whose bodily ac tions expressed their state ofmind thatAlberti cited Giotto in his commentary:

They also praise in Rome the boat in which our Tuscan painter Giotto represented the eleven disciples struckwith fear and wonder at the sight of their colleague walking on thewater, each showing such clear signs of his agitation in his face and entire body that their individual emotions are discernible in every one of them.We must, however, deal brieflywith thiswhole matter of movements.64

His account of the principles governing the rendering of movement in art in the sentence. begins subsequent Like Leonardo da Vinci and most other Renaissance the orists, Alberti used the word "movement" to signifynot only changes of position or place but also changes in state. The latter usage derived from Aristotelian natural philosophy, which was the basis for the study of the body inmedicine, the 13 Donatello, SaintMark, 1411-13, historical photograph of soul in and the emotions in rhetoric and moral the statue in situ in the tabernacle of theArte dei Linaioli e theology, philosophy. In Aristotelian natural philosophy, the soul (in Rigattieri, , Florence. Museo di Orsanmichele, was defined as the "form" and "act" of the Florence (artwork in the public domain; photograph provided Latin, anima) by Scala/Art Resource, NY) body.65 "Form," in this context, is the principle determining the shape of the body's growth and life.66 In a metaphor that became a commonplace in medieval writing and was taken toAlberti and readers only from ancient literature,with two up by Dante in the passage on art discussed above, Aristotle exceptions: the Death ofMeleager, an ancient relief then in analogized the soul as the form of the body to the impression Rome but now lost, and theNavicella by Giotto, themosaic on of a seal in wax.67 Without the wax, there would be no the facade of Old St. Peter's, which was dismantled in the impression, but it is the form that determines what kind of new was in sixteenth century when the basilica erected. So seal impression it is. "Act," this context, is the exercise of striking is the inclusion of Giotto's Navicella among the no the abilities of the body as determined by its form. For table works of antiquity thatMichael Baxandall has argued Aristotle, the actions of the soul included the biological that the commentary On Painting was written, at least in part, functions such as nutrition and growth; in animals, he added to of locomotion and and in Emo promote the kind painting that Giotto had pioneered, sensation, humans, thinking.68 over and against a different style of artistic composition fa tions held a special place inAristotle's theory: since theywere some a vored by other Florentine humanists.59 "affections of the soul" that also involved change in the

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as was to the of virtu in Renaissance art. In a body, he cited them evidence that the soul united representation early the body and not something separate in it.69 contrappostofigure, the movements of the body are visibly Alberti opened his analysis of the artistic representation of subordinated to holding the head erect; since these move movement with a of Aristotle's list of the ments it summary changes involved the workings of the soul, implied that the was seat that constitute animate life: soul, too, governed by the head, the of the intellect. A rationale for this correspondence of body and soul was Some movements are of the mind [anima], which the laid out by Alberti in his famous description of a lost ancient learned call affections such as [affectiones], anger, grief, relief of the Death of Meleager. Here the illusion of gravity fear, desire and so on. Others are of the for was joy, body, key: bodies are said tomove in many ways [pleriquemodis], as when or diminish, when fall ill and recover they grow they They praise a historia inRome, inwhich the dead Meleager from sickness, and when and in they change positions, is being carried away, because those who are bearing the such cases bodies are said to be huiusmodi causis moving [et burden appear to be distressed and to strain with every moveri We who wish to corpora dicuntur]. painters, however, limb,while in the dead man, there isno member that does affected souls [volumus animos express affectos exprimere] not seem completely lifeless; they all hang loose; hands, the movements of the limbs, leave other through may fingers, neck, all droop inertly down, all conform to ex aside and of the movement that arguments speak only pressing the death of the body [omnia ad exprimendam occurs when there is a of which change place. Everything corporismortem congruunt]. This is themost difficult thing of has seven directions of movement. . . .70 changes position all to do, for to represent the limbs of a body entirely at rest is as much a sign of an excellent artist as to render Following from this view, itwas necessary for artists to use the them all alive and in action. So in every painting the movements of a body from place to place to express the principle should be observed that all themembers should animated state of the body, even in a figure at rest. fulfil their function according to the action performed, in Contrappostowas the principle by which this representation such a way that not even the smallest [articulus] fails movement in a at rest was Modern joint of figure accomplished. to its part, that themembers of the dead as a for the natural play appropriate scholars interpret contrapposto technique appear dead down to the smallest detail, and those of the istic portrayal of a standing figure and as a sign of upright living are completely alive. A body is said to be alive when moral character, or virtu?1 For Alberti, it is the artistic prin it enacts some movement of its own accord [cum motu ciple by which the body is shown to support itsown weight. "I quondam sua sponte agatur]. Death, they say, is present have observed in man," he wrote, when the limbs can no longer carry out the functions of life, that is movement and [vitae cia, hoc est how in his every standing position, the whole body is feeling of motum et sensum]. So the who wishes his placed under the head, the heaviest member of all. Then painter represen tations of bodies to alive should see to it that all if the same man would stand with the whole body on one appear members their movements.73 foot, this foot is always placed perpendicularly beneath his perform appropriate head like the base of a column, and the face of the one Alberti focused his on the visual that distin standing is almost always turned in the direction that his ekphrasis signs the bodies from the dead one. foot is pointing. But I have noticed that themovements of guish living Meleager ap dead because all his limbs the head in any direction are hardly ever such that he does peared completely hung heavily and without movement from within, and the bodies of the not always have some other part of the body positioned beneath to sustain the enormous or at he alive because their limb strained weight, least livingfigures appeared every under the that sustained. An illusion of extends some limb in the opposite direction like the other weight they gravity therefore was the to the life of the Limbs arm of a balance, to correspond to that weight. When key denoting body. that themselves or moved from within to someone holds a weight on his outstretched hand, we see visibly supported an action those that did not how, with one foot fixed like the axis of a balance, the rest perform appeared alive; ap dead. In Aristotelian natural the soul was of the body is counterpoised to balance the weight.72 peared philosophy, the form and act by which the body was alive. Thus, the a For Alberti, contrappostoarrangement of the limbs with the movements thatmade the body appear alive also signaled the head in soul out the functions of here directly above the engaged leg and facing the direc carrying life, called "move tion to the ment" and pointed by foot embodied in paradigmatic form "feeling." a themovements of standing figure supporting theweight of Alberti's analysis of contrappostoprovides a framework for were the body. The other limbs positioned about the vertical understanding the campanile relief, but only if it is carefully arms axis of the head, the heaviest member, like the of applied, since the principle of demonstrating weight through on a an arm balance either side of pivot. If was extended in the counterpositioning of limbs was not known in Pisano's one direction or held a some weight, other limbmoved in the day.74 In his relief,God liftsEve fromAdam's side by leaning to opposite direction counterbalance it. Since in nature, toward her, rather than pulling away, and Eve's shoulders own bodies supported their weight, artists should display the and torso remain foursquare and parallel to the ground, even principle of balanced ponderation in their figures whatever though she is being drawn asymmetrically by her right arm. the or of the head. the of God's pose, actions, position Although Alberti Nonetheless, ponderation upright stance, did not address the issue his Adam's and the directly, analysis helps illuminate sprawling recline, pendulousness of Eve's the connection between a stance and arms a concern symbolic contrapposto belly and indicate to delineate the weight of

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the body through the movement and articulation of the he breathed (according toAugustine, "puffed") it intoAdam's as which was fashioned from the His limbs, much Alberti later described. body, earth.80 interpreta woman was more In his dialogues Deliafamiglia (1433-41), Alberti cautioned tion of the creation of complicated, since that a man who "does not control themovement of his mind Augustine attributed sexual differentiation tomatter, not the and of his body with thought and discretion seems hardly rational soul. He knew that woman, too, had a rational soul alive."75 This statement combines the Renaissance ideal of and, according to Genesis 1:27, God made man "male and as the body as an index for the soul with the idea of life female" in his image and likeness. He therefore concluded animate bodily movement. No doubt, Alberti was speaking that the "causal" or "seminal reasons" for woman as well as a not a at man were in unformed matter at the simultaneous metaphorically about lifepoorly lived being life all. placed use a In the accounts of creation in Still, his of thismetaphor in vernacular dialogue indi creation.81 Augustine's view, cates notions were. such as how widely diffused these By criteria, Genesis 2:7 and 2:22 described only, Susan Schreiner put seems "their later as Pisano's Eve hardly alive. The upward diagonal of her it, appearance concrete, physical entities."82 to not to movements from within. body is due God's actions, The idea that the material production of Adam and Eve Her legs rise from Adam's side as they are made at God's followed a simultaneous creation of the world was put into on arm visual as it in the command, and his pull her right is transmitted from form, were, late-thirteenth-century mosaics the shoulder through the spine to the lower back, but her on the interior of the dome of the Baptistery of Florence, just belly sags beneath this line of support and her leftarm hangs across the street from the campanile. The complex program at her side, not falling straight down but trailing from the of the mosaics, illustrating Christian history from the begin shoulder, lagging behind the forwardmovement of the torso ning of the world to the Last Judgment, opens with three a as it is drawn upward by God. The only limbs that might creation scenes: hierarchically composed image of the Cre appear tomove fromwithin are the head, raised toward God, ation of theWorld according to the firstbook of Genesis and scenes the eyes opening to look at him, and the neck, extended then separate of the Creation of Adam and the Cre beneath the upturned head. Yet themovement of these limbs ation of Eve (Fig. 14) ,83The iconography of this three-scene so one does not appear natural, since the head is rotated far back sequence derived from the lost mural cycle in of the on the neck, the neck is so stiff (especially in comparison with great apostolic basilicas inRome, S. Paolo fuori leMura, and Adam's), and the eyes are so fixed in their stare. If natural possibly from Old St. Peter's itself.84At Florence, the first movements from within are signs of feeling, life, and soul, scene features a frontal, half-length figure of Christ Panto is not animated. crator set at a Pisano's Eve, in her half-formed state, fully the top of the pictorial field within semicircu lar, star-studded firmament of heaven. The pictorial field to The Creation of Eve, Body and Soul his left of the arc of heaven is black (or perhaps dark blue) the at creation was a matter of con to his is is the remainder of the The animation of body and that right gold (as troversyamong Christian theologians. In Genesis 2:7, Adam's background). At the bottom of these gold and black patches a are sun and the rendered as red and blue body was formed first, then enlivened and animated with the moon, orbs, to and this text was the of the a soul. According Weitzmann Kessler, respectively. Below, filling width pictorial field, in Genesis three scenes: the Forma of rises above the waters of the sea. A dove illustrated the Cotton by mound dry land arc tion of Adam's Body, the Enlivenment of Adam, and the descending beneath the center of the symbolizes theHoly Animation of Adam.76 In later works with related iconogra Spirit hovering over the waters, four fish in the water stand the was reduced to two: the Formation of the for the creatures of the and six animals on the mound phy, sequence sea, in one scene and the Enlivenment or Animation or a the creatures of the land. are motifs taken Body represent (All sea are composite of the two in the other.77 At S. Marco, Venice, God from book 1 of Genesis.) At the shores of the nude com sun moon is putting the finishing touches to Adam's body, still male and female figures, red and blue, like the and as and posed of mud, in the first scene, and in the second, which is above them.85Most scholars identify them Day Night, now has that are placed after the Blessing of the Seventh Day, Adam, flesh respectively, but Deborah Markow argued they a more colored (and hence living), receives a soul in the form of likely the incorporeal souls of Adam and Eve, created in winged psyche. before their bodies, accordance with Saint Augustine's first Nonetheless, the idea that the body preceded the soul ran nontemporal, Neoplatonic interpretation of the book of scenes kled the theologians. Among the many interpretations of Genesis.86 If so, the next two illustrate the embodi was ment of these souls. to Genesis Adam's Scripture giving priority to the soul, themost influential Since, according 2:7, was Adam's is Saint Augustine's in The Literal Meaning of Genesis. Citing body formed and then animated, living body differences of diction in Genesis l:l-2:4a (the P-text) and already complete, as he sits up and gestures toward God in In next from Genesis 2:4b-25 (the J-text), he distinguished two kinds of the Creation ofMan. the scene, Eve's body, rising is half but since Genesis speech: the creating words of God in his essence and the later Adam's side, only complete, 2:22 describes the construction of not the and words spoken to his creatures.78 He read the hexameral woman, fashioning as creation of all the animation of her is animated account describing the simultaneous subsequent body, she, too, fully at as she her arms toward God in On things inGenesis T.l-2:4a, an act accomplished by God all extends prayer (Fig. 4). even are once, and outside of time.79 For him, the six days were not the other hand, if the nude red and blue figures as and the of Eve's as temporal spans but a connection of causes in angelic knowledge interpreted Day Night, rendering body that the soul of the world, as first established by God in this simultaneous half formed but fully animated still implies creation. God made the rational soul of man along with the preceded the body in her creation. The idea that the souls of Adam angels at the simultaneous creation and stored it away until Neoplatonic, Augustinian

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14 Creation sequence, ca. 1270-75? dome mosaic, restored 1906 by Viligiaridi, Florence Baptistery (artwork in the public domain; photograph provided by Scala/Art Resource, NY)

and Eve were created before their bodies was a matter of sensation. The soul is, therefore, the form and act of the in controversy the lateMiddle Ages. Around the time of the body.90 Florentine mosaics, Saint Thomas Aquinas criticized the idea on Aristotelian "since the soul is the act of grounds: proper Like Aristotle before him and Alberti a century and a half the he "the soul was in the cited sensation and emotion as a body," explained, produced body." later, Aquinas evidence for And: "as the soul is the form of the itwas naturally body, correspondence between themovements of the body and the not in In necessarily created, separately, but the body."87 the movements of the soul. Summa he raised these to refute theologica, points Augustine's Aquinas held with Augustine and most other theologians thatAdam's human soul was created with the opinion along that Eve was created immediately by God. In procreation, a and then to the on the sixth The angels joined body day. only new being is produced from the matter supplied by living to admit concluded, was to way Augustine's opinion, Aquinas beings of the same species, but only God creates from noth that "the human soul in thework of the six say preceded days ing. Although Eve was made from Adam's side, his body did a certain similitude, so far as it has intellectual by generic not supply all thematerial of hers.91 Such creation ex nihilo nature in common with the but was itself created at was not a movement or as occurs angels, change, such in natural the same time as the Other saints, he added, held body."88 things, for between nonbeing and being, there is no mean or without this distinction that the and soul were body produced transitional state. Rather, outside of time, it is effected all at at the same time. once, in an indivisible instant,not in stages.92This philosoph In his handbook for the faithful, the Summa contra gentiles, ical position, expounded in the language of scholastic theol turned his attention to the Platonic on which Aquinas theory ogy, was hardly conducive to naturalistic representation by Since the soul initiates Augustine's interpretation depended. bodies moving from place to place, since such movement themovements of the the idea that itwas created body, prior necessarily implies the passage of time.93Nonetheless, Aqui to the would mean that it "is not united with the on are body body nas's arguments creation relevant for understanding as form with matter, but as the mover iswith the moved." only Eve's body in Pisano's relief and, further, for the treatment of Sensation and emotion that this cannot be true: in Renaissance art. as proved the human figure For, Summers has shown, the aesthetics of Renaissance naturalism was Now though the soul has an operation proper to itself, in closely linked with the understanding of nature, vision, and which the does not share, body namely, understanding, the of sense in Aristotelian As the are some common to and judgment philosophy.94 there nevertheless operations it leading Christian Aristotelian thinker of his or, truly,of any the body, as fear, anger, sensation, and the like; for these age, raised issues of the kind thatRenaissance artists occur some transmutation in a deter Aquinas operations through conven faced when reformulating medieval iconographic minate of the and, therefore, are part body, obviously tions for a naturalistic of soul and It follows representation. operations body together. necessarily treatment Pisano's naturalistic of Eve's body accords with that the soul and the body make up one single being, and Aquinas's Aristotelian analysis of the creation of woman from that they have not each a distinct being.89 man. The way Pisano has rendered her pardy formed body in a state And furthermore: partly animated accords with Aquinas's theory that the soul was created along with the body and with the Renais life and sensation are ascribed to both soul and body, for sance artistic ideal that the body is an index of the soul. The we are said to live and to sense both in soul and body. But depiction of her legs rising at Adam's side but not issuing we live and sense by the soul as the principle of life and through an opening in his chest or emerging from his flesh

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tive, themechanical and productive arts put into practice the intellectual knowledge established by the liberal arts and hence were considered subalternate (that is, logically depen dent on) rather than merely subordinate to them.With the diffusion of Aristotelian philosophy, some thinkers,most no tably Kilwardy and Bacon, even made the converse claim: since, as Aristotle demonstrated, all knowledge begins with sense, the liberal arts might themselves be said to have a practical component. The program of the campanile fitwithin this latemedieval revaluation of the arts. In the register of the hexagonal panels, such highly regarded intellectual activities as medi cine and law, disciplines of an advanced university education, were set side by side with weaving, wall building, and agricul ture, labors too manual for inclusion in the educational system.Their beneficial effectswere indicated through Her cules, the ancient bringer of civilization and a symbol of even as am virtue in Florence, the dangers of overweening bition and pride were signaled by the flyingDaedalus, whose legendary craftsmanship in fashioning his wings is symbolized by the tools at the bottom of the relief. The encyclopedic program was completed in the register above with the dia mond-shaped panels of the Liberal Arts, symbolizing the intellectual knowledge of the principles that sustained the productive arts, the Planets and Virtues, which governed from the human social and the which the 15 Pisano, Creation of Adam, 1334-37, marble panel behavior, Sacraments, paved of Florence 325/sX 27V6 in. X campanile Cathedral, (83 way to salvation. 69 cm). Museo del Duomo, Florence (artworkin dell'Opera The two reliefs at the head of the cycle emphasized that the public domain; photograph by Cecilio Tamarit) when God created them in his image and likeness, man and woman were endowed with the capacities necessary for the arts. In the firstpanel, where God calls Adam to lifewithout Eve creation is characterized as an intellectual act accords with Aquinas's view that the creation of required touching him, the creation of matter, because Adam's rib did not supply all (Fig. 15). Adam, already complete, acknowledges his creator a as his and the material of her body.95 And her pose with head up with gesture of the right hand, he lifts head turned to face God on an extended neck accords with shoulders from the ground by leaning on his left arm. As in a man a Aquinas's argument that the human body was designed by the Creation ofEve, God is bearded without halo, the Creator with the head on top so that it could survey scepter, or cross, but here he holds in his left hand a book, sensible objects, both heavenly and earthly.96 This is not to symbol of the divine word and human learning. In the Cre say that Pisano knew or was illustratingAquinas's theological ation ofEve, the hand that had held the book is used to pull tracts. Rather, his artistic commitment to naturalistic repre up Eve, whose materiality ismade apparent by the pendulous sentation led him to rethink the iconographic tradition from configuration of her body. In accordance with the verb aedi woman an Aristotelian perspective, as Aquinas had earlier done with ficavit in Genesis 2:22 "he built" the creation of is as a the theological tradition. here characterized craftlike activity, involving themanip ulation of matter by the hand. Sexual Differentiation in the Two Creation Reliefs The different characterizations of how man and woman were The gravity-laden materiality of Eve's body has a special per created also corresponded with widely held notions It was a medi tinence for the campanile program. As historians of science about sexual differentiation. commonplace of toman as and technology have explained, the growth of cities and the eval and Renaissance thought that "woman is body so to expansion of trade and commerce in the late eleventh and is to soul."98 Like much else of import the time, this twelfthcenturies led to a reconsideration of the status of the position was founded on and developed in natural philoso manual and productive arts.97 Such thinkers as Hugh of St. phy and theology. Aristotle held that in procreation, "the Albertus and the of themovement' Victor, Robert Kilwardy, Magnus, Bonaventura, male provides the 'form' 'principle in Thomas Aquinas, and Roger Bacon held that themechanical [for example, for growth], the female supplies the body, and productive arts were themselves a kind of knowledge. other words, the material." Since it is the male principle of God as a craftsman who cre movement that fashions the material into he contin Hexameral literature presented shape, comes ated humanity in his own image and likeness to watch over ued, "the physical part, the body, from the female, and and enjoy the world, at firsta perfect paradise, which he also the soul from the male." This iswhy, in his view, the female as was a to sci created. The arts were invented after the Fall humankind "deformed male."99 According Galen, medical a ence developed theirGod-given capacities to improve their lot in confirmed Aristotle's notion that the "workmanship is a woman. now hostile world. Although utilitarian, rather than specula necessarily imperfect" in The female body, he held,

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was formed in the womb under lesser heat than a male body There is a great difference between the point of view of and so was "less perfect than one that is complete in all philosophers and that ofMoses; for the former considered These notions were echoed in the Christian the of woman in relation to whereas respects."100 production only sex, Bible description of woman as the "weaker vessel" (1 Pet. 3:7) Moses considered the production of woman not only as it and the claim that the saved would resurrect as concerns sex but also with to moral behaviour as a "perfect regard males" (Eph. 4:13). It was no great leap of faith, then, for whole [universam vitam moralem]. Therefore he used a to as the of Adam is to be un theologians propose thatGod made Adam perfect, but Eve complex metaphor... sleep was somehow "lacking" from the start.101The storyof the Fall derstood metaphorically, Adam is described asleep, not and the injunction thatwoman would be subordinate toman being woken up or keeping vigil. A deep sleep is sent by on account of Eve's sin (Gen. 3:16) was taken as evidence that God into theman from whom woman is to be produced, Eve was in reason and more to a weaker prone manipulation and this defect of male power bears likeness from which even in her woman a man than Adam, prelapsarian state.102 is naturally produced. For sleeping is only In Pisano's reliefs, the contrast between Adam at his cre half a man; similarly, the principle creating woman is only ation and Eve at hers aligns with these misogynist ideas. semi-virile. It is for this reason that woman is called an Complete, alert, active, the firstman liftshimself from the imperfect version of the male by philosophers.104 ground and acknowledges God with a gesture of his hand in the Creation ofAdam. By comparison, the firstwoman seems The One Other Sagging Eve lacking, an incomplete body weighed down by matter, with Despite its prominent location and prestigious association out movement from within. Placed in front of a tree whose with Giotto, the campanile relief had little impact on Cre trunk recalls the in In one was vine-spiraled tree-encircling serpent many ation iconography. only other work the emerging depictions of the Fall, she hangs heavily, like the figures of sin Eve depicted as sagging with her own weight. There is no in centuries the Renaissance documentation for the terra Giotto's Arena Chapel frescoes.103 Two later, small, octagonal notion of woman as an man was used to cotta incomplete interpret Creation ofEve in the Museo dell'Opera del Duomo, the creation story by the Dominican Cardinal Tommaso de Florence. It was donated to the museum at its foundation in Vio Gaetani Cajetan (1469-1534), the leading expert of his 1891 by Prince Tommaso Corsini, who had acquired it by day on Aristotle and Thomas Aquinas: descent from Marchesa Luisa Rinuccini Buondelmonte, last

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of a noble family traceable to medieval Florence.105 Origi Notes as an work of the cen nally cataloged anonymous fifteenth Research for this study was supported in part by a grant from the Academic itwas Wilhelm von with a dozen on tury, assigned by Bode, along Senate Committee Research of the University of California, San Diego, which cost to see other terracotta works, to Lorenzo Ghiberti, whom he con helped defray the of travel the Pisano relief and other key works. A of the was on March at sidered the of terracotta in Renaissance summary argument presented 10, 2007, Long pioneer sculpture Beach State University, to the sixth annual conference of the California an ar am Florence.106 In 1977, Luciano Bellosi offered elegant Interdisciplinary Consortium for Italian Studies (CICIS). I grateful to my Marino, Susan Smith, and William Tronzo for their gument thatDonatello, not Ghiberti, was more likely to have colleagues John helpful comments on the manuscript at various stages of to Cecilio the and his elaborated in sub preparation, pioneered medium, position, Tamarit, professor of economics at the University of Valencia, for photo the Creation Adam Pisano at to Paolo Ficola of Ars sequent studies, was taken up by some Italian scholars.107 graphing of by my request, Color di Paolo Ficola in Perugia for the excellent image of the fresco in the Nonetheless, most Donatello scholars in my (rightly, opin Palazzo dei Priori (Fig. 5), toMary Ann Sullivan for permitting the use of her ion) do not accept that the Creation ofEve panel is his, and photograph of the Creation ofEve by Pisano (Fig. 7), to Alec Hartill of Hartill Art Associates for his slide of the modern of attributions to Ghiberti, his workshop, his son Vittorio, Luca cheerfully rescanning replica Pisano's panel (Fig. 8), and toMarta Fodor for her efforts in the della and Michele da Firenze are still current in assembling Robbia, Art Resources images used here. I also much appreciate the consideration of as is the label Art Bulletin editor Richard Powell in me to the text specialist literature, "Florentine."108 Opinions J. allowing expand and the of the two to on considerably suggestions anonymous readers about how the date also vary from the first to the fifth so. widely, ranging do Many thanks are due to Lory Frankel for her careful copyediting of the decade of the fifteenth century, with about 1410-15 and manuscript. about 1430 as the most common choices. Even the proper 1. The quoted clause is drawn from Michael Baxandall, Painting and Ex orientation of the panel is open to debate.109 perience inFifteenth-Century Italy: A Primer in theSocial History ofPictorial Style, new ed. (1972; New York: Oxford University Press, 1988), 45, In the panel, Adam sleeps face down, turned toward the though the emphasis of the present discussion is different. viewer on his left side. His arm falls across his chest and right 2. John Calvin, Commentaries on theFirst Book ofMoses called Genesis, vol. 1, arm bends at the elbow to pass under his head. His left is trans. Rev. John King (1578), Christian Classics Ethereal Library Mich.: Eerdmans, 1847; Grand Mich.: extended from beneath his left flank to cover his sex (Fig. (Grand Rapids, reprint, Rapids, Baker, 1996), .viii.i.html in Pisano's Eve rises fromAdam's http://www.ccel.org/ccel/calvin/calcomOl 16). As relief, directly side, (accessed December 11, 2005), on Genesis 2:21. Calvin here is echo Saint as at n. 33. not through an opening in his flesh. Her legs are distin ing Augustine, quoted below, 3. God's hand and Eve's left forearm are Eve's guished from his body by a change of plane, which ismarked right lost; right hand, and left shoulder and Adam's left hand are the back in the terracotta an incised line. Her rises face, corroded; panel by right thigh ground color is deteriorated; and the surface of the relief is badly from the back ofAdam's shoulder, and her left leg, advanced weathered throughout. and bent at the knee, emerges from below his rib cage. As in 4. Luisa Becherucci, in Becherucci and Giulia Brunetti, eds., II Museo del Duomo a 2 vols. vol. curve creates an delVOpera Firenze, (Milan: Electa, 1969), 1, 233, Pisano's relief, the of Eve's back and belly reported that the seven hexagonal panels on the west facade were of of a under its own illusion gravity, body sagging weight. embedded in the fabric of the campanile wall simultaneously with the incrustation and therefore must have been before Giotto's Dependent on God for support, she grasps his shoulder with completed death in 1337, since he the construction of this section of her hand and reaches for his with her left.As in supervised right hip the campanile. Giotto was appointed "master and governor of the fab Pisano's relief, God is portrayed bending forward from the ric and workshop of the church of Santa Reparata" (that is, the cathe dral of Florence) on April 12, 1334, and the construction of the bell waist, with one foot visibly planted on the ground. Here, tower was begun on July 18, 1334. For which, see Martin Trachten he leans forward to take Eve in his arms. though, berg, The Campanile ofFlorence Cathedral: "Giotto's Tower" (New York: New York 21-48. The creation of Eve was a supernatural act by God. Since it University Press, 1971), are was not a or movement in an it was 5. The Fall and the Expulsion also omitted in the fresco cycle change existing thing, (1298-1300) of the Sala dei Notari, Palazzo dei Priori, Perugia, where sense, or beyond comprehension by except through analogy Adam and Eve at Work also follows the Creation ofAdam and the Cre some form The standard ation but the is different. For a critical overview, see of metaphoric figuration. iconogra ofEve, program Pietro Scarpellini, "Osservazioni sulla decorazion pittorica della Sala of Eve rising from Adam's side illustrated Adam's etio phy dei Notari," in II Palazzo dei Priori di Perugia, ed. Francesco Federico woman at Genesis not logical explanation of the word 2:23, Mancini (Perugia: Quattroemme, 1997), 211-33. the Genesis 2:21-22 account of what God did to create her. 6. Lorenzo Ghiberti, I commentarii, 2.17, ed. Ottavio Morisani (Naples: Pisano naturalized this the bodies Riccardo Riccaiardi, 1947), 40: "[Maestro Andrea da Pisa] fece nel iconography by investing sette campanile in Firenze sette opere della misercordia, sette virtu, of and God with volume and and ancora sono Adam, Eve, weight placing scienze, sette piante. Di maestro Andrea intagliate quat tro di braccia l'una. Ancora vi sono them within the more or less consistent "virtual" space of the figure quattro intagliate grandis sima di i furono trovatori dell'arte: Giotto si dice of the half parte quelli quali his characterization arte e landscape setting. Although scolpi le prime due storie. Fu perito nell'una nell'altra." My as own was formed Eve sagging under her weight consistent translation. The passage is included in Trachtenberg, The Campanile of was Florence Cathedral, 206, as "Source VII," with minor variations in tran with Renaissance artistic principles, it implied that Eve scription. created in and associated God's creative act more with stages sources 7. For a handy compendium and a careful critical review of the than with the soul. for these his the body Perhaps reasons, and documents, see Trachtenberg, The Campanile ofFlorence Cathedral, was not artists. 3-20, 183-208, 3-14, 205-8. The is an from treatment taken up by other esp. quotation excerpt Giovanni Villani, Cronica 11.12 (1334), which is translated by Trach tenberg, 21, who also transcribes the passage from which it is drawn (205, as "Source I"). area 8. / ed. 33: "Arrec l'arte las Jack M. Greenstein is art history head in the Visual Arts Ghiberti, commentarii, 2.3, Morisani, nuova, rozzezza sormont in San Author ci la de' Greci, eccellentissimanante University of California, Diego. o/^Man . . . Department, Etruria. Vide Giotto nell'arte quello che gli altri non aggiunsono. as Historical Narrative and numerous arti tegna and Painting Arecc l'arte naturale e la gentilezza con essa, non uscendo delle mi sure. Fu in tutta l'arte, fu inventore e trovatore di tanta cles onRenaissance art and art theory,he iswriting a book on artistic peritissimo doctrina, la era stata circa d'anni 600." My translation. invention and the theCreation Eve Arts quale sepolta iconographyof of [Visual For "the first two reliefs," see the passage transcribed in n. 6 above. San 9500 Gillman Department, University of California, Diego, 9. Ghiberti, / commentarii, 2.4, ed. Morisani, 34: "Giotto merit grandis in tutta ancora nell'arte statuaria. Le Drive, La Jolla, Calif. 92093-0327]. sima lode. Fu dignissimo l'arte,

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storie sono prime [che] nell'edificio, il quale da lui fu edificato, del woman created at the same time may be found in the Liberfloridus di santa furono sua mano e campanile Reparata di scolpite disegnate; (http://liberfloridus.cines.fr/textes/cines.html), a database of the nella mia et vidi di sua mano di dette istorie prowedimenti egregissi Bibliotheques Mazarine and Ste-Genevieve, Paris, among the nine re manente translation. The is in disegnati." My passage included turned by entering "Creation d'Adam et Eve" in the illumination title The Florence as "Source Trachtenberg, Campanile of Cathedral, 206, VII," search box (accessed February 21, 2008). with minor variations in transcription. See 21. Johannes Zahlten, CreatioMundi: Darstellungen der sechs Sch p 10. For the attribution, see von "Giusto's Fresken in und Julius Schlosser, fungstage naturwissenschaftlichesWeltbild imMittelalter (Stuttgart: Padua und die Vorl ufer der Stanza della Segnatura," Jahrbuch der Klett-Cotta, 1979), 191-201. Kunsthistorischen des allerh chstenKaiserhauses 17 (1896): Sammlungen 22. Die Genesismosaiken von S. Marco in und zu Johan Jacob Tikkanen, Venedig 13-100, esp. 53-76; Ilse Falk, Studien Andrea Pisano (Hamburg: ihr verh ltniss zu den miniaturen der Cottonbibel, nebst einer Niemann und Moschinski, Pietro Giotto Untersuchung 1940); Toesca, (Turin: ber den Ursprung der mittelalterlichenGenesisdarstellung besonders in der Unione Tipografico-Editrice Torinese, 1941), 101-7; W. R. Valentiner, byzantinischen und italienischen kunst (1889; Soest: Davaco, 1972). Com "Andrea Pisano as Marble Sculptor," Art Quarterly 10 (1947): 163-87; pare Kurt Weitzmann, "The Genesis Mosaics of San Marco and the Ilaria Toesca, Andrea eNino Pisani (Florence: Sansoni, 1950), 28-41; Cotton Genesis in The P. Miniatures," Mosaics of San Marco, ed. Otto De Toesca, II trecento (Turin: Unione Tipografico-Editrice Torinese, mus of Press, 1984), vol. 2, 105-42, 1951), 305-22; Italian Gothic An Intro (Chicago: University Chicago John Pope-Hennessy, Sculpture, 253-57. duction to Italian Sculpture, pt. 1 (London: Phaidon 1955, 1972; re print, New York: Vintage Books, 1985), 21-23, 191-92; Manfred 23. The codex has been reconstructed by Kurt Weitzmann and Herbert Wundram, "Studien zur k nstlerischen Herkunft Andrea Pisanos," L. Kessler, The Cotton Genesis: British Library Codex Cotton Otho B. VI, Mitteilungen des Kunsthistorischen Institut von Florenz 8 (1959): 199-222; The Illustrations in the Manuscripts of the Septuagint, vol. 1: Genesis Becherucci and Brunetti, II Museo delVOpera del Duomo, vol. 1, 234-37; (Princeton: Princeton University Press, 1986). Although their recon e struction was Mariagiulia Burresi, ed., Andrea, Nino Tommaso scultoripisani, exh. widely accepted, John Lowden has disputed both their cat. (Milan: Electa, 1983); Gert Kreytenberg, Andrea Pisano und die template for the layout of the pages and their contention that there was a toskanischeSkulptur des 14. Jahrhunderts (Munich: Bruckmann, 1984); tradition of early illustrated, luxury Genesis codices, of which and Anita Fiderer the Cotton Moskowitz, The Sculpture ofAndrea and Nino Pisano Genesis is the only securely recorded example. See Low (Cambridge: Cambridge University Press, 1986), 38-48. den, "Concerning the Cotton Genesis and Other Illustrated Manu 11. scripts of Genesis," Gesta 31 (1992): 41-53, which also offers an alter Opinion about Giotto's contribution is reviewed by Becherucci in native reconstruction of a See also his review of The Becherucci and Brunetti, II Museo delVOpera del Duomo, vol. 1, 234-37. single opening. Cotton Genesis, byWeitzmann and Kessler, Art Bulletin 70 (1988): 346 "Giusto's 12. Schlosser, Fresken," 53-76. and "The 47; idem, Beginnings of Biblical Illustration," in Imaging the 13. " M r Medieval Bible Wolfgang Braunfels, Campanile," Das nster: Zeitschriftf Early (University Park: Pennsylvania State University christlicheKunst und were Kunstwissenschaft 1 (1948): 193-210. For a sum Press, 1999), 9-59. Objections also raised by Marian Wenzel in and see her review of mary critique, Trachtenberg, The Campanile ofFlorence Cathe The Cotton Genesis, Burlington Magazine 130, no. 1025 dral, 88-89. (August 1988): 631-32. 14. The Florence 85-108. 24. For a Trachtenberg, Campanile of Cathedral, telling interpretation of the S. Marco iconography, emphasizing the removal of the rib from Adam's left side, see Howell 15. Moskowitz, The Sculpture ofAndrea and Nino Pisano, 31-50, 187-95; An Penny Jolly, tonio Made in God's Eve and Adam in theGenesis Mosaics at San Marco, Paolucci, "I rilievi del Campanile: Una teologia del lavoro," in Image? Alia Venice of California Press, 30-41, 36 riscoperta di Piazza del Duomo inFirenze: Saggi per una lettura storico (Berkeley: University 1997), esp. 38. artistico-religiosadei suoi monumenti, ed. Timothy Verdon, vol. 2, La Cat tedrale di Santa Maria del Fiore (Florence: Centro Di, 1993), 65-87; 25. Weitzmann and Kessler, The Cotton Genesis, 54. Timothy Verdon, "'Alza la voce con forza': del L'iconografia Campa 26. Despite several excellent studies, the of the re nile e 1' annuncio in Alia di Piazza del Duomo in origins iconography cristiano," riscoperta main obscure. - Roberto Zapped, "Potere politico e cultura figurativa: Firenze, vol. 3, II Campanile di Giotto (Florence: Centro Di, 1994), S La rappresentazione della nascita di Eva," in Storia delVarte italiana, ll 5; Emma Simi Artisti e dottori nel medioevo: II di pt. Varanelli, campanile Situazioni momenti 3, indagini, vol. 3, Conservazione, falso, restauro Firenze e la rivalutazione delle "arti belle" (Rome: Istituto e Poligrafico (Turin: Einaudi, 1981), 377-442 at 396-401, traced it to a relief of Zecca dello Stato, Libreria dello Stato, Diane "The 1995); Norman, about 1060 on the bronze doors of Augsburg Cathedral; Jerome Art of Knowledge: Two Artistic Schemes in Florence," in Siena, Florence Baschet, "Eve n'est nee: Les medievales de and Padua: Art, and 2 vols. Haven: jamais representations Society Religion, 1280-1400, (New du et l'origine genre humain," in Eve Pandora: La creation de lafemme, Yale University Press, 1995), vol. 2, 217-42, 276-77; and Ludovic Nys, ed. Schmitt 115-62 at "Le testament de Giotto: Les reliefs du Jean-Claude (Paris: Gallimard, 2001), 124-27, artistique hexagonaux campa to an illustration in an Insular manuscript of about 1025-50, with a nile de Florence," in Le verbe, Vimage et les de la sociU'e representations vernacular on Genesis Aelfric. It also in several urbaine au Actes du international tenu Marche-en poem by appeared Moyen-Age: colloque earlier ivories. See also E. Famenne du 24 au 27 octobre Byzantine Kirschbaum, ed., Lexikon der 2001, ed. Marc Boone, Elodie Lecuppre christlichenIkonographie, 8 vols. (Rome: Herder, 1968-76), vol. 4, 99 Desjardin, and Jean-Pierre Sosson Garant, 2002), 87-105, (Antwerp: s.v. "Sch Sch van which reviews and 123, pfer, pfung," by J. der Meulen. critiques the various interpretations of the pro For a see 27. See Creatio gram. dissenting opinion, Michael Evans, "Allegorical Zahlten, Mundi, 195. The figure of 90 percent, obtained by Women and the total Practical Men: The Iconography of the Artes Reconsid comparing number with the number of images with the rib inMedieval ed. or some other Creation of Eve not ered," Women, Derek Baker, Studies in Church History, iconography, does include the half 1 Published for the dozen with at (Oxford: Ecclesiastical History Society by B. Black images Eve rising Adam's side from a rib. well, 1978), 305-29. 28. Zapped, "Potere politico e cultura figurativa," 402, 405, 417, 420. 16. See Anita Fiderer Moskowitz, "Trecento Classicism and the Campanile 29. Baschet, "Eve n'est jamais nee," 141. Hexagons," Gesta 22 (1983): 49-65 at 58, quoted and discussed be low. 30. For a discussion of the Hebrew text, see Ed Noort, "The Creation of Man and Woman in Biblical and Near Eastern Traditions," in Lut 17. The divorce of and is in with the style iconography conformity posi tikhuizen, The Creation Man and Woman, 3-11. tion of of 1-18, esp. Erwin Panofsky, Studies in Iconology:Humanistic Themes in theArt the 31. See Baschet, "Eve n'est nee," 122-24, 268 n. 15. For Peter of Renaissance (1939; New York: Harper and Row, 1972), 3-17 at jamais that "the manner in which Comestor, Historia Scholastica, Historia Libri Genesis, see Pa 11, objectsand eventswere expressed by cap. XVII, forms under conditions" is the trologia latina, ed. vol. 198, col. 1070b; and discussed varying history object for "pre-iconograph Migne, quoted by ical" M. Greenstein, "A Visual Invention: The at Eve's Side in interpretation, rather than for iconographic analysis as such (em Jack Angels Ghiberti's Genesis Word & no. 2 phasis in the original). Panel," Image 24, (April-June 2008): 115-26, 115-17. 18. For esp. "pictorial intelligence," see Svetlana Alpers and Michael Baxan and thePictorial 32. Other are the Creation of Eve mosaic in the Pala dall, Tiepolo Intelligence (New Haven: Yale University examples Cappella tina, ca. the fresco in S. Maria Immacolata Press, 1994); also Lisa Pon, Raphael, D rer, and Marcantonio Raimondi: Palermo, 1150; (formerly and theItalian Renaissance S. Felice Ceri, ca. 1100; the miniatures in the Genoa Bible Copying Print (New Haven: Yale University Papa), Press, 2004), 103. (Genoa, Biblioteca Civica Berio, Cod. R. B. 2554.2, fol. 4v), ca. 1075 the Todi 1100, Bible (Rome, Biblioteca Apostolica Vaticana [BAV], 19. L. Teugels, "The Creation of the Human in Rabbinic Interpretation," Cod. lat. fol. ca. the Pantheon Bible Cod. lat. in The Creation Man 10405, 4v), 1125, (BAV, of and Woman: Interpretations ofBiblical Narratives in 12958, fol. 4v), ca. 1125-30, and the Moralized Bible (Vienna, Staats Jewish and Christian Traditions, ed. Gerard P. Luttikhuizen (Leiden: bibliothek, MS 2554, fol. lv), ca. 1215-25 (Baschet, "Eve n'est Brill, 2000), 107-27, esp. 108-16. jamais nee," fig. 29); and the relief on the facade of S. Zeno, Verona, ca. 20. The is so rare that it is not a search term, nor de where Adam's flesh is even iconography given 1138, intact though he is linked to Eve by scribed, in the Index of Christian Art. Four of man and a rib images (reproduced here as Fig. 6).

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33. Saint Augustine, The Literal Meaning of Genesis, 9.23 (13), in On Gene sua bottega [Milan: Fabbri, 1967], 106-7, 109-12) to about 1327-35 on sis: A Refutation of theManichees, Unfinished Literal Commentary Gene (Eve Borsook, "Notizie su due Cappelle di Santa Croce a Firenze," sis, The Literal Meaning ofGenesis, ed. John E. Rotelle, trans, and notes Rivista d'Arte, 36 [1961-62]: 89-106). by Edmund Hill, The Works of Saint Augustine: A Translation for the 47. Moshe Barasch, Giotto and theLanguage ofGesture (Cambridge: Cam 21st Century, pt. 1 Books, vol. 13 Park, N.Y.: New Press, (Hyde City bridge University Press, 1987), 128-44, esp. 138-44. 2002), 168-506 at 389. All subsequent references are to this edition, 48. For the of Ascension, see Gertrud Schiller, cited by book and paragraph numbers. iconography Ikonographie der christlichenKunst, 5 vols. (G tersloh: G tersloher G. n. Verlagshaus 34. See Baschet, "Eve n'est pas nee," 135-37, 271 53. The quotations Mohn, 1966-91), vol. 3, 141-61; Louis Reau, Iconographie de l'art on the bond of are drawn from of St. Victor, as marriage Hugh chretien,3 vols. (Paris: Presses Universitaires de France, 1955-59), vol. quoted by Roberto Zapped, The Pregnant Man, trans. Brian Williams 2, pt. 2, 582-90; Sophie Helena Gutberiet, Die Himmelfahrt Christi in (New York: Harwood Academic, 1991), 14, as originally published der bildendenKunst (Strasbourg: Heitz, 1934); Hubert Schrade, "Zur L'uomo incinto: La donna, Tuomo e ilpotere (Cosenza: Lerici, 1979); Vin Ikonographie der Himmelfahrt Christi," Vortr ge der Bibliothek Warburg, cent of Beauvais, naturale, 1.30, 36; and Thomas Speculum chap. Aqui 1928-29 (Leipzig: B. G. Teubner, 1930), 66-190; Ernest T. DeWald, nas, Summa 1.92.3, response. theologica, "The Iconography of the Ascension," American fournal ofArchaeology, 35. The inscription reads: costa fvratvr d(ev)s vn(de) virago creatvr. 2nd ser., 19 (1915): 277-319; Meyer Schapiro, "The Image of the Dis appearing Christ: The Ascension in English Art around the Year 36. For Nicholaus at Verona, see Evelyn Rain, "An Analysis of the Marble 1000," Gazette des Beaux-Arts, 6th ser., 23 (1943): 135-52; in Reliefs on the Facade of S. Zeno, Verona," Art Bulletin 43 (1981): reprinted Late Christian and Mediaeval Art, Selected vol. 3 358-74; and Arturo Calzona, "Niccol e Verona," inNicholaus e Tarte Antique, Early Papers, (New York: George Braziller, 1979), 266-87; and Robert Deshman, del suo tempo:In memoria di Cesare Gnudi (atti del seminario tenutosi a Fer . . . "Another Look at the Disappearing Christ: Corporeal and Spiritual rara dal 21 al 24 settembre1981. ), ed. Angiola Maria Romanini, 2 Vision in Medieval Art," Art Bulletin 79 (1997): 518-46. vols. (Ferrara: Corbo, 1985), vol. 2, 441-90. Early 49. Barasch, Giotto and the Gesture, 143. 37. For the Missal of Saint Michael's of Hildesheim (Haus Brabecke, col Language of 50. David lection Furstenberg, fol. lOv), see Zahlten, CreatioMundi, 196, fig. 56; Gillerman, "The Evolution of the Design of Orvieto Cathedral, ca. the Architectural and Baschet, "Eve n'est jamais nee," 128-30, fig. 24. For the Hortus 1290-1310," fournal of Society of Historians 53 at The document is in delicarium, see Baschet, 120, 123, fig. 20. (1994): 300-321 320. published full by Luigi Fumi, IlDuomo di Orvieto e i suoi restauri (Rome, 1891), 21; and 38. The Millstatt Bible 1180-1200) is at Landes again (Salzburg, Klagenfurt, Marilena Rossi "II duomo e l'attivita edilizia dei Archiv, cod. VI. 19, fol. 9v; see Baschet, "Eve n'est nee," 128, by Caponeri, Signori jamais Sette in IlDuomo di ed. Lucio Riccetti 26. In an illuminated of the Huma (1295-1313)," Orvieto, (Rome: fig. English manuscript Speculum an Laterza, 1988), 29-80 at 77-78. For analysis of the reliefs uphold nae Salvationis, ca. 1400 (New York, Morgan Library, MS 766, fol. ing the attribution toMaitani, see John White, "The Reliefs of the 22v), a rib extracted God becomes a bust of Eve above long being by Facade of Orvieto the and Courtauld In God's hand. Cathedral," fournal of Warburg stitutes22 (1959): 254-302 at 260-64. For a survey of the attributions, 39. For the Gerona cloister relief and Flavius miniature Josephus (Chan see Gillerman, "La facciata: Introduzione al rapporto fra scultura e Musee MS fol. see "Eve n'est tilly, Conde, 1632, 3), Baschet, jamais architettura," in Riccetti, IlDuomo di Orvieto, 81-100, esp. 83-86. For 23. The Grosbois Psalter-Hours and Glossed Psalter nee," 128, figs. 22, recent alternative proposals, see Ernst E. Schlee, "Problemi cronolo the Psalter are in the New by Ingeborg workshop Morgan Library, gici della facciata del Duomo di Orvieto," trans, into Italian by Ros MS fol. and MS fol. These and York, 440, 33r, 338, 40v, respectively. sella Zeni, in II Duomo di Orvieto e legrandi cattedrali del duecento: Atti del of the motif are discussed Creatio additional examples by Zahlten, convegno internazionale di studi (Orvieto, 12-14 novembre 1990), ed. For the historiael Bib Mundi, 196-97. Spiegel (The Hague, Koninklijke Guido Barlozzetti (Turin: Nuova ERI, 1995), 99-167, who argues that Academie MS fol. see Martine Meu liotheek, Koninklijke XX, 4v), the figural decoration of the inner piers was not completed until the van Maerlant's historiael: and Work wese, "Jacob Spiegel Iconography 1420s; and Antje Middeldorf Kosegarten, Die Domfassade in Orvieto: in Flanders in a Illumination shop," European Perspective:Manuscript Studien zur Architektur und Skulptur 1290-1330 (Munich: Deutscher around 1400 inRanders and ed. Maurits and Bert Car Abroad, Smeyers Kunstverlag, 1996), who argues for an attribution to Ramo di Paga don 445-50. (Louvain: Peeters, 1995), nello, but see Gillerman's review of Die Domfassade in Orvieto, by Kose re in Art Bulletin 80 68-69. 40. The best available photograph of Pisano's Creation ofEve after its garten, (1998): a at cent cleaning cropped out small section of the relief the bottom, 51. Kenneth Clark, "Transformations of Nereids in the Renaissance," Bur a of the and the carved frame below the including portion landscape lingtonMagazine 97, no. 628 (1955): 214-17, 219 at 217: "the Nereid the to level of the lowest pair of brackets holding hexagonal panel is transformed into the figure of Eve as she is evoked from the side of the wall. This section was added in the here reproduction published the sleeping Adam." a (Fig. 7) from photograph of the panel taken by the author. 52. Paris, Bibliotheque Nationale de France (BNF), MS lat. 8823, fol. 1. in Creation Eve at S. Paolo fuori le as 41. The reclining Adam the of Mura, The pose is repeated in a related two-volume Bible, probably from a is no less and re recorded in seventeenth-century copy, weighty Troyes (BNF MS lat. 11535, fol. 6v). See Monique Peyrafort-Huin, La was to descend from the fifth laxed. The figure long thought century, bibliothequemedievale de Vabbaye de Pontigny (Xlle-XIXe siecles):Histoire, recent it an but study suggests that may date from early quattrocento inventaires anciens, manuscrits, Documents, Etudes et Repertoires pu restoration. See Herbert L. Kessler, "Seroux's Decadent Column Capi blies par lTnstitut de Recherche et d'Histoire des Textes, 60 (Paris: fuori le Mura in tal and Other Pieces in the Puzzle of S. Paolo CNRS, 2001), 70-72, 555-58, pis. 34, 35. Rome," ArteMedievale, n.s., 3 (2004): 9-34, esp. 31: "Other early Re 53. Puccio did away with the mound, Eve's more ample naissance modifications of the traditional in San Paolo scalloped placed compositions torso in God's two made her more erect, . . . hands, upper body changed most likely include Adam's recumbent pose in the Creation of the position of her arms, and showed God bending forward. On Puc Eve. . . ." cio's fresco, see Roberto Longhi, "Tracciato orvietano," Paragone 13, 42. Moskowitz, "Trecento Classicism," 58. See also Norman, "The Art of no. 149 (1962): 3-14 at 12-14; Richard Krautheimer in collaboration Knowledge," 237. with Trude Krautheimer-Hess, Lorenzo Ghiberti, Princeton Monographs in Art and 31 Princeton: Princeton Uni 43. As noted Moskowitz, The Andrea and Nino Pisano, 39. Archaeology, (1956; reprint, by Sculpture of e versity Press, 1982), 221-23; and Antonino Caleca, "Construzione 44. Eve rises from the outline of Adam's flank in the of the relief drawing decorazione dalle origini al secolo XV," in II Camposanto di Pisa, ed. in "Giusto's 2. Schlosser, Fresken," 55, fig. 13, Clara Baracchini and Enrico Castelnuovo, Biblioteca di Storia e suo at 45. Howard M. Davis, "Gravity in the Paintings of Giotto," in Giotto il dell'Arte, 27 (Turin: Giulio Einaudi, 1996), 13-48 34-35. Atti del internationale la celebrazione del VII centenario tempo: Congresso per 54. On Saint Mark and the works by Donatello mentioned below, see the della nascit di Giotto (Rome: Di Luca, 1971), 367-418, in reprinted classic study by H. W. Janson, The Sculpture ofDonatello (Princeton: Giotto and theWorld Italian Art: An Literature, ed. ofEarly Anthology of Princeton University Press, 1963), 16-21, 23-40, 103-8. My dating of Andrew Ladis, 4 vols. (New York: Garland, 1998), vol. 1, 205-20. the campanile statues, however, follows John Pope-Hennessy, Italian Renaissance An Introduction to Italian 2 46. For the iconography, see Laurie Schneider, "The Iconography of the Sculpture, Sculpture, pt. (Lon at don: Phaidon New York: 255-56. Peruzzi Chapel," LArte 18 (1972): 91-104 100-101, reprinted in 1958; reprint, Vintage Books, 1985), Ladis, Giotto and theWorld Italian Art, vol. 3, 131-47 at 139-40; ofEarly 55. See Charles Dempsey, Inventing theRenaissance Putto, Bettie Alison and F. Codell, "Giotto's Peruzzi Frescoes: Wealth, Patron Julie Chapel Rand Lectures in Art History (Chapel Hill: University of North Caro and the Renaissance 41 583-613 at age Earthly City," Quarterly (1988): lina Press, 2001), 1-61, esp. 34-48. at 604-5, reprinted in Ladis, vol. 3, 149-77 168-69. For the history see 56. See Joseph Manca, "Moral Stance in Italian Renaissance Art," Artibus of the chapel and its decoration, Leonetto Tintori and Eve Bor etHistoriae 44 (2001): 51-76. On Ghiberti, see also Greenstein, "A Vi sook, Giotto: The Peruzzi Chapel (New York: Harry N. Abrams, 1965), current sual Invention." 7-47. The date of the chapel decoration is controversial, with e la For a the see the introduction Cecil estimates ranging from about 1310-13 (Giovanni Previtali, Giotto 57. list of manuscripts, by Grayson,

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trans, and ed., On Painting and On Sculpture: The Latin Texts of "De Pic 79. Augustine, The Literal Meaning of Genesis 1.15-17 (9), 29 (15), 5.13 tura" and "De Statua, "by Leon Battista Alberti (London: Phaidon, (5). 3-5. The issue of between the Italian and Latin ver 1972), priority 80. Ibid., 7.35 (24). a sions is hotly contested. Grayson's view that the Italian version is 81. Ibid., 9.26 (15)-10.3 (2). translation from an initial Latin version, which was then revised, is supported by the careful lexical analysis of Nicoletta Maraschio, "As 82. Schreiner, "Eve," 146. del albertiano nel 'De Pictura,'" Rinascimento, 2nd petti bilinguismo 83. For the program, see Irene Hueck, "II programma dei mosaici," in II ser., 12 183-228. For the view, see Rocco (1972): " opposing Sinisgalli," Battistero di San Giovanni a Firenze/The Baptistery of San Giovanni, II nuovo "De Pictura di Leon Battista New "De Pictura Leon Alberti/The of Florence, ed. Antonio Paolucci (Modena: Franco Cosimo Panini, 1994), Battista Alberti (Rome: Edizioni Kappa, 2006), 25-54. 229-63. 58. De to the Italian trans. 32-33. Alberti, pictura, preface ed., Grayson, 84. The Creation of theWorld iconography was common, ifnot de ri in churches in Lazio and Umbria in the eleventh 59. See Michael Baxandall, Giotto and theOrators: Humanist Observers of geur, Romanesque thirteenth centuries. include S. Maria Immacolata Painting in Italy and theDiscovery ofPictorial Composition, 1350-1450 through Examples S. Felice in S. Pietro in S. Paolo in (Oxford: Clarendon Press, 1972), 121-39. (formerly Papa) Ceri, Ferentillo, terVineas in Spoleto, S. Maria Annunziata in Cori, S. Maria at Grotta 60. For surveys of the sources on Giotto, which, however, omit Al early ferrata, S. Giovanni a Porta Latina in Rome, and the Oratorio di S. berti, see Enid T. Falschi, "Giotto: The Literary Legend," Italian Stud Sebastiano in the Palazzo del Laterano in Rome. The iconography ies 27 (1972): 1-27; and Peter Murray, "Notes on Some Early Giotto also appeared in the fresco cycle of S. Paolo fuori le Mura, known Sources," Journal of theWarburg and Courtauld Institutes 16 (1953): 58 from the watercolor copies produced for Cardinal Francesco Bar 80. For a more recently discovered source, see Johannes Thomman, berini in about 1635 (BAV Cod. Barb. lat. 4406), for which see Josef "Pietro d'Abano on Giotto," Journal of theWarburg and Courtauld Insti Garber, Wirkungen der Fr hchristlichenGem ldezyklender alten Peters- und tutes54 (1991): 238-44. Pauls-Basiliken inRom (Berlin: Julius Bard, 1918); and Stephan Waet 61. For an evocative application of this passage to the interpretation of zoldt, Die Kopien des 17. fahrhunderts nach Mosaiken und Wandmalereien Giotto's Arena Chapel frescoes, see Salvatore Settis, "The Iconography inRom (Vienna: Schroll-Verlag, 1964); in several Lazio-Umbrian Giant of Italian Art 1100-1500: An Approach," in The History of Italian Art, Bibles (see Marilena Maniaci and Giulia Orofino, eds., Le Bibbie Atlan e vol. 2, trans. Claire Dorey (Cambridge: Polity Press, 1994), 206-27; tiche [Rome: Ministero per i Beni Culturali Ambientali, 2000]); and on reprinted in Ladis, Giotto and theWorld ofEarly Italian Art, vol. 2, 318 the so-called Cross of Constantine (ca. 1300) in the Lateran Trea 42. sury (see Daila Radeglia, "Osservazioni sulla primitiva disposizione delle scene veterotestamentarie della croce stazionale di S. Giovanni 62. Dante Alighiari, The Divine Comedy, trans, and ed. Charles S. Single in Laterano," in Federico II e Tarte del duecento italiano: Atti, ed. Angiola ton, Bollingen Series 80, 6 vols. (Princeton: Princeton University Maria Romanini [Galatina: Congedo, 1980], vol. 2, 153-58). For an Press, 1970-75), vol. 2, Purgatorio, pt. 1, 100. For the metaphor of the argument that the Early Christian fresco in Old St. Peter's seal, see below. cycle stands at the head of the tradition, see Herbert L. Kessler, '"Caput et 63. Giovanni Cronica transcribed Trach Villani, 11.12, my translation, by Speculum Omnium Ecclesiarum': Old St. Peter's and Church Decora The Florence as "Source I." tenberg, Campanile of Cathedral, 205, tion inMedieval Latium," in Italian Church Decoration of theMiddle Ages and Renaissance: and ed. Wil 64. Alberti, De pictura 2.42, in On Painting and On Sculpture, trans. Gray Early Functions, Forms, Regional Traditions, son, 82-83. liam Tronzo, Villa Spelman Colloquia, vol. 1 (Bologna: Nuova Alfa Editoriale, 1989), 45-64; reprinted in Old St. Peter's and Church Decora 65. Aristotle, De anima, esp. 1.1.403a2-bl, 2.1.412al-29, 2.2.414a21-28, tion inMedieval Italy, Collectanea 17 (Spoleto: Centro Italiano di Studi 2.4.415b7-10. For a of modern to Aristotle's variety approaches phi sull'Alto Medioevo, 2002), 45-75; and "L'antica basilica di San Pietro losophy of the soul, see Martha C. Nussbaum and Amelie Rorty, eds., come fonte e ispirazione per la decorazione delle chiese medievali," Essays on Aristotle'sDe Anima (Oxford: Clarendon Press, 1992). in Fragmenta picta: Affreschi e mosaici staccati nelMedioevo romano, ed. 66. My thanks to Ed Lee, emeritus professor of philosophy at the Univer Alessandra Ghidoli, exh. cat. (Rome: Argos, 1989), 45-64; trans, as sity of California, San Diego, for his help with this account of Aristo "Old St. Peter's as the Source and Inspiration of Medieval Church tle. Decoration," in Kessler, Old St. Peter's, 75-96. For further discussion, see Kessler, Old St. Peter's, 2, 5, 6, 7, 9, 10. 67. Aristotle, De anima 2.2,412b7-8. chaps. 85. In the Barberini Codex watercolor (ca. after the lostmural in 68. Aristotle, De anima 2.2.413a23-25, bll-13, b21-24, 2.3.414a29-32. 1635) S. Paolo fuori le Mura, the figures corresponding to the red and blue 69. Aristotle, De anima 1.1.403a2-24. nudes in the Florence Baptistery mosaic are surrounded by mandorlas and float in the and the Latin and "darkness" 70. Alberti, De pictura 2A3, in On Painting and On Sculpture, trans. Gray air, inscriptions "light" are set below the orbs of the sun and moon. Such do not son, 82-83. The translation of the Latin phrases in brackets is revised inscriptions here. appear in the other images with this iconography, many of which re tain the mandorla and airborne placement of the human figures. 71. Manca, "Moral Stance in Italian Renaissance Art," 51-76. They may well be notations added by the seventeenth-century copyist 72. De in On and On trans. Alberti, pictura 2.43, Painting Sculpture, Gray (perhaps referring to the otherwise unrecorded background colors). 82-85. The first two sentences of translation are son, Grayson's Indeed, the licence of the copyist was noted by Herbert L. Kessler, revised here. slightly "Corporeal Texts, Spiritual Paintings, and the Mind's Eye," in Old St. Peter's, 159-79 at 161 n. 11: "The lamb of God in the Barberini 73. Alberti, De pictura 2.37, in On Painting and On Sculpture, trans. Gray copy was not a feature of the medieval Even if the son, 74-77. The translation of the Latin phrases in brackets is revised painting." inscriptions here. did appear in the lost S. Paolo fresco, theymay not apply to the fig ures in the Florentine mosaic, since the male and female figures are 74. See David Summers, "Contrapposto: Style and Meaning in Renais earthbound and lack mandorlas, and the separation of "light" and sance Art," Art Bulletin 59 (1977): 336-61. on "darkness" the first day (Genesis 1:4) is represented by the patches on arc 75. Leon Battista Alberti, / libri della famiglia, trans. Renee Neu Watkins, of gold and black opposite sides of the of heaven. as The in Renaissance Florence (Columbia: of South Family University 86. Deborah Markow, "The Iconography of the Soul inMedieval Art" Carolina Press, 1969), 132. (PhD diss., New York University, 1984), 34-42. 76. Weitzmann and Kessler, The Cotton Genesis, 51-54, 129-30. 87. Thomas Aquinas, Summa theologica 1.90.4, response and reply 1, trans, a the Fathers of the Dominican Province as The Summa Theo 77. For compendium of related images, see ibid., 51-54, figs. 22-26, 33, English 34, 38. See also Herbert L. Kessler, "Hie Hoc Formatur: The Genesis logica of St. Thomas Aquinas, 2nd rev. ed. (London: B. Oates and Wash Frontispieces of the Carolingian Bibles," Art Bulletin 53 (1971): burne, 1920-24), http://www.newadvent.org/summa/ (accessed an 143-60 at 146-47. For the condensation of the Animation and Enliv March 20, 2007). For incisive discussion of Thomas's theory of the soul reference to see on enment into one scene, see Francesco Gandolfo, "Note per una inter (without creation), Anthony Kenny, Aquinas Mind 129-59. pretazione iconologica delle Storie del Genesi di Wiligelmo," in Roma (London: Routledge, 1993), nico Romanico ed. Arturo Carlo padano, europeo, Quintavalle (Parma: 88. Thomas Aquinas, Summa theologica 1.90.4, response, trans, the Fathers Universit Studi di Istituto di Storia Centro di degli Parma, dell'Arte, of the English Dominican Province, The Summa Theologica. Studi Medioevali, 1982), 323-37 at 324-25. 89. Thomas Aquinas, Summa contra gentiles 2.57.6, trans. James F. Ander 78. The account here follows the careful Susan son clear, analysis by as St. Thomas Aquinas: Summa Contra Gentiles, Book Two: Creation the Mother of for the of Schreiner, "Eve, History: Reaching Reality (1956; Notre Dame, Ind.: University of Notre Dame Press, 1975), 170, in Later of in Genesis 1-3 in the cited in notes History Augustine's Exegesis Genesis," subsequent by book, chapter, and paragraph. Compare in the ed. Allen Robbins Summa History ofExegesis: Intrigue Garden, Gregory theologica 1.90.4, response: "Now this [interpretation of Augus N.Y.: E. Mellen (Lewiston, Press, 1988), 135-86, esp. 139-56. tine] could be upheld by those who hold that the soul has of itself a

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and and that it is not united to the as em complete species nature, body Philosophy (Minneapolis: University of Minnesota Press, 1984), 2: its but as its trans, the Fathers of the form, administrator," English "From the beginnings of philosophical thought, femaleness was sym Dominican The Summa Province, Theologica. bolically associated with what Reason supposedly left behind." 90. Thomas Aquinas, Summa contra gentiles 2.57.15. 103. See above, at nn. 42-45. 91. Thomas Summa Aquinas, theologica 1.92.2, reply obj. 2; 92.3, reply obj. 104. Tommaso de Vio Cajetan, Commentarii in quinque Mosaicos libros (Paris, and 3. Cf. The Literal trans, 1; 92.4, response reply obj. Augustine, Meaning 1539), 25, and transcribed by Maclean, The Renaissance Notion of ofGenesis 9.26 (15). Woman, 9, 93. The Latin in brackets is included in his translation. 92. See Thomas Summa contra The idea that cre no. Aquinas, gentiles 2.19-37. 105. See Aldo Galli, entry to cat. 7, inMasaccio e le origini del Rinasci was to ation instantaneous is applied the story of the rib by Ephrem mento, ed. Luciano Bellosi with Laura Cavazzini and Galli, exh. cat. and other who held that the rib was Syrian commentators, extracted, (Milan: Skira, 2002), 110-13; and entry to cat. no. 1 in Earth and Fire: the flesh filled and the woman constructed "in the an up, twinkling of Italian Terracotta Sculpture from Donatello toCanova, ed. Bruce Boucher, Corinthians for which see Kurt Weitzmann and eye" (1 15:52); exh. cat. (New Haven: Yale University Press, 2002), 102-3. See also U. Massimo Bernab ,with the collaboration of Rita Tarasconi, The Byzan Rossi, Catalogo delMuseo di Santa Maria del Fiore (Florence: G. Car tineOctateuchs, 2 vols. (Princeton: Princeton University Press, 1999), nesecchi, 1891), no. 110.3. vol. 1, 32 n. 2. 106. G. Poggi, Catalogo delMuseo delTOpera del Duomo (Florence: Barbera, 93. See Jack M. Greenstein, "Mantegna, Leonardo and the Times of 1904), 54; Wilhelm von Bode, "Ghibertis Versuche, seine Tonbild Word f 15 221-25. zu Painting," Image (1999): 217-42, esp. werke glasieren," fahrbuch der k niglich Preussischen Kunstsammlungen 42 (1921): 51-54; Wilhelm von Bode, Florentine 94. David Summers, The Judgment of Sense: Renaissance Naturalism and the compare Sculptors of theRenaissance, trans. 2nd ed. Rise ofAesthetics (Cambridge: Cambridge University Press, 1987). Jessie Haynes, (1928; reprint, Freeport, N.Y.: Books for Libraries Press, 1968), 61-70, 120. 95. Thomas Aquinas, Summa theologica 1.92.3, reply 1; see also 1.91.2, re 107. Luciano Bellosi, delle terrecotte ply 1, and 92.4, reply 2. "Ipotesi sull'origine quattrocente sche," infacopo della Querciafra gottico e rinascimento (Atti del convegno di 96. Thomas Summa 1.91.3, 3. Aquinas, theologica reply studi, Siena, 1975) (Florence: Centro Di, 1977), 163-79; idem, "Do 97. Ovitt The Restoration Labor and in George Jr., ofPerfection: Technology natello's Early Works in Terracotta," in Italian Renaissance Sculpture in Medieval Culture (New Brunswick, N.J.: Rutgers University Press, 1986), theTime ofDonatello: An Exhibition toCommemorate the 600th Anniversary and Paradise Restored: The esp. 107-36; Elspeth Whitney, Mechanical ofDonatello's Birth and the 100th Anniversary of theDetroit Institute ofArts, Arts from Antiquity through theThirteenth Century (Philadelphia: Ameri exh. cat. (Detroit: Founders Society, Detroit Institute of Arts, 1985), can both with full Philosophical Society, 1990), bibliographies and 95-103; idem, "I problemi dell'attivit giovanile," in Donatello e i suoi: of earlier literature. For the cogent surveys iconography of the liberal Scultura fiorentina del primo Rinascimento, ed. Alan Phipps Darr and see arts, Paolo D'Ancona, "Le rappresentazioni allegoriche delle Arti Giorgio Bonsanti, exh. cat. (Florence: La Casa Usher, 1986), 47-54; Liberali nel Medio Evo e nel Rinascimento," LArteb (1902): 137-55, idem, "Donatello e il recupero della scultura in terracotta," in Do 211-28, 269-89, 370-85; and Anna Cavallaro, "Le arti liberali," in natello-Studien, Italienische Forschungen, 3rd ser., vol. 16, ed. Monika Temi profani e allegoric nelV Italia centrale del quattrocento (Manziana C mmerer (Munich: Bruckmann, 1989), 130-45; and Bellosi and Gi nouva [Rome]: Vecchiarelli, 1995), 62-71. ancarlo Gentilini, "Una Madonna in terracotta del giovane Do natello," Pantheon 54 (1996): 19-26. See also L. Martini, "La rinascit 98. The formulation is from Caroline Walker Bynum, "The Female Body della terracotta," in Lorenzo Ghiberti:Materia e exh. cat. and Religious Practice," Fragments for a History of theHuman Body, 3 ragionamenti, (Florence: Centro Di, 1978), 208-24. pts., ed. Michael Feher with Ramona Naddaff and Nadia Tazi, Zone at see 3-5 (New York: Zone, 1989), pt. 1, 161-219 176-96; also idem, 108. Bellosi's argument is summarized by Aldo Galli, entry to cat. no. 7, in Feast and to Holy Holy Fast: The Religious Significance ofFood Medieval Bellosi et al., Masaccio e le origini del Rinascimento, 110-13, who also Women (Berkeley: University of California Press, 1987); and idem, Jesus surveys the recent attributions; for opposing views, see Bruce Boucher, as Mother: Studies in theSpirituality of theHigh Middle Ages (Berkeley: "Detroit and Fort Worth: Sculpture in the Time of Donatello," Burl University of California Press, 1982). ingtonMagazine 128, no. 994 (January 1986): 65-68; idem, Earth and Fire, 102-5; and Alan Darr, "The Donatello Exhibition at De 99. The quotations are from Aristotle, Generation ofAnimals, trans. Arthur Philips troit and Florence: Results, and New Directions," in C m L. Peck (Cambridge, Mass.: Harvard University Press, 1963), 109, 185, Perspectives merer, Donatello-Studien, 11-23, esp. 12-14, who concludes (22 n. 10) 175 (1.20.729al0-12, 2.4.738b20-23, 2.3.737a28), respectively. They that them as 'Florentine ca. 1430' may now be a more satis are handily collected in Alcuin Blamires, ed., Woman Defamed and "labeling solution" to the of attribution. In my view, the date Woman Defended: An Anthology ofMedieval Texts (Oxford: Clarendon factory question of about 1430 is a terminus since the of Press, 1992), 39-41. post quern, conception Eve, posed with one leg advanced before the other, is dependent on Ja 100. Galen, De usu 2.299, trans. as Galen: partium Margaret Tallmadge May, copo della Quercia's Creation ofEve at the main entrance to S. Petro On the theParts the 2 vols. (Ithaca, N.Y.: Cornell Usefulness of of Body, nio, Bologna. University Press, 1968), vol. 2, 630. The passage is excerpted in 109. The relief is in the museum with the side beneath Adam's Blamires, Woman Defamed, 41-42. For discussion, see Thomas La displayed at the bottom, but the case for itwith the be queur, Making Sex: Body and Gender from theGreeks toFreud (Cambridge, hip displaying point neath his left elbow at the bottom ismade Luciano Bellosi, "Da Mass.: Harvard University Press, 1990), 25-62; and Joan Cadden, by Brunelleschi a Masaccio: Le del Rinascimento," in Bellosi et Meanings of Sex Difference in theMiddle Ages: Medicine, Science, and Cul origini al., Masaccio e le del Rinascimento, 15-52 at 27-30; and taken ture (Cambridge: Cambridge University Press, 1993), 188-227. origini up by Galli in ibid., 110-13. Bellosi's argument depends on comparison 101. argues in Summa theologica 1.92.1 that the creation Although Aquinas with three octagonal, terracotta Genesis reliefs of the same facture of man, male and female, was with respect to the human spe perfect and glaze in the Victoria and Albert Museum, London, which are cies, he did not the of Eve. See Ian Maclean, The deny imperfection mounted point down in a casement. According to an entry in Boucher, Renaissance Notion Woman: A Study in theFortunes of Scholasticism and of Earth and Fire, 102-5, however, the casement ismodern (dating from Medical Science in Intellectual Life (New York: Cambridge Uni European the nineteenth century) and the London reliefs should be displayed, Press, 1980), esp. 7-10, 13-14; and Maaike van der Lugt, versity like the Creation ofEve in Florence, with top and bottom sides set hori Dieu a-t-il cree la femme? Difference sexuelle et "Pourquoi theologie zontally. It appears to me that the first and third London reliefs (at medievale," in Schmitt, Eve etPandora, 89-113, esp. 103-13. least) are better oriented as they are set in the modern casement, that 102. See Genevieve Lloyd, The Man ofReason: "Male" and "Female" inWest is, point down.

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