CEU eTD Collection MARINUS UNVEILED:ATRANSVESTITEMARINUS SAINTIN WESTERN ARTANDLITERATURE Andrea-Bianka Znorovszky Andrea-Bianka MA Thesis in Medieval Studies in Medieval Thesis MA Central Central University European May 2011 Budapest CEU eTD Collection Central Central University,European in Budapest, partial fulfillmentof requirementsthe MARINUS UNVEILED: A TRANSVESTITE SAINTINWESTERN ATRANSVESTITE UNVEILED: MARINUS Thesis totheDepartment submitted of MedievalStudies, Accepted in conformance with the standards of the CEU of the Master of Arts degree in Medieval Studies ______Chair, Examination Committee Examination Chair, ART ANDLITERATURE Andrea-Bianka Znorovszky Andrea-Bianka Thesis Supervisor Examiner Examiner (Romania) May 2011 Budapest ii by CEU eTD Collection Central Central University,European in Budapest, partial fulfillmentof requirementsthe MARINUS UNVEILED: A TRANSVESTITE SAINTINWESTERN ATRANSVESTITE UNVEILED: MARINUS Thesis totheDepartment submitted of MedievalStudies, Accepted in conformance with the standards of the CEU of the Master of Arts degree in Medieval Studies ______ART ANDLITERATURE Andrea-Bianka Znorovszky Andrea-Bianka External Examiner (Romania) May 2011 Budapest iii by CEU eTD Collection Central Central University,European in Budapest, partial fulfillmentof requirementsthe MARINUS UNVEILED: A TRANSVESTITE SAINTINWESTERN ATRANSVESTITE UNVEILED: MARINUS Accepted in conformance with the standards of the CEU Thesis totheDepartment submitted of MedievalStudies, of the Master of Arts degree in Medieval Studies ______ART ANDLITERATURE ______Andrea-Bianka Znorovszky Andrea-Bianka External External Supervisor Supervisor (Romania) May 2011 Budapest iv by CEU eTD Collection other institution institution other higher education forof an degree. academic no in Ialso partof declareform to any this hasbeensubmitted thesis that copyright. the of work andothers, nopart of institution’s thesisthe infringes on any person’s or nounidentified and use that bibliography. Ideclare andillegitimate was made the of notes in credited asproperly information external such only and research my on based my iswork, own exclusively presentthesis the that herewith declare Studies in Medieval Budapest, May Budapest, May 2011 undersigned, I, the Andrea-Bianka Znorovszky v , candidate for theMAdegree , candidate ______Signature CEU eTD Collection Polistena, Italy for allowing me to access useful resources from the Library of in of Library Polistena.the Director andtoGiovanni Russo, Latin the texts, of my translation the topic. I am thankfulto Professor GáborKlaniczay whosesuggestions helpedme to a take broader view on to my supervisor, Professormy enabled support adviser,whose me developthesis to I subject. the my offer regards Cristian Gerhard Jaritz, Professor am grateful to I foremost, and First Gastudy. this of completion and preparation in the assistance valuable their extended and contributed another I am grateful for the guidance and help of several individuals who in one way or ACKNOWLEDGEMENTS vi ú par, who supervised CEU eTD Collection DOTS)...... 105 LIST OF ILLUSTRATIONS AND ...... 109 IMAGE CATALOGUE APPENDIX II...... 109 (REGIONS WHERE SAINT MARINA’S CULT EXISTS ARE MARKED WITH MAPS OF ITALY...... 105 ...... 105 APPENDIX I ...... 104 APPENDICES BIBLIOGRAPHY...... 98 CONCLUSIONS...... 95 2. Holy Paintings ...... 90 and Penitent Statues 1. Illuminated Marina-Marinus-Mary...... 82 ...... 82 CHAPTER III ...... 79 Conclusions 2. Statues...... 69 1. Illuminations, paintings, engravings, frescoes, and flags...... 56 Marina(-us): From Solitary Monk toSponsa Christi...... 54 ...... 54 CHAPTER II ...... 45 Conclusions 3. Reintegration...... 44 ...... 32 2. Liminality ...... 20 1. Separation Saint Marina: Text and Metamorphosis...... 16 CHAPTER I...... 16 ...... 1 INTRODUCTION viiviii LIST OF FIGURES ...... IN THE TEXT vii TABLE OF CONTENTS...... ACKNOWLEDGEMENTS...... vi vitae ...... 82 TABLE OFCONTENTS TABLE CEU eTD Collection http://fe.fondazionezeri.unibo.it/catalogo/scheda.jsp?decorator=layout&apply=true&ti Francis of Assisi and two saints, anonymous artist, sixteenth51……...... 88 century, Italy,Paris, Venice(at National Library France, Frenchof stack: 183….……..………….85 1 2011).………………………………………………92 d%26%23039%3bAssisi+e+due+santi on+Bambino+in+gloria+con+san+Benedetto%2c+santa+Marina%2c+san+Francesco+ po_scheda=OA&id=43835&titolo=Anonimo+veneziano+sec.+XVI+%2c+Madonna+c Paris, 1327, Master, man, Fauvel asa disguised monastery French 241. ………………………..………………………………..84 the Paris, France, Calabria,by Filandari, (photo author)……………………..…...74 the &tipo_scheda=OA&id=45261 (at Venice Italy, century, sixteenth Damian the Madonnaadoring andthe Childin glory, (il Robusti Jacopo Tintoretto), 5080 RES………………….…………………………………....60 1333-1350, The complete list is to be found in the Image Catalogue. Image the in tobefound is list complete The http://fe.fondazionezeri.unibo.it/catalogo/scheda.jsp?decorator=layout&apply=true Speculum historiale Fig. 3. Saint Marina (statue), eighteenth century, Church of Saint Marina, Italy, Marina, Saint of Church century, eighteenth (statue), Marina Saint 3. Fig. Fig. 7. Madonna with Child in glory with Saint Benedict, Saint Marina, Saint Fig. 6. Scenes from Saint Marina’s life. Marina’s Saint from Scenes 6. Fig. Fig. 5. Discovery of theFig. 4.SaintMarina entrusted to themonastery, 1348, deMontbaston, Richard real sex of St. Euphrosyne, who tried to enterSaint and Cosmas Saint Theodore, Saint Marina, a Saint Cecilia, Saint 2. Fig. Fig. 1. SaintMarina, disguised asmonk, with a childin her arms, France, Speculumhistoriale Golden Legend, Golden , Folio 201v, National Library of France, stack: French , Lastaccessed: May …….....64 21, 2011)………… LIST OF FIGURES IN THE TEXT INTHE FIGURES LIST OF , Folio 408v, National Library of France, stack: MS Folio 139v National Library of stack: France, , Last accessed: May 21, viii (François and(François 1463, France, collab., Vies des Saints 1 Folio61v CEU eTD Collection and confesses innkeeper’s the that shedaughter wasseduced by miraclea soldier.first The identity discover herreal andby areamazed discovery. their abbot repents The of his deeds among themonks sheis discovered deadin herWhile cell. washing her body, the monks from days of Afterthree she is absence activities. humblest monastery, the Inside the given Impressed byher andhumility, penitence monks the the convince toacceptherabbot back. monastery. of gates the childatthe with new-born livesthe and together by theabbot fathering child.Although his guiltless, daughter’s Marina accepts penanceimposedthe on her bussines toanearby andan inn.After sleepsattown awhileinnkeeper accusesher the of monastery’s the for goes she when changes life her of course The monks. of community the promise Marinaconvinces to himnot to revealher realidentity. Shelives a life pious among a man.fatherMarina, asandher awhile with dies After disguised He takes his daughter, of his the death enteramonastery wife.after to fatherdecides Marina’s briefly: summarized and achieveto spirituality. One of these holy female monks is Saint Marina whose and their ways of transvestitismissue: orindividually, analyzedin groups these fascinate.women still Although their reasons varied, their purpose was the same: to fleewith this transvestite saint,from her visual representations, and the aspectthe of her cross-dressing. world Marina the monk,Saint to belongs it whether is questionable it name, the a bearing holy saints numerous are there transvestite saint,Saint or not. Marina of church The the of altar main the on focussituated were fromwhich relics, saint’s the for ofVenice.Constantinople this study The isleft in connection hand,itfrom was from Museum incentury, brought thirteenth the Italy.Venice, Dating which was missing, was attached to it later. As The phenomenon of female cross-dressing in monastic space is a greatly is agreatly debated in monastic space female cross-dressing of The phenomenon Correr in the view public for is disposed Marina Saint of reliquary hand old An INTRODUCTION 1 vita can be can CEU eTD Collection http://maroniteinstitute.org/MARI/JMS/january00/Saint_Marina_the_Monk.htm 6 5 4 Charles Virolleaud,Charles “Les travaux archéologiques en Syrie en 1922-1923,” monastery. tothe Cave andisclose Marina, of the Marina, 3 Century residence of the patriarchs, who changed its name to and a as coenobites for numerous of asaplace seclusion served Lebanon and Mount close to Bšaré in northern Lebanon. The monastery was situated in a mountainous region of Italy. or Egypt, Alexandria, origin is confusing, asevery his ownplace attributed hagiographer of origin as hers: Bythynia, aversion herof containing manuscripts Syrian of of earliest one the in is monasticism established date thatwhich the already well 778, Léon Clugnetargues was exactcentury the when isshe lived as unknown, inthere is nohistorical information her in of ismentioned sea,adetail Latinversions tothe her close the Tripoli which 7 2 Kalamoun/Qalam of town inthe born was she that suppose Maronites The communities. French and Italian, by celebrated Maronites. the is she where is place andthat Lebanon, exists, still her tradition seek itwhere should one that madein whichrock ascellsserved themonks. for term in The century. monastery fifth the in Qannoubin the devil. performed by her relics is thehealing of innkeeper’sthe daughterfrom possession by the Clugnet, Jean Maurice Fiey, Maurice Jean Ibidem, VI. Léon Clugnet, Léon Charles-Léonce Brossé, “Les peintures de la Grotte de Marina près Tripoli,” près Marina de Grotte la de peintures “Les Brossé, Charles-Léonce Brigitte Cazelles, Brigitte (Philadelphia: University of Pennsylvania Press, 1991), 238. The cave is which supposed to have been her placeof penance, iscalled Mogharet She isvenerated not by only Maronitethe Church, butalso by Armenian,the Greek, asamonk who livedis saintMarina disguised Saint that a Syrian states One tradition Vie etoffice deSainte Marine, Vie et office deSainteMarine The Lady as Saint: A Collection of French Hagiographic Romances of the Thirteenth Saints Saints Syriaques nj n close to Tripoli toTripoli n girl and the herwasbornclose whofalsely in accused Turza, 4 5 When trying to establish her real origin, Léon Clugnet mentions Clugnet Léon origin, real her establish to trying When (Princeton: The Darwin Press,2004), 135. X and also Guita G. Hourani, (Paris: Librairie A. Picard et Fils, 1905), VI. 2 2 kadicha The monastery is situated southeast of southeast issituated monastery The 7 In his article, his In that means saint”. “the that kanoubine Syria SaintMarina the Monk Syria 5,No. 2(1924): 117-118. , Last accessed: April 11, 2011). vita 7, No. 1(1926): 30. See also refers to the caverns tothe refers with additions. Les peinturesdela vita . Although . 6 Part I. Part 3 Her vita (in . CEU eTD Collection 14 13 12 11 10 9 8 saint of the century) nameis included,in is whose written Greek characters, firstsaint of herself. group the layer, The a painting older form nineth-thirteenth (possibly the establishing theiridentity.Among these paintings are some depictions which represent the inhabitants, inscriptionsthe of names the saintsthe of being of importancegreat in Muslim by the destroyed been have characters the of faces the of most Unfortunately, layerrepresentations. more recent layera of an and are older thatthere revealing grotte deMarina près de Tripoli scenes from life.herscenes from of lastpart the youth of the saint from the scenes while represent four panels first life. The Marina’s Saint of scenes with panels the last four, whichrecent are heavily layer damaged, ofare supposedpaintings to present illustrates Saint Demetrius killing the Devil, painted over eight supposed havesupposed been to places the and of her death her burial. saint’s intercession and protection. was transformed intoa chapel and became a place of pilgrimage for women who asked for the her of versions French and Latin the to according them painted and West the from but area that from not was scenes the of painter letters. in Latin name the abovetheirof head each character related with women’s bodies. women’s with related shefactfor curesdiseases the for that herhumility, and penance, endure forto hercapacity isalthough thefactthat she usedamasculine disguise andlivedas is worshipeda monk,she Ibidem, 38. 32. “Les peintures,” Brossé, Brossé, “Les peintures de la Grotte de Marina près Tripoli,” 45. Tripoli,” près Marina de Grotte la de “Les peintures Brossé, Clugnet, Ibidem, 41. Ibidem, 39. Ibidem, 39. Vie et office de Sainte Marine, , Charles-Léonce Brossé analyzes the paintings from from hercave, paintings the analyzes Brossé , Charles-Léonce XI 9 13 vita It is remarkable that the painter of these scenes wrote scenes these of painter the that isIt remarkable Besides this, there are two other caves which are which caves other two are there this, Besides 11 from the ninth and thirteenth centuries. thirteenth and ninth the from 3 14 What is important to note here note to important is What 10 Theauthor states thatthe 8 while the more 12 The cave The CEU eTD Collection (in 19 18 17 16 cave is with astone a carving is tohave which supposed served asa forcradle thebaby, in the Inside lifeis their restofherarea. lived the situated cavewhere the that believe Marina 17 July. Cyprus whose inhabitants celebrate Saint Marina’s cult. She is celebrated by the Maronites on Byzantine Studies 20 15 Liberal Alexis.and Thechurch builtinwas 1130anddedicated her wasnot whento but, the in The relics in by Constantinople deBora 1230. were deposited Jacobus of church the Saints Antioch. of Marina sameanalyzes the in cult to pagancults,relation butstates that cultthe pertained toSaint In his hers. article, is similar to that cult pagan old an replaced has cured of sterility or to get helplabour. during Clugnet points out that cultthe Marina of Saint Artemis. Her cult is associated with childbirth as numerous of atemple heron over Nymphs hill the the to isof dedicated achurch where there in Athens women come to the church to be was in her past. cult the that she is claimed by both factfrom havea Greekcommunity hercult the must and theArmenians received Clugnet, the Armenian and Syrianthe saint has no feastcommunity day and around this cave are the ruins of an old monastery. According to is proof of how important by Chebit, reproduced Clugnet, Léon century. twelfth the of end the at islands surrounding Hourani,Saint Marina the Monk. Part II. Ibidem, XIII Ibidem, XII. Ibidem, XI-XII. Gerald V. Lalonde, “Pagan Cult to Christian Ritual: the Case of Agia Maria Theseiou,” Maria of Agia Case the Ritual: Christian to Cult “Pagan V.Lalonde, Gerald Clugnet, http://maroniteinstitute.org/MARI/JMS/july00/Saint_Marina_The_Monk.htm Another community which celebrates her cult is that of the Armenians of Erek, who of Erek, Armenians is of the hercultthat celebrates community which Another Saint Marina became the patron saint of Venice when her body was translated from whenherbody was translated of saintVenice Marina patron became the Saint According toClugnet, in Greece, hercult isnot only celebrated in Cyprus, Her cult was Her cult by transmitted Maronite refugeesisland to the of Cyprus andthe Vie et office de Sainte Marine, 45 (2005): 91-125. 18 XI. 16 there is a village, Agia Marina, on the island of island the on Marina, Agia village, a is there 4 15 According to a letter of Abbot P. , Last accessed: 11, April 2011). 20 Lalonde V. Gerald Greek, Roman, and 19 but also but 17 but CEU eTD Collection http://maroniteinstitute.org/MARI/JMS/january00/Saint_Marina_the_Monk.htm in the north of Paris there was a church dedicated to Saint Marina. Saint to dedicated achurch was there of Paris in north the Also regions. southern inthe especially in Italy, elsewhere also but inVenice, only celebrated celebration, that is, 17 July, which he supposes has been borrowed from the Maronites. 26 from from 996 to1034during reign the of Pious.Robert the of France, to Imbert, bishop of Paris,in 1013. Therefore, the church of Saint Marina may date construction of the church. According to one version, the church was offered by Henry I, king with berelated the to whichareconsidered several is thereare dates was builtunknown; Antioch. of Marina The hand that was later not visible it leftfact havethe arm was violently that does of signs are broken. there the and attached to theVenice, to brought was relic which the Latin sources, descriptions the from the According to relic does not belong which in remained Qanoubinethe monastery until an whenuncertain itdate, disappeared. to Saintarm, left her of absence isthe authenticity Marina relic’s the of A sign Marina. Saint to belonged but tohave could Saint Constantinople, from translated were which relics, the that out point which Erek. arefrom whether herrelics Therearesomeor sources Qannoubin in details written 25 24 http://maroniteinstitute.org/MARI/JMS/january00/Saint_Marina_the_Monk.htm her. 27 23 22 21 Maria in Santa Formosa Venice. Marina. The church was demolishedin 1820 and her relics were translated Churchto the of her relics, bought Venetians it whichwereplacedwas on altar,the toSaint rededicated Ibidem, XXI and Iacopo da Varazze, da Iacopo and XXI Ibidem, XX. Ibidem, Clugnet, Clugnet, Clugnet, Clugnet, http://www.slowtrav.com/blog/annienc/2008/05/santa_marina.html 22 What Clugnet fails to mention in his book is that the cult of Saint Marina is not The date of her translation from Syria to Constantinople is unknown; also unknown is unknown also is unknown; Constantinople to Syria from translation her of date The Vie et office de Sainte Marine Vie et office de Sainte Marine, Vie etoffice deSainte Marine Vie etoffice de Sainte Marine 25 Clugnet identifies a second proof of authenticity, namely, the day of her 21 Legenda Aurea , XXIV. Today, a shrine (which is a part of a hotel) commemorates XVII. , XVIII, and also Hourani, , XXVand also Hourani, (Florence: Edizioni del Galluzzo,2007), 1567. 5 27 This shows that her cultwas known This that shows , Last accessed: April 11, 2011). SaintMarina theMonk Saint Marina the Monk , Last accessed: April 11, 2011). , Last accessed: April11, 2011). 26 The exact date when it when date exact The . . Part I. Part I. Part (in (in 24 23 CEU eTD Collection (in 2011). 33 32 31 30 29 28 in before her Paris relics weremoved Venice,because of to possibly Maronites. the and wastheplace of marriagefor young girls. pregnant Venetian venerateto his patron saint.was It a small parish church which had few parishioners does not accept Abbot Lebeuf’s version according to whom the church was built by a rich as ithas been sincethelate 1950sand,popular in especially, 1970s.Thus,there are the street. for anew make space to III of reign Napoleon the worship heras Marina and even firstthe versions of her Dame should relic beMarina’s. Notre accordingly, from the hadarelic it.saint, Clugnet, every patron church the According Dame of accepts to butNotre transferred to Notre Dame. However, Clugnet cannotprove the authenticity of the relics from Venice, body of to were the in the before translation church clavicle,were the which hand or feminine version of version of feminineher name. Marina wasa thought astheauthor oraGreektext Syriac after a waswritten version Latin the is that first The suppositions. only offers and name her of origin the about certain saint from Spain. in Mary calledMargarita Marine, Latin Marina also of of the versions, Antioch, Egypt or a What is even more intriguingItaly. He presents only a short analysis of her cultin Venice.is of the south in the cult her about information origininclude not hedid as incomplete is Marina Saint of her name. Clugnet is not Ibidem, IV-V and Hourani, Ibidem, IV. Ibidem, XXVIII. Ibidem, XXIII. XXIV. Ibidem, XXV. Ibidem, http://maroniteinstitute.org/MARI/JMS/january00/Saint_Marina_the_Monk.htm The literature on research into the transvestite phenomenon in saints’ lives is quite rich is quite lives saints’ in phenomenon transvestite the into research on literature The Monastic transvestite saints andmodern scholarlyresearch The saint’s name is easily confused with that of other saints: Marina of Alexandria, Saint Marina theMonk 32 call but Maronites herall the texts Second, Maria, Syrian the . Part I. Part 6 vita 29 30 The church was demolished under demolished was church The The relics of the saint, part of her called herMarina. 31 His research on thecult of , Last accessed: April 11, April accessed: , Last 33 28 Clugnet CEU eTD Collection (1958): 1-33. 42 Kristina Straub (New York: Routledge, 1991), 29-49. Antiquity,” in Late Women Elizabeth Castelli, “I Will Make Mary Male: Pieties of the Body and Gender Transformation ofW. Sommer (Charlottesville:Christian University Press of Virginia, 1990), 36-59, and also an analysisonPerpetua by Strength :Historical Perspectives on Women in Christianity 41 Holy Women Disguised as Men,” 40 Pilgrimage During Byzantinethe Period,” 39 Sex, andGender ( 1381-1394 and also Vern L.Bullough, Jamesand Brundage, and many more. 38 least, Stephen J. Davis’ study analyzes the phenomenon from an intertextual perspective, intertextual an from phenomenon the analyzes study Davis’ J. Stephen least, social comparedstatus to male cross-dressers, wholose status by transvestitism.but Last not gained saints transvestite woman isthat conclusion Bullough’s family. saint’s the towards with hostility connected from break existence, a preceding a signifies transvestitism Delcourt, Marie Delcourt while Late Antiquity, in thought and practice Christian to is connected phenomenon transvestite the of origin the monks” andthat not real they record femaledo Évelyne out that behaviour.points Patlagean John Anson, John survival cultthe of of bisexualthe Aphrodite of Cyprus.interpretations Recent are those of is a disguise saint’s the that out points he Furthermore, romances. Greek through hagiography Christian into andpassed motif is of pagan origin transvestite that the considers Usener 35 Byzance,” 37 Viator 36 1998), 51 and 150-160. 34 nineteenth century and Hippolyte Delehaye Usener Herman of those are interpretations earliest the Among it. explain to literary, psychological, socio-religious, theological, and textual interpretations which attempt New GarlandYork: Publishing, 1996), 223-242 and Vern BulloughL. Bonnie and Bullough, Marie Delcourt, “Le Complexe de Diane and l’hagiographie Chretienne,” l’hagiographie and Diane de “Le Complexe Delcourt, Marie See Susan Ashbrook Harvey, “Women in Early Byzantine Hagiography: Reversing the Story,” in Stephen,J. Davis,“Crossed Crossed Texts, Sex:Intertextuality Gender inand Early LegendsChristian of Vern L. Bullough, “Transvestites in the Middle Ages,” Middle the in “Transvestites Bullough, L. Vern Hippolyte Delehaye, Hippolyte John Anson, “The Female Transvestite in Early Monasticism: The Origin and the Development ofaMotive,” Development the and Origin The Monasticism: in Early Transvestite Female “The Anson, John Hermann Usener, Hermann Évelyne Patlagean, “L’ histoire de la femme déguisée en moine et l’évolution de la sainteté feminine a feminine lasainteté de l’évolution et en moine déguisée femme dela “L’ histoire Patlagean, Évelyne Sylvia Schein, “The Female Men of God and Men Who Were Women. Female Saints and Holy Land Holy and Saints Female Women. Were Who Men and of God Men Female “The Schein, Sylvia 5 (1974): 1-32. Studi Medievali 36 (Philadelphia: University of Pennsylvania Press, 1993), 51-57. Patlagean, Évelyne 41 Legenden der heiligen Pelagia heiligen der Legenden Thus, John Anson considers that these that considers Anson John Thus, The Legends of the Saints 17, No. 3(1976): 597-623. in Body Guards: the Cultural Politics of Gender Ambiguity Journalof Early Christian Studies 37 Hagiographica Vern L.Bullough, 42 explains itfrom a psychological point of view. For (Brussels, 1905, 1906, reprinted Dublin: Four Courts Press, (Bonn: Adolph Marcus, 1879), I-XXIV. 35 7 at the beginning of the twentieth century. twentieth the of beginning the at 5 (1998): 1-36. The American Journal of Sociology Handbook of Medieval Sexuality: A Book of Essays , ed. L. Coon, Katherine J. Haldane, and Elisabeth and Haldane, J. Katherine Coon, L. , ed. 38 Sylvia Schein, Sylvia 10, No. 1(2002): 1-36. vitae Revue de l’histoire desreligions were written by “monks for 39 Davis,J. Stephen , ed., Julia Epstein and 79, No.6 (1974): Cross Dressing, Cross That Gentle 34 i the in 153 40 CEU eTD Collection analysis of her visual representations lacks. I study the changes, developments, additions, and additions, developments, changes, study the I lacks. representations visual her of analysis reasarch hadinvestigated and offered variousof interpretations her vitae, buta comparative a men’s andbeingsanctified.clothes Qunisext http://www.ccel.org/ccel/schaff/npnf214.viii.v.i.html be anathema.” her let subjection, of ordinance the itwere as annulling from pretended asceticism shall cut off her whichhair, God gave asthe her reminder of subjection,her thus woman’s accustomed clothing, shall put on thatof man, let her be anathema.” and Canon XVII: “If any woman 44 Garland Publishing, 1996), 25. of Gratian, the penitential of Burchard of Worms, councils such as the one from Gangraforbid women to wear the clothes of the Papula of Gaul, Susanna/John. Notonly and theprescriptions in did oppositeDeuteronomy (22:5) sex, but so did a canon fromMarina/Marinus, Reparata/Pelagius, Margareta Hilaria/Hilarion, theEuphrosyne/Smaragdus, Eugenia/Eugenius, marriage apersistent Apollonaris/Dorotheus, suitor: or unwanted Shunichi Akasaka, “What Was Cross Dressing in the Middle Ages?” (at in Trullo Revisited, ed. George Nedungatt (Rome: Pontifico Istituto Orientale, 1995), 46 and also the article of 45 socalled the monks, virgin and formerincludes prostitutes wives choosing todopenance. Thesecondgroupis that of the cross-dressing-in-the-middle-ages-shunichi-akasaka-pdf-d58873526 43 analysis of visual the sources (illuminations, engravings, and soon)is missing. much Scriptures.the Although textual hasbeendonein field,analysis acomparative this from drawn mostly patterns various in but did, Delehaye Hippolyte and Patlagean, Évelyne in the only not motif the of origin the identifying See Canon XIII: “If any woman, under pretence of asceticism, shall change her apparel and, instead ofa instead and, apparel her change shall of asceticism, pretence under woman, “If any XIII: Canon See See Canon LXII “… no man should wear feminie attire, nor any woman that which suits men.” in The Council in The men.” suits which that woman any nor attire, feminie wear should man “… no LXII Canon See Hotchkiss,Valerie,R. monachoparthenoi The topic my of focusesa on thesis comparative study of visualthe of representations Valerie R.Valerie Hotchkiss 45 and so on. However, despite of all these interdictions, women kept on wearing on kept women interdictions, all despite of these However, so on. and saint, Saint Marina, and the various versions of her of versions various the and Marina, Saint saint, Clothes Make the Man. Female Cross Dressing in Medieval Europe 43 monachoparthenoi divides saints these into agroup of penitents (Pelagia)which (Last accessed: May 21, 2011). 8 , who use transvestitism in order to avoid an vitae of Thekla and Pelagia, as John Anson, , (Last accessed: April11,2011). http://ebookbrowse.com/what-was- vitas . Scholarly . (New York: Decretum 44 and CEU eTD Collection so, how? iconographic attributes, other questions emerge: otherquestions attributes, iconographic earlier depictions because they of of basisforare the the areindispensable reconstruction the representations the saint. As I intend visual anddevelopments)? Themodern Early reception, (creation, period Modern to analyze the to century ninth the from texts the and images in changes representations Marina’s in St. differences and developments of the saints. transvestite illuminator the of may manuscriptone by have beeninfluenced of other representations area, and audience. I will also attempt topoint out any common influences, asitis likely that tonsure, physiognomy, gestures, etc.) and their developments according todifferences in time, and statues from because one fifteenth canfindonwards the representations century engravings, paintings, in public spaces.Most ofmy are manuscriptssources illuminations, but Ialso use other types of visual I willhagiography.focus I on periodthe from earlythe MiddleAges until Early the period.Modern identify the patterns of each representation audiences. various to according andelsewhere) (Italy, France, (clothes, periods andregions inof indifferent occurred her representations patterns thatomissions the x x x x x my will be the are the Whatbasis followingof question The research thesis: My researchQuestions, sources, methodology is transdisciplinary as it deals with sources from art history and Can one connect the changes with viewers? the changesthe with connectCan one changes? for the reasons are the What in Isthereadifference compared totheoriginal prototypes? representations the Do the iconographic attributes of the saint differ according toregion and period? If Are there patterns and, if so, what are they? 9 CEU eTD Collection del Galluzzo,del 2007), 324-325. Press, 1993),256-257 and Iacopo da Varazze, 47 does penancedoes although guiltless. The most similar pattern in the the saint and her family. Another essential sequence is that of the innocent whobetween in isthebreak is sequence the pattern life. first The saint’s particular of path the that blamed and there will be a number of different versions of regional representations of the saint. possibility means thatthereisthe cultthe saint. developmentthat Thisgenerally of the the of andinfluenced indicates relics these of West; presence cametothe of saints of some the incirculated spaces,various whichgaverise relics tochangesand the Furthermore, additions. 46 Golden Legend, her versions andof groups Eastern Western the between main differences out pointthe to prototypes life her as version of Syriac the development the of ofversions various differentalso use I Spain, and themes. Germany, France, inItaly, century fifteenth the to up Besides century ninth the from starting these versions, visualI will analysis foruse the visualone representations. Greek andMy texts areone from different regions and periods phases life.herof saintas an individual figure as well in as narrative sequences which show the most important of the in arepresent visual the representations is These patterns revealed. Marina’s secret Clugnet, Jacobus de Voragine, de Jacobus In most of the texts there are common patterns which change and develop according to I use two major methods while examiningmy data: textual analysis for the It is clear that the motif of the transvestite saint in visual representations and in and representations visual in saint transvestite the of motif the that is clear It arethey? what viewers? so, If of categories different Were there Vie et office de Sainte Marine vita 47 from Léon Clugnet’s Léon from Translation in English Saint’s Lives Ten Byzantium: ofWomen Holy The Golden Legend vitae . The main sources for my investigation are the collection of the , 1-271. , trans. William Granger Ryan (Princeton: PrincetonUniversity Legenda Aurea 46 vitae Vie et de office Sainte Marine, 10 from in modern the period tounderlineorder , ed. Giovanni Paolo Maggioni vitae is the third one, when one, third is the versions of (Florence: Edizioni vitae vitae and The CEU eTD Collection representations which are used as decoration. The second group is whichsecondgroup The totheEarly are usedasdecoration. representations connected chronological illuminations,order: paintings, engravings, frescoes, flags, and visual other two groups: one of paintingsthe and one of statues. the I haveincluded in first the group, in manuscripts, museums, books (as illustrations), churches, century). theseventeenth century to from ninth the date and so on. I have divided them by 5528]) reproduced Clugnet-[BHL in the Metaphrast’s Greek version, and the and version, Greek Metaphrast’s the Latina Marine 53 Sainte Marine of second group C 240 inf. Edited by Maggionicollection,use I two versionsother ofit, namely, abilingual edition of Ambrosianthe Codex and one English translation by William Granger Ryan. The 52 Sainte Marine P. Migne, 1849-1850, Facsimile (reprint, Turnhout: Brepols,1986-1997), reproduced in Clugnet, 51 Milan. of Library Ambrosian the F.182r-188rfrom the Library of Cambridge University, and ms. LatinB. 49 Inf. (olim R 978) f. 135v-136r from of France, Latin stock: ms.2328,f. 118v-120r, ms.10840, f.145r-147r, and ms. 5296,f. 63r-64r; ms.Mm. VI. 50 Studia Sinaitica 49 DumbartonOaks, 1996), 23-24. 48 Legend arefrom there. only texts) (four of the Latin versions I usevita are from this book, whereas the French (nine texts) orSinaiPalimpsestAntiochene and German by Talbot), (edited Alice-Mary Petrusde Natalibus, Auctore incerto, Auctore LatinThe transcriptions reproduced by are fromClugnet thefollowing manuscripts from National the Library Alice-Mary Talbot, Lippomano, Luigi Agnes Smith Lewis, “Select Narratives of Holy Women from the Syro-Antiochene or Sinai Palimpsest,” Sinai or Syro-Antiochene the from Women Holy of Narratives “Select Lewis, Smith Agnes of Saint Marina. Basically, it is itMarina.of herof a Saint Basically, collection , 266-267. [BHL 5528]and The visual representations are from asthe from sameregions the are representations The visual . Besides the French and Latin and of versions . Besides French the Latin The book of Léon Clugnet commences with a brief investigation of the cult and the and cult the of investigation brief a with commences Clugnet Léon of book The , 26-31. , 22-29. 10(1900): 36-45. Vita Sanctae Marinae Virginis vitae De uitis sanctorum Holy Women of Byzantium: Ten Saint’s Lives in English Translation Catalogus Sanctorum are by various editors or authors such as J. P. Migne’s P. asJ. such authors or editors various by are De uitis sanctorum 48 (translated by Agnes Smith Smith Lewis). by (translated Agnes and the and 50 The second source for the Latin versions is versions Latin the for source second The (Venice,1581), 282v-283v reproducedClugnet, in . (Venice,1521), 104v reproduce in Clugnet, Altogether I use nine Latin versions of her , Selected Narratives ofHolyWomen the from Syro- Catalogus Sanctorum Patrologia Latina LXXIII, ed. J.-P. Migne, 691-695. Paris: J.- of 11 Luigi Lippomano, The Golden Legend vitae in various languages. Almost all Almost languages. invarious 52 of deNatalibus of Petrus which is based on Symeon on based is which 49 vitae included in Clugnet’s Vie et office de Sainte . They appear in . They appear (Washington, D. C.: Vie et office de 51 vitae Vie et office de office Vie et The Golden Patrologia (which 53 (all CEU eTD Collection identity is almost discovered because of the marks earrings left in her earringsleft of because both is marks of the ears: discovered almostidentity of hide.Perge hidesfrom Matrona her abusiveamonk husband in as a monastery. Her to and toherrepentance herwish is related cross-dressing Pelagia’s theirhide from husbands. Egypt, who were former prostitutes and repented and wives who use transvestitism in order to monks. 55 54 ninth century. the and sixth the between somewhere peak its reached and century fourth the around genre hagiographic the into introduced was saint transvestite the of motif The saints. transvestite in hagiography. the saints of transvestite differences of her representations the of incomparing the two types of sources, the visual theseand consists textual, the andestablishing the sources. investigation my of phase last InThe what analysis. followssociological or I will psychological deal with the types any with in connection is not it view; of point attribute iconographic this from strictly transvestitism. I consider it essential to mention that I apply the terminology of emphasizeto in her whichareused is order change herclothes, connected to this whichis attribute iconographic important mostman toawoman. from of the a that Oneof physiognomy and clothing, whilein the representationsother her depiction gradually changed from monkrepresentation tonun. Inmost of illuminationsthe she is withdepicted masculine importantmostpart myof consists ofinvestigatingwork the development of Marina’s visual Modern period and comprisesvisual representations onstatues, heraldry, reliefs. and The Hotchkiss, Schein, “The Female-Men of God,” 17. 55 In addition to the textual of to there isalsoIn addition the matter of textual sources, variousthe groups the Types of transvestite saints yourears arepierced?’ blessed Butthe brother,replied Matrona curtly,‘You, both of lobes the that brother, it, is ‘How manner, jocular in a her he to Said The first group contains saints, such as Pelagia, Theodora of Alexandria, Mary of Clothes MakeMan the 54 virginandpenitents saints: transvestite of main groups are two There , 25. 12 transvestitism CEU eTD Collection Burrus points out the connection between Pelagia’s appearance in the first part of the of part first in the appearance Pelagia’s between connection the out points Burrus 62 61 andalso but accessories, by spiritual the hepotential perceivesin her adornment. by not only her clothes forherconversion, responsible bishop the Nonnos, fascinates Pelagia with her atthebeginning appearance of her vita. connected strongly was transvestitism Pelagia’s East West. to the the from spread and famous only of motif,not her of one prototypes the butthe transvestite considered I considerdressing. that group the saintsof penitent is by bestrepresented Pelagia, assheis 60 156 considers it tobe Pelagia. Delehaye, indiffers Whatand holy. society carnality become and their the represents “original motif” is still debated. and saints which one of transvestite representations earliest the areamong andPelagia Thecla moine,” 608, and Hotchkiss, 59 58 57 connected Christianto missionizing asshecross-dressed inordertofollow Paul. 56 from century. second Thecaseof the dates Thecla Wilgeforte. by female saint, twogroups, arerepresented as these such Theclaothers andabearded Besides monasteries monks. tobecome entered and fathers, transvestitism their used follow Euphrosyne, Eugenia, Susanna, Hilaria, Apollonaris) who, refusing tomarry, willing or to Ibidem, 141. Ibidem, 138. Virginia Burrus, Virginia Anson, “The Female Transvestite in Early Monasticism,” 1, Patlagean, “L’ histoire de la femme déguisée en déguisée femme la de “L’ histoire 1, Patlagean, Monasticism,” Early in Transvestite Female “The Anson, Ibidem, 20. Schein, “The Female Men of God,” 20. Talbot, All these saints used transvestitism at certain times in their lives in order to break with The second group of transvestite saints is connected to a groupof women of to (Marina, The second saintstransvestite group isconnected saw me said that I was a girl.’ and she shrank notfrom putting gold about my ears, so that many of those who lovingly towarddisposed me, maintainingme with all generosity andluxury, to learn of this, hear the reason. The woman shouldbeto payingattention ground,to the nottome.whom Butsinceyou areminded I formerly belonged was have indulgedyourself in afrivolous manner, unbefitting ourprofession. You Holy Women of Byzantium The Legends of theSaints The Sex Lives of Saints Clothes Make the Man , 23-24. , (Brussels, 1905, 1906 reprinted in Dublin: Four Courts Press,1998), 150- (Philadelphia: University of Pennsylvania Press, 2004), 137-146. 56 13 , 59 20 consider Thecla as the prototype while, Hippolite 60 Associated with the whore of Babylon, of whore the with Associated vitas are their purposes forcross- 57 Her transvestitism was transvestitism Her vita alsobecame 62 Virginia 58 Both vita 61 , CEU eTD Collection AD 350-450 of Virginity.” See also Gillian Cloke, University of Press,Chicago 1998): 155-156 and ChapterIII, “AtWhat Cost Virginity? Sanctity Heroicsand the 70 Saints’ Lives,” Saints’ 353-365 and also Emma Campbell, “Epistemology of Cloister: the Knowledge, Identity, and Place in Old French LivesSaints’ andTheir Contexts, 69 68 67 66 65 64 the History of Sexuality (Euphrosyne members a family member. Marina, Eugenia, Euphrosyne hid inmonasteries, but also hid from family emphasis?]and even this was sparse as it did not reach below the neck itsof body.” sun.the its of Ithadon by headif scorching the tanned the transformation they undergo: “What he saw was a naked figure whose body was black,Both as of these prostitute saints are associated with great beauty, which is then contrasted with inlives, thesense thattheirrepresents final the of evolution theiropposite state. previous penitent. Inboth of women’sthese Mary Pelagia, of Similarly Egypt to took it and She covered averted. eyes with he stood while her to it threw wearing, was he which certain cloak torn and parts of her bodyclothes in order to cover her nakedness: “Sohe quickly herbiddingdid and,removing theold that ought to be covereddidEgyptuse not transvestitism inordertoflee andhide from world.the used She Zosima’s more than others.” life. preservedintegrity, their their virginity, andemphasized their will choose to theirway own of 63 of transvestites, amongconsidered group the asa already “masquerading man Paul E. Szarmach, “St. Euphrosyne: Holy Transvestite,” in Talbot, 6-10. Legend,” in Medieval Saints Prostitute Harlots: “Holy Karras, Talbot, See the listinHotchkiss, Seethe Schein, “The Female Men of God,” 21. Ibidem, 138 and see also Ruth Mazo Karras, “Holy Harlots: Prostitute Saints in MedievalLegend,” Jane Tibbetts Schulenburg, Tibbetts Jane 70 For thesecondFor group, transvestitism was mostly connected tohiding their sex or from Holy Women of Byzantium Holy Women of Byzantium (London: Routledge, 1995), 57-81. The Journal of Medieval Religious Cultures 1, No. 1(1990): 13-15. Clothes Make theMan 69 purpose. Itcross-dressing hadandIn theircase, another Eugenia). Forgetful of Their Sex: Female Sanctity and Society, ca.500-1100 ed. Paul E. Szarmach (Albany: State University of New York Press, 1996), , 76, and see also Schein, “The Female Men of God,” 29. , 77. This Female Man of God: Women and Spiritual Power inthe Patristic Age, 63 and her later cross-dressing. A second saint sometimes saint A second cross-dressing. later her and vitae 67 a to prostitute from beingswitchedan enchanting , cross-dressing is connected tothefirstpart cross-dressing of their 131-141. 64 14 sometimes not, sometimes 36,No. 2 (2010): 211-217. Holy Men and Holy Women. Old English Prose 65 hair white as wool, was Mary of Egypt. Mary of 68 (Chicago: Journal of [whose 66 CEU eTD Collection 73 Eugenia attracted women,Eugenia attracted MarinaandEuphorsyne dangerous: seductive, Allof by and doingare ambiguous, penance. accepting them penance, Marina 72 71 Burrus, Hotchkiss, 213. Holy Transvestite,” Euphrosyne: “St. Szarmach, All saints became these The Sex Lives of Saints Clothes MakeMan the 72 while Pelagia’s dead body fascinated. , 146. , 24. sponsae Christi sponsae 71 attracted the monks from the monastery; Susanna and Susanna monastery; the from monks the attracted 15 , but from different perspectives: Pelagia by 73 CEU eTD Collection on the classification of rites and, especially, chapter II-The Territorial Passage. Territorial II-The chapter especially, and, of rites classification the on University Press, 1966),94-115 and Arnold vanGennep, comparison. I want to emphasize the fact that whenever I mention the Greek version, I am I mention Greekversion, the I whenever fact that emphasize the want to I comparison. West,the Ifind itindispensable touse two Eastern sources as prototypes in processthe of regions. texts with in connection Spain and France, Germany/Austria, Italy, of regions representations of Saint Marina and the versions of her of versions andthe Marina of Saint representations engravings, and As soon. the research focuses on relationshipthe between variousthe visual paintings, inilluminations, statues, attributes of iconographical when saintdepicted the 76 Translation my areessential the of for analysis These features Iam and features name,clothing. differentiating investigating physiognomy, are: tonsure, her invisualmaterial.of attributes and theiconographical patterns main representations The from hersequences in variations the examine different 75 74 liminality, reaggregation. and separation, it in phasesof three canidentify one the a rite passage: mentions that Constas recognition. flightfollowingfrom phases: world,the disguise andseclusion, anddiscovery and vitae Marina’s of Saint versions Nicholas Constas,“Life of Mary/Marinos,”St. in 13. Monasticism,” Early in saint Transvestite Female “The Anson, Seemore aboutliminality and of transvestite saints, John Anson identifies a tripartite structure which contains the contains which structure tripartite a identifies Anson John saints, transvestite of Although the purpose of this chapter is to examine and compare the variety of In this chapter, I discuss various sequences of events and actions from from different andactions of events sequences various Idiscuss this chapter, In , ed. Alice-Mary Talbot (Washington, D. C.: Dumbarton Oaks, 1996), 4. 74 In the introduction to the English translation of Saint Marina’s Saint of translation English the to introduction the In Saint Marina:Textand Metamorphosis vita 75 communitas in Western texts, namely, Latin, French, and German. In the In German. and French, Latin, namely, texts, Western in Startingfrom these tripartitestructures, CHAPTER I inVictor Turner, HolyWomen of Byzantium: Ten Saints’ Lives in English 16 The Rites of Passage vitae vita The Ritual Process , Idiscuss the depictions from the as they represent the standard the as they represent vita (London: Routledge,2004), 1-26 in connection with the with inconnection 76 my intention is to is intention my (New York: Cornell from the same the from vita , Nicholas , vitae in CEU eTD Collection 91 90 1996), 31. additions. contains already it however, details; fewer has it because ones, Syrian the and Greek the with by an anonymous author. Léon Clugnet considers it one of the most ancient versions, together Greek. whether this version is from France or Italy, the only supposition is that it is a translation from century. from tenth the considered to be the closest to the original tothe be closest to the considered century, Athos. Mount of monasteries in the 89 de Sainte Marine, century, in possibly Syria. seventh the and sixth the between sometime inGreek written been have must saint the of Arabic,Armenian, 88 87 86 85 84 Eastern versions are not the subject of this study, but only references. 83 Marine,” Marine,” Sainte de abregée vie “Une Palacios, Miguel Asin in century eighth the before literature Islamic in motif asimilar and 276 byAgnesfrom Lewis. Smith Syriac istranslation source English an secondEastern the 82 81 80 79 78 77 Marina’s Saint of Greek from translation English the to referring Clugnet, Cazelles, Ibidem, III and the same data in Marina Minghelli, Marina in data same the and III Ibidem, Heribert Rosweyde, Heribert Iacopo da Varazze, da Iacopo 2. Ibidem, 2. Ibidem, Constas, “Life of St. Mary/Marinos,” 2. Constas, “Life of St. Mary/Marinos,” 2 and Clugnet, furtherFor information seeClugnet, Marine,” Sainte de “Vie Blochet, E. and Guidi Ignazio also See See also Hervé Hyvernat, “Vie de Sainte Marine,” Sainte de “Vie Hyvernat, Hervé Seealso Marine,” Sainte de la “Histoire Nau, Frédéric Seealso 36-45. Narratives,” “Select Lewis, Constas, “Life of St. Mary/Marinos,” 7-12. 89 Saint Marina’s Revue de l’Orient Chrétien 87 This text is also found in the found is also text This Vie et office de Sainte Marine 91 is thatedited by RosweydeHeribert in The Lady as Saint The addition which Clugnet points out is the fact that Marina is morally obliged morally is Marina that fact the is out points Clugnet which addition The III. Revue de l’Orient Chrétien Legenda Aurea, 81 De uita et uerbis seniorum Ethiopian, Latin, French, German, English, and so on. 85 vita Written by an anonymous author, it is preserved in three manuscripts , 238. 83 circulated from East to West written in from Syriac, to Westwritten East circulated the called version, Greek surviving The oldest 9(1904): 560-594 and Constas,“Life ofMary/Marinos,”St. 1. (Florence: Edizioni del Galluzzo, 2007), 1567. , III. Vie et office de Sainte Marine, Sainte de office et Vie 86 The oldest Latin version, which dates from the ninth the from dates which version, Latin oldest The Vitae Patrum, 13 (1908): 67-71. (Antwerp, 1615), 393-391 reproduced inClugnet, Revue de l’Orient Chrétien vita 17 Vie et office de Sainte Santa Marina la travestita Revue de l’Orient Chrétien from the sixth or the seventh century, dates century, seventh the or sixth the from De vitaetverbis seniorumDe 90 and, according to Clugnet, was written Clugnet, and,according to Revue de l’Orient Chrétien 1-251, Léon Clugnet, “Vie de Sainte Marine, IV. vita 7 (1902): 126-152. 6(1901): 283-290. (Palermo: Sellerio Editore, by Nicholas Constas; by Nicholas 82 79 . The original Greek, Coptic, Greek, 88 It is unknown vita antiqua, 7 (1902): 7 245- Vie et office et Vie 78 The vita 84 80 77 CEU eTD Collection 1744), 74. 98 97 96 Ages with the first group. The last group refers to a single textfrom Ms. 5296-Codex Colbertinus, the ninth to the sixteenth century. (one Latin, two French, and two German), the other versions are written in prose, datingfor five inverseversions GreekExcept of versions. or Latin German translations are either from bishop of Limoges. Martial, Saint to belonged which 2328, Ms. of text the namely, them, of one only analyze preserved the oldest which contains divides France. Clugnet versions theLatin France into groups. three from The first group, Latin version, edited by Heribert Rosweyde. They are from two different regions: Italy and is Latin The Syriac earliest; the texts. later Greekor than the written 95 257. 94 January 11, 2011). 93 92 Cambridge. of Library the from manuscript Latin in the father influences inserted by the copyists or the hagiographer, as in the case of the occupation arelaterversions more with elaborations orfewer additions omissions,local including or of her only herfather.The Western in Westernthis ones belongs the to decision whereas monastery, identity. sheher notreveal fatherpromise will herthat to related to intentionality. to related is monastery the into entrance her regarding difference main the that fact the to attention Guillaume de Villefroy, Ms.10810, f.145r-147r National Library of France. Philippe Lauer, Clugnet, Ms. Mm. VI. 1 f. 182r Library of Cambridge University, reproduced in Clugnet, Akasaka, Shunichi see also 7 Mary/Marinos,” of St. “Life Constas, Ibidem, III-IV. , http://www.medievalists.net/2010/11/18/what-was-cross-dressing-in-the-middle-ages/ The Latin texts are either versions of versions areeither The Latin texts The versions of Saint Marina’s Saint of versions The Vie et office de Sainte Marine Catalogue général des manuscrits latins 96 The second group Catalogus Catalogus codicum manuscriptorum Bibliothecae regiae 93 In the Greek and Syriac versions it is Marina’s intention to enter the enter to intention is Marina’s it versions Syriac and Greek the In , III-IV. vitae 97 contains additions afewunimportant in comparison vita , is two versions written by illiterate copyists. I 18 The Golden Legend The Golden written in Latin, French, and German were German and French, Latin, in written (Paris:Bibliothèque nationale, 1940): 408. WhatWas Cross-Dressing in the Middle 92 94 At this point, I want to draw to want I point, thisAt or additions oldest the or to Vie et office de Sainte Marine (Paris: E Typografia Regia, ETypografia (Paris: 95 the French and the and French the , 5 (Last accessed 5 (Last , 98 , CEU eTD Collection 106 1905), 66. 105 104 Libraire-Éditeur, 1905), 349. 103 français: ancien fonds 102 101 100 of “escripta copyist, lejour dele MagdelaineparJehan Wag,” name the including information contains verse, and in prose legends of a collection another, “lequel est a monseigneur Charles de Croy, comte deChimay.” deCroy,a monseigneur comte Charles “lequel est isOnemanuscript addressedto“Blanche de Navarre, comtessedeChampagne,” members of clergy. restricted the only to not were versions of French the The audience 99 lives of saints of collections of translations sources, from Latin representations. represents the first phase of theturning development point not only in of a Saint constituted their vernaculars into the versions of these translation the clergy.the However, Marina’s diffusion as of mostly members waslimited to number recipients Thus, of the space. thein monastic mostly text became more accessible to a wider public. This additions. several contains which indicates the name of the copyist “Havin Le Fevre,l’an mil IIIIe IIIIxxXVI.” as in the case of Ms. 22911 from the National Library of France- French stack, which century. fourtheenth in the monk Cistercian Italian byan written was vita Clugnet, Ibidem, 6. Ibidem, HenriOmont, Ibidem, 349. Ibidem, 148-149. Ibidem, 254. J. Van Der Gheyn, S. J., H.-V. Michelant, Michel Deprez, Paul Meyer, C. Couderc, and L. Auvray, L. and Couderc, C. Meyer, Paul Deprez, Michel Michelant, H.-V. by Metaphrast, the Symeon The French are also manuscripts dividedinto threegroupsby translationsClugnet: circulated of regions these manuscripts from both seeLatin the One that can clearly Vie et office de Sainte Marine Catalogue général manuscrits des français: anciens petits fonds français (Paris: Firmin-Didot, 1868), 177. Manuscritsde laBibliothèque deBelgique Royale 105 Frenchor translations of SaintJerome’s 99 published in sixteenth-century publishedVenice, in whileasecondsixteenth-century text , 2. from of One versions the is Italy Latin of a translation the The GoldenLegend 19 , and two versions written in verse. written versions two and , 104 103 Otherversions are from 100 commissioner, the and (Brussels: Henri Lamertin, Catalogue des manuscrits Lives of the Fathers Lives of vita 106 (Paris: E. Leroux, but also of her 102 while 101 , CEU eTD Collection France and Italy. not version This does offer anyinformation the regarding origin saint. the of development and the diversity of the patterns of Saint Marina’s andremainbecome mostly to celibate Euphrosyne of the entrance arethose sequences common The monasteries. entered who saints transvestite other lives of separation from the monastery.in the phasearealsofoundsaintentered sequences The the and the inmen’s dressed daughter clothing. areHowever, there striking how related differences to the use of separation can be summarized: herfatherdecided toenteramonastery withand took him his clothing.also in the FrenchNot but monastery, into the entrance lifeand Marina’s Saint to is related that part the andcontaining onlyGerman versions. Marina, The sequences ofbut her life alsorelated to theEugenia phase of 111 110 109 Marine, regions. northern tothe from southern the andcirculated even earlier or century fifteenth the of her versions German of Wolfenbüttel. Library of andStrasbourg Königsberg, and ms. second, the Helmst.1203, is from Library the Arndes. 108 Marine, der Heiligen 107 Ibidem, 52. 5. Narratives,” “Select Lewis, Clugnet, Günter Zainer, Günter Arndes, Steffen 137-139. 126-128. Heribert Rosweyde’s edited version constitutes the starting point for analyzing the for analyzing point the starting constitutes version edited Rosweyde’s Heribert Origin texts the of versions Latin the in omissions and additions only not are There 1. Two of the four German versions are excerpts from saints’ lives; one from from fromone lives; the saints’ areexcerpts fourTwo German of versions the 108 109 Vie et office de Sainte Marine Of the other two, one is a version which is found in a manuscript from both the both from manuscript in a found is which version is a one two, other the Of Separation 111 by Zainer, Günther Euphorsyne life, Christian way of a lead Eugenia to used transvestitism: Leben der Heiligen, Leben der Heiligen, der Leben (Augsburg,1472), 56r-56v reproducedClugnet, in 107 , 125. (Lubeck,401 1492), reproduced inClugnet, and the other from the from other the and sponsa Christi. vita already might have existed in the fourteenth and fourteenth in the existed have might already 20 Leben der Heiligen vita in the Latin texts from Vie et office Sainte de Vie etoffice Vie et office de Sainte by Steffen 110 Leben and CEU eTD Collection not have the addition of the origin: “En egipte naquistla flour/ Dont ancore nous plaist fifteenth century vitae from the fifteenth century Greece: same period, Petrus di Natalibus wrote a short Latin version in which the saint’s origin was origin isBythinia: origin of version the Greek of the translation her in found additions the of is one copyist the of order office de Sainte Marine of Cambridge reproduced inClugnet, 114 63r-64r,National Library of France, reproduced inClugnet, 113 et office de Sainte Marine de ordine cisterciensi apatria sua cementarius Marinus nomine 120 Clugnet, 119 Marine 118 116 Clugnet, 115 112 [ her Italy of mentions as theplace origin: copyist the century from fourteenth the in Thus, a manuscript of her origin. versions of variety offer agreater longe erat a ciuitate Alexandrina miliariis quinque Alexandria: from miles five was monastery the that stating centuries. eleventh the and ninth the from dating France from versions Latin two of is true same The 117 Sainte Marine “In Italy,there was a certain mason called Marinus.” in Ms. Mm. VI 1,f.182r-188r, Library of Universitythe “and [he] went to the monastery which was five miles away from the city of Alexandria.” in Ms. 5296, f. Ms. 1038,f.88v-90r, Ms. 422, f.77v-78v,Ms. 23117, f. 456r-458v,Ms. 413, reproduced Clugnet, in Ms. 1728,f. 105r, Vatican The Library ms.10295-304,and f.128r, Royal Library of Brussels, reproduced in Ms.Latin B. 49 Inf., f.135v-136r, Ambrosian Library of Milan, reproduced inClugnet, “In that time, in Bythynia, there was acertain man, named Eugenius.” reproduced inClugnet, in reproduced 183v, f. Ibidem, in order.” Cistercian of the abbey certain a to came he homeland, his “…from Ms. 2328, f. 118v-120r and ms, 10840, f. 145v-147r, National Library of France, reproduced in Clugnet, “Marina the Virgin flourished in Greece” reproduced in Clugnet, in reproduced Greece” in flourished Virgin the “Marina . , 269-271. Regarding the texts written in French vernacular, two versions in verse dating from the from dating verse in versions two vernacular, in French written texts the Regarding Vie et office de Sainte Marine Sainte de office et Vie Marine Sainte de office et Vie Marina virgo in partibus Grecie claruit 112 , 26. One Latin version from the thirteenth century offers certain topographical details, 119 mention her origin as Egypt while all the other earlier manuscripts earlier other the all while Egypt as origin her mention , 150,, 153, 155, 159. In illotemporeerat uir quidam inBythinia, nomine Eugenius. , 4-7 and 7-11. 118 omit these details as they offer more concentrated and shorter … Vie et office de Sainte Marine , 168-180 and 180-191. , 258. 114 This version indicates not only her origin, but also the also but origin, her only not indicates version This …. 115 vita In the sixteenth century, Luigi Lippomano made a made Lippomano Luigi century, sixteenth the In by Symeon the Methaphrast in which the saint’s the in which Methaphrast the by Symeon 21 . 117 Vie etoffice deSainte Marine The Golden Legend . 113 The group of Latin texts from Italy from texts Latin of group The , 257. vita Vie etoffice de Sainte Marine : … F et abiitinmonasterium quod ] uit inpartibus Ytalie quidam uenit ad quondam abbatiam and a version in verse , 11-14. Vie et office de Sainte Vie et office de office et Vie , 266. 116 In the In 120 Vie etVie do Vie CEU eTD Collection Sainte Marine 129 128 127 supposed to havelived, although the Eastern two prototypes omitit. additional distance of three miles is mentioned in connection with herwith in miles activities. ismentioned connection of three distance additional in miles is version away. of edited thirty-two Heribert Rosweyde An the market-town place the of and monastery between her the distance origin; the the regarding indications 126 125 124 miles thirty-one were there version; from version to vary distances The eachmanuscript. in to vary details topographical Syriac version mentions her origin as Bythynia as early as the eighth century. the however, centuries; sixteenth and fifteenth in the occurred origins of additions These origin of the saint, the as Greece of regions different a mention detailversions other the all Italy, mentions which which one for reveals traces of the transmissionthe only versions which offer a greater variety of origins are the Latin texts from Italy.of Except her cult and her Helmst. 1203, f.72r-80r, Library of Wolfenbüttel, reproduced inClugnet, (Augsburg, Günther Zainer,1472), f. 56r-56v, reproduced in Clugnet, 121 wereproduced. where manuscripts the a town. from is she that mention only fifteenth, the from three and century fourteenth the from one versions, vernacular. French the into and Latin into it translating when omitted not hermits inand tothatof hermits. ThisEgyptthe herorigin waschangedaccording origin was l’odour.” 122 123 Ms. 10840, f.Ms. 145r, 5296,63r, f. NationalLibrary of France, reproduced inClugnet, Ms. 2328, f.118v, National Library of France, reproduced in Clugnet, Ibidem, 22-23. Clugnet, 37. Narratives,” “Select Lewis, Clugnet, “The flower which is still pleasant to us/ was born in Egypt” in Ms. 1728, f. 105r, The Vatican Library, Cazelles, Clugnet, All the versions preserve details regarding the Syrian the regarding details preserve All theversions To sum up, the variety of places indicate the origins of the copyists and the region 121 Vie et office de Sainte Marine, Vie et office de Sainte Marine The Lady as Saint Vie et office de Sainte Marine One explanation for this origin refers to the fact that the that fact the to refers origin this for explanation One , 8. 123 Vie et office de Sainte Marine , 238. 128 leagues five or ,VI. VI. , 128 for the fourteenth-century version and version fourteenth-century the for , 128 Leben der Heiligen 124 Gradually, her origin was omitted from the , 169. 22 129 between the monastery and the town in the town the and monastery the between (Lubeck,1492), Steffen Arndes, 40, and ms. Vie et office de Sainte Marine Vie etoffice deSainte Marine topos 126 vita 122 where the saint is saint the where precise are There The four German Leben der Heiligen 125 was written was written for Vie et office de 127 , 4. , 128-147. These vitae vita ; . , CEU eTD Collection is omitted in the German versions, while in the French ones only one manuscript from the reproduced inClugnet, that is to say named139 her Marina140. from Marinus.”138 in Ms. Mm.137 VI. 1, f. 182r, Library of Cambridge University, nominari,silicet baptismate fecit pro Marino Marinam eamvocans … as Marinus: father from Marina’s name Latin of text the gives Italy another while as in Greekversion, the “Eugene,” name father was the that of the states Lippomano Luigi it. version of The indicate countries. own changed in the sense arerather details that topographical these of saint, in the thedepictions which Idiscuss chapter, the authors of the In country. next relief the the the into account of taking details without these transcribed depictions portrayed German fifteenth-century in a miles three and versions the environments are ofthree there their monastery and market betweenthe in the distance town which issituated vicinity the a sea; of leagues andtwenty-two versions, 136 135 University of Cambridge, reproducedClugnet, in 134 133 Clugnet, 132 131 130 this detail). Legendomit from Golden the Italy and versions theLatin (while France from versions Latin Distances of two, “[He] loved [her] so much that [he] called her by the feminine form of his own name when baptizing [her], baptizing when name own his of form feminine by the her called [he] that much so [her] loved “[He] Ms. Helmst. 1203, f. 72r-80v, Library of Wolfenbüttel, reproduced in Clugnet, Ms. 22911, f. 92r, National Library of France, reproduced in Clugnet, Ms.413,f. 427r,National Library of France, reproduced inClugnet, Ms. 5296,f. 63r,National Library of France, reproduced inClugnet, Ms. 2328, f. 119r, Ms. 10840, f. 115v, National Library of France and Ms. Mm. VI 1, f. 185v Library of the Ms. Helmst. 1203, f. 72r, Library of Wolfenbüttel, reproduced in Clugnet, Ms. 1728, f.105r, The Vatican Library Ms.and 10295-304, f.128r, RoyalLibrary of Brussels, reproduced in Ms. 22911, f.91v,National Library of France, reproduced inClugnet, Ms. 23117, f.456r, National Library of France, reproduced inClugnet, Although her father is not named in the oldest Latin version, there are two texts that texts two are there version, Latin oldest in the named not is father her Although Father Vie et office de Sainte Marine Sainte de office et Vie 134 or six miles six or in tantumdilexitutnominesuoproprio tamengenere sub feminino in Vie et office de Sainte Marine 135 130 , 169, and 181. in the Latin versions, two thirty-three 133 in the German versions. It is the same regarding the regarding same the is It versions. German the in Vie etofficede Sainte Marine , 257. 23 131 thirtyor 138 132 136 version. The copyists apparently copyists The version. Vie et office de Sainte Marine Sainte de office et Vie Vie et office de Sainte Marine Sainte de office et Vie Vie et office de Sainte Marine Vie et office de Sainte Marine miles are noted in the French Vie et office de Sainte Marine or three miles three or Vie et office de Sainte Marine , 4, 8, and 261., 4,8,and . 139 Vie etoffice deSainte Marine The name of The nameof father the 137 in the French the in , 159. , 11. , 163. , 163. , 156. , 140. , CEU eTD Collection by Heribert Rosweyde.by Heribert also appears in the eighth-century Syriac version, but is omitted in the oldest Latin text edited Golden Legend esset, assumenssuam Marinam inhabituadolescentisingressus estcenobium not omit pattern: does the version Luigi’s whereas [he] entered the monastery.” in Léon Clugnet, Léon in monastery.” the entered [he] 143 1997), 534. versions of the of versions Latin the between difference minor a is there However, Lippomano. Luigi of translation masculus videtur, rogavitqueabbatemet ut fratres, filium suum unicum reciperent autem paterquoddammonasterium suae,utnon sed intrasset,mutavithabitumfiliae femina the and monks, abbot the asked [he] and female, not to bemale, appeareded she so that daughter, ofhis to clothes the changed accept his only son.”142 In Iacopo da Varazze, into the monastery. into the community hedoes startmissing her and permission gets from abbotthe to bring his child decides to enter the monastery in order to live a pious life and only after entering the monastic father her second in the while father, her with together enters Marina first, in the monastery: below. issue last this develop I will individuals. different two to referring name same the bearing persons two were there monastery the entered they when for name, Marina’s Saint of note namefather’s implications in with her manuscript the case of to connection Italian the 141 Legend in Clugnet, in 140 thirteenth-century mentions: “AfterEugenius hadsaid these things, and had prayed, took his [daughter] Marina,dressed young as a man, “Marina the Virgin was the only [daughter] of father;her afterand her father entered some monastery,he Ms. 1534,f. 44r,National Library of France, reproduced inClugnet, “There was a secular good man, Alexander.” In Ms. 23117, f. 456v, National Library of France, reproduced ofFrance, Library National 456v, f. 23117, In Ms. Alexander.” man, good secular a was “There The first pattern is present in only three versions, in two the into versions entrance her of sequence the regarding patterns different two are There of Entrance -- a sixteenth century French version French century asixteenth -- Vie etoffice de Sainte Marine is clearly: presented this not sequence The GoldenLegend Vns seculierspreudons fu Alixandre , 155. and Luigi Lippomano’s version, namely, in the namely, version, Lippomano’s Luigi and Vie et office de Sainte Marine 24 141 and a Latin version -- and in the Latin Legenda Aurea, Haec cum dixisset Eugenius,etprecatus Marina virgounicaerat patri suo: cum Vie et office de Sainte Marine Sainte de office et Vie , 27. (Florence: Edizioni del Galluzzo, del Edizioni (Florence: …. 140 It is intriguing in the intriguing is It . 143 This pattern The Golden , 167. ;…” The 142 CEU eTD Collection changes in the versions even existed when they were accessible only to the monastic the only to they were accessible when even existed versions in changes the the audience that the that audience the broader and more accessible the in Furthermore, regions. three all coexisted patterns the both themes. in the may copyist one beidentified, have usedaFrench versionin of because similarities verse the cannot texts vernacular German usedfor three the sources the Although occasion. a separate on enters character each inverse,namely, written French versions similartothe is pattern the iren todteswz im die tochter gehorsam er sein tochterd her death;her to what hisdaughter obeyed.”Günterin Zainer, 144 the of development 139-147. 145 translation. the for reproduced in Clugnet, father: … by her advised being monastery the alone, enters saint the versions fifteenth-century in two and fourteenth-century one In texts. French and Latin the pattern. same the have also centuries century fifteenth fourteenth, thirteenth, the from those versions; vernacular French the to applies also This development. same the have century sixteenth and fifteenth, fourteenth, the from versions as is similar situations the Italy from versions Latin the Regarding century. thirteenth from and in eleventh andthe be traced versions can the France from versions Latin ninth-century in the present is already pattern in the change The “And had the great desire to offer his daughter to the Almighty God so that she should serve diligently until Ms. Helmst. 1203, f. 72r-80v, Library of Wolfenbüttel, reproduced inClugnet, Up to this point, one major conclusion can be drawn, namely, that versions containing In contrast, in the second group of texts the pattern changes. This is a later isa This changes. pattern the texts of group second inthe In contrast, In theGerman version developedthis pattern completely with compared differently Ɲ almechgen got an ein stat opferetmöchtdienenbisan dassygotmit almechgengotanein fleiss Vie et office deSainte Marine vita vitae which appears not only in the Latin, but also in the French versions. French in the also but Latin, the in only not appears which had more the developments and changes occurred.Even though, … 144 In only one fifteenth-century version fifteenth-century one only In , 127. I would like to thank my supervisor, Gerhard Jaritz, 25 Leben der Heiligen, YĖ hetgros begird dar z (Augsburg, 1472), f.56r-56v, Vie etoffice deSainte Marine 145 verse in ǎ dz , CEU eTD Collection office de Sainte Marine I will enter the monastery together with you,and one no will know that I am a woman.” In Léon Clugnet, 150 149 meessefoeminam sciente monasterium, nemine quomodo tu dicis, sed tondebo comam capitis, et inducta ueste uirili, ingrediar tecum father: her with as together a man, monastery disguised enter the is to it who decides version Marina Metaphrastic of the Latin the translation information byherprovided the to of herfatherand death the after identity even according her secretof keep the agreed to this idea asSaintMarina did seek not to suppressthe authority of her she father.Furthermore, familial authority, refusalof the innkeeper’sbeen daughter. of an that have could had have might she destiny the and monastery the entered not she had slight quite mentioningpoints worth issues: regarding thesetwo her independent chancesforlife an were Lives,” 148 Brewer, 2003), 85. 147 2004), 65. Riddles,Knights and Cross-Dressing Saints, 146 expulsion mainly because later her thediscovery is (and lives a of asa gender) not choice; she conscious manavoid to it is the only wayisAccordingly,while thesecond her toher related transformation gender gender disguise. of life she knows.father her with enter together but have to not choice she any does factthat tothe refers one access the story. to of audience laterallowed adifferent when more type numerous vernacular the became they communities, “Sir, my father, I will not enter as you say, 23. but I will chretienne,” cut off l’hagiographie thedans hair Diane de on “Lecomplex my head, Delcourt, and dressed in male garment, Larissa Tracy, Larissa Caxton’s in Saints Cross-Dressing Female Sex: Their beyond Rise “To Lowerre, Sandra Emma Campbell, “Epistemology of the Cloister: Knowledge,Identity, and Place inOld FrenchSaints’ The Journalof Medieval Religious Cultures According toMarie Delcourt, cross-dressing has a symbolic meaning which indicates There are different explanations for Marina’s acceptance into the monastery. The first The monastery. the into acceptance Marina’s for explanations different are There Women oftheGilte Legende: A Selection of Middle English Saints’ Lives , 26. vitae 149 in this case the authority of the father. I do not agree with agree not do I father. the of authority the case in this she did not refuse to enter the monastery. Furthermore, in Furthermore, monastery. the enter refuseto not she did 148 ed. Thomas Honegger(Bern: EuropeanAcademic Publishers, 36, No. 2(2010): 220. 26 . 150 Except for this version, all the others do others the all version, this for Except Domine mipater, nonsic ingrediar, 147 However, there are some are there However, (Cambridge: D. S. Vitas Patrum, Vie et ” in ” 146 CEU eTD Collection submissive behavior for women. and passive implies and Mary Virgin the to devotion of development the with connected changed when she entered the monastery. Although considered a transvestite saint, the detail saint, the atransvestite Although considered monastery. the sheentered when changed all which clothing, and tonsure, name, of those are aman of that to identity her changing Middle Ages. by women, butwith hiding her identity because of women attitudes different towards in the versions. fallin the inofman,Eve and for waschanged Western as responsible the women general with sin original the connects which femininity, towards view of point Eastern this However, for her father refusing to enter together of developments her later the Accordingly, silence. her justify to addition later a as seen be can withthis thus, dying, before and her is because monastery the father entering her before adviceof torevealher not only the promise secret, she mayher of sequence the has version theSyriac Greeknor the Neither monastery. insidethe in faith tempt educated and is silent she versions German and French, Latin, in the thewhereas faith, Christian monks. 155 154 153 152 151 individualized; and sheismoreeloquent versions.versions GreekandSyriac In the group of Western to enter monastery the in the maintwo of GreekandSyriac,versions: groups respectively, the monastery. the entering herabout disagreement or any agreement regarding saintof the indicate any reaction not Ibidem, 65. Ibidem, 55-65. 71. Sex,” Their beyond Rise “To Lowerre, Iwould like to thank my supervisor, Cristian Ga 65. Sex,” Their beyond Rise “To Lowerre, The patterns which I am interested in regarding her separation from which from in worldThe patterns interested the herI am and separation regarding Clothes There is a striking difference between Marina’s attitude towards her father’s her decision towards isattitude Marina’s There a between striking difference 154 Thus, the Western copyist is no longer concerned with the temptation represented temptation the with concerned longer is no copyist Western the Thus, 155 151 she even quotes the Bible and acts as a vita 153 incorporated new visions regarding women. Her silence is silence Her women. regarding visions new incorporated Furthermore, in the Eastern group of versions the reason the versions of group Eastern the in Furthermore, ú par, forthis suggestion. 27 puer senex 152 the in educated CEU eTD Collection his daughterinto monastery.the In bring to intention his is it as daughter his of clothes the changes who father is the it versions these all In Italy. from versions Latin the of four the in all found is clothes her changing of The detail Marinus. name of the monastery under the into entering before her clothes abbatem et fratres, ut filium suum unicum reciperent suumunicum abbatem etfratres,utfilium monastery: … acquisition of a new identity and not only a disguiseand rebirth. in order spirit. and with acquiresChrist anew-born to be accepted into the and the monks to accept his only son.” In Iacopo da Varazze, da In Iacopo son.” only his toaccept monks the and 159 158 157 Religion 156 because of sinning. in he ofskin which backacquiredarobe totheAdam meanings and canbe legend, traced numerous. aremore pattern havetheMarina-Marinus which versions the while versions, and Syriac Greek the in is it as name the preserved translation Latin sixteenth-century one only However, vita feminine the from changed name her Accordingly, name. her of changing the emphasize hagiographers the Instead, versions. the of inmost is omitted clothing men’s in disguised being her of version her name is the same as in the oldest Latin text: Latin oldest in the as same is the name her version bears samenameasin the is In versions GreekandSyriac the thatthis of Lippomano. Luigi masculinethe “[He] changed the clothes of his daughter, so that she appeared to be male, not female, and asked the abbot the asked and female, not bemale, to appeared she that so daughter, ofhis clothes the changed “[He] Meeks, “The Image of the Androgyne,” 183-184.7. Monasticism,” Early in Saint Transvestite Female “The Anson, Wayne A. Meeks, “The Image of the Androgyne: Some Uses of a Symbol in Earliest Christianity,” circulated in circulated versions of all with her nameboth Mary-Marina. regions feminine three 13, No.3 (1974): 187. The symbol of the acquisition of with and is The symbol of religious acquisition clothes baptismal connected the of Marina 158 In the Greek version it is the daughter’s decision to cut off her hair and change and hair her off cut to decision daughter’s is the it version Greek the In mutavit habitum filiae suae,ut non mutavit habitumfiliae sed masculusfemina, videretur, rogavitque Marinus (in the oldest Latin version and the German) or German) the and version Latin oldest the (in 156 Putting on new clothes means symbolically that one clothes oneself clothes one that symbolically means clothes new on Putting (Latin, German) or The Golden Legend 157 Marin 28 Furthermore, changing clothes implies death implies clothes changing Furthermore, (French). The only version in which she in which version only The (French). Legenda Aurea, ; …. Maria , changing clothes implies the implies clothes , changing 159 The Latin version from the from version Latin The 534. -- Marine, Maroie Marinus . To sum up, her (French) to (French) History of History CEU eTD Collection 161 in Clugnet, in 162 office de Sainte Marine Library Universityof the of Cambridge, reproduced inClugnet, and changing the name Marina 160 into Marinus, took her with him into the monastery.” In Ms. Mm. VI. 1, f. 185r, in Marinummutato,duxit eam secum inmonasterium non parumletificatus mutauit habitum mulierebem sue in filie uirilem, nominemque Marine father clothing his indaughter order to bring her tothemonastery: Library of Cambridge and the version of Petrus de Natalibus present the same detail of the monastery: “L’enfant vestit et Toutatourna/ “L’enfant vestitmonastery: ainsi ….” vne garcon: comme daughter by dressing her asa man after abbotthe gives permission to bringhis child to the his father the versions disguises and in in two written fifteenth-century prose In three verse. monastery together. the entering father daughter the and sequence,it of a different of namely,that clothing to andadded century) pattern the changed sixteenth- and fourteenth the (from versions other two while Lippomano, Luigi of version in as together, monastery the entering them and begroups: in dividedinto two firstthe one finds the pattern of fatherthe clothinghis daughter from France, furthermore, even the Latin off her hair.To sum up, thepattern of changing herclothingis omitted in versions Latin the versions from Italy which preserveis thisMarina’s pattern candecision to enter of thehis versions are not additions,monastery but sequences from the older Greek version. In this version it with her father, related to this partof monastery into isher entrance the that Lippomano. details The of Luigi to take man’s clothes and to cutinduit etmutatonomineMarinumipsam vocauit. et lie alloient par pais sy fist as“Vnefoy themonastery son pere together: they Here thefather daughter his enter dresses son pere muer labbit de sa filleversion enof abit dome, puis vindrent en “Her father clothes her in male clothes and, changing her name, called her Marinus.” In Léon Clugnet, Léon In Marinus.” her called name, her changing and, clothes in male her clothes father “Her “He dressed and changed the child/ Similar to a boy.” In Ms. 1728, f. 106r, The Vatican Library, reproduced Library, Vatican The f.106r, 1728, In Ms. aboy.” to Similar child/ the changed and “He dressed [clothes], male to daughter of his clothes female the changed he thing, this about alittle not rejoicing he “And The French texts have the same pattern of changing the clothes in four versions, two versions, four in clothes the changing of pattern same the have texts French The Vie etoffice de Sainte Marine The GoldenLegend , 266. does not have the same sequence as the other French versions. French other the as sequence same the have not does , 170. 29 The 161 The Latin version which has more details more has which version Latin The Golden Legend Vie etoffice deSainte Marine 160 and Pater ergo habitu virili eam and the sixteenth-century the and Et abiens ille super hoc , 260. 162 French The Vie et Vie CEU eTD Collection 165 Marine versions she in these is Therefore, neither permission. gives abbot the after father her the by monastery the to creation brought is of her father nor adopts his way of life, other patterns described above, three types of patterns circulated in approximately in same the circulated approximately types of three describedpatterns above, patterns other vita together with her father. as a isman monastery enteringthe mostly found in while in versions which sheentersthe The otherdisguise her of detail the is that out point to threeI want What father. her with together monastery versions have the entering her present six versions, thisnine these of Out in French. five and Latin in sequencewritten in another partsequence of her being dressed in disguisethe of a man is found only in nine versions: four of the monks. Günter Zainer, he that know not did was and boy handsome the liked he a because virginagreed abbot The order. the in accepted be should and blessed 164 him. MarinaMarine livedorder,”their Ms. in 1534, f.44r, National Library of France, reproduced inClugnet, in the orderinto that of men, virtuouslythen reached an abbey and the father163 askedand the abbot fromwore the monastery the to accept hisclothe son into of man willingly.” in daughter, but is also the agent of her disguise as a man: her father. In three of the four versions itis the father who not only decides on the name of his of wish the to according monastery the enters saint the is that difference important most The Germanof As Imentionedversions above,the her vne etsy abbaie lerequist perealabbeson filz quilz recheussent aucouuent enleur ordre.” Cazelles, “Her father gave her male clothe and he came with the daughter and asked the abbot diligently that his son his that diligently abbot the asked and daughter the with came he and clothe male her gave father “Her “Oncefather her and she went throughout the country,and fatherher changed theclothing of daughterhis : when her father is allowed by the abbot to go get his child. Thus, as in the case of the , 126. I would like to thank my supervisor, Gerhard Jaritz, for the translation. , 167. The other version is similar to the French texts written in verse: the disguised daughter At this point, there is one essential conclusion I want to draw attention to. The to. attention draw to I want conclusion essential isone there point, this At mans cleider an in dè orten. LĖ im gefiel der schön knab wol vndnit westdz es ein iunckfrow wzv mit fleiss dz e rim seinen sun zü den orten enpfieng. Da gewärt in der abt wa … dalegetirir mans vater cleideranv den orten den lebtorten darin Marina seliclich vnd tugentlich vnd trugwilliclichen The Lady as Saint Leben der Heiligen , 64. (Augsburg,1472), f.56r-56v, reproducedClugnet, in 164 30 Ė kam kam mir der vndbattocher den abt vita differ from differ from Latin the ones. French and Vie et office de Sainte Vie et office de Sainte Ė 165 signet in signet but that of the of that but Ė 163 CEU eTD Collection the Latin developversion this last issue of the imitation of the paternal figure a bitmore. I consider that this fits in which the father baptizes his child with his name: Marinus. As I 170 Marinapaternal to, choice conforms 174 173 172 171 Medieval Europe 169 168 156-162. monastery the asher into her choice. entrance it whichpresent is topointseveral thatthereare important versions out Latin version, again 1997), individuality is by sacrificed her father. monastery. the enter to daughter versions she has the miraculous capacity of healing while still alive. a saint because shewouldafter her beconsidered changes although in death, the Eastern underwent significant in Herspiritual are used status shelaterher willbecome saint. caseas 167 Christ. sexuality 166 capitis of decision daughter’s the cut off to isher hair included:“… sequence the and,accordingly, version Greek the sequences the of theauthor translated that tonsure. This detail is found only in versionthe of Luigi ItLippomano. is important to remark the groups. while in compared arefurther there other additions to versions German the in in in versions Latin both The written andItaly periods the France regions. three are similar, Cazelles, Ibidem, 219. Campbell, “Epistemology of the Cloister,” 217. Clugnet, in Lippomano ofLuigi version Seethe Ibidem, 64. Howard Williams, “Material Culture as Memory: Combs and Cremationin Early Medieval Britain,” Ibidem, 19. RobertaGilchrist, “But Iwill cut off the hair on my head.” In Clugnet, 18. See more on transvestitism and the symbolism of tonsure in Schulenburg, ….” 168 Furthermore, it is Furthermore, life herfathermonastic whocombines his with fordesire his The second aspect related to her transformation into aman is related refers detail to the to her The secondwhich aspect transformation 167 Furthermore, it implies a change in social and spiritual status. spiritual and social in a change implies it Furthermore, The Lady as Saint and offeringandChrist,one’svirginity chastity thus becoming bridethe to of 166 Cutting the hair in a religious context is a symbol of the negation of personal of negation the of symbol a is context religious in a hair the Cutting 12(2003): Gender and Material Culture. The Archaeology of Religious Women 121. , 64. 170 173 Actually, Marina does not get a new identity, but her but identity, newa get not does Marina Actually, of father.is her saint the animitation thus, 171 Vie et office de Sainte Marine Although Cazelles refers to only one French one only to refers Cazelles Although 31 Vie et office deSainte Marine 172 Furthermore, the disguise of the saint issaint a the of disguise the Furthermore, , 26. , 26. 169 sed tondeocomam Forgetful of Their Sex, All these symbols these All (London: Routledge, 174 I want to want I Early CEU eTD Collection Marine Clugnet, in reproduced of Cambridge, University of the Library In Ms. 182r. f. 1, VI. Marinus.” Mm. from Marina her named say to is that [her], baptizing when name own of his form feminine 177 her andherher penance. from monastery, promise father, willing expulsion to phase: the the in important Three sequencesare this innocent. offathering achild,although and accusations Marinam eamvocans suo proprio subtamen genere feminine nominari, inbaptismate fecit silicetproMarino himself: after Marina his in by father,calls daughter version namedMarinus, an which the Italian written translator transformation, entirely or not, is herdone him. toremark is asamanwith monastery important the It that disguised enter by her father. What to decides she where is versions in the even evenname, her changes morewho father is her it strikingFurthermore, is the Latin not by her disguise: of hername importance changing as if hercan be by newidentity defined only her name and by changing her tohercontributes disguiseinto andbrings her monastery.the namewho father is the it versions Latin the of from most In correct. is not versions Latin in the Maria/Marina to Marinus. The translators emphasize the Library of France, reproduced in Clugnet, in reproduced France, of Library 176 175 addition vernacular isaFrench monastery inthe entry and transvestitism Marina’s do notconsider disguise this that imitation annihilates her individuality. Campbell considers that I however, father, her of imitation the illustrates which case ideal is the this before mentioned was the choice of her parent. However, her statement that Marina’s “The father, even though he was poor, loved her somuch, because ofhisjoy,that [he] called her by the Ibidem, 217. “But she was called Marina, and her father changed her name to Marinus.” to name her changed father her and Marina, called was she “But , 257. To sum up, some versions omither disguise infavour of emphasizing her new identity The second phase of her of The secondphase 2. Liminality Dicebatur autemMarina,etmutauitei nomen pater eiusMarinum . Quam pater pre gaudio, licet pauper esset, intantum dilexit ut nomine 177 vita Vie etoffice de Sainte Marine , from her entrance to her death, focuses on her penance her on focuses death, her to entrance her from , 32 , 5. In Ms. 2328, f. 119r, National 175 Vie et office de Sainte de Vie etoffice that is not found not is that . 176 CEU eTD Collection deduced, in fact the Latin versions do havededuced, infact do Latinversions the this sequence. initially leftis she accused, generally, of raping a girl. placeshe tothe returns monastic leavesspace and the saint transvestite Only when the monastery. the leaving of that namely, one, another with connected strongly is theme This the abbot, and ambiguous in her physical in(both characteristics visualthe representations and in by the expelled and accused when passive and is humble she monks, other the with condition 179 passivity,and humility,which is relevant for this situation. 178 motivation. saint’s the for explanation notis innovation Latin versions anthe andthat does of giveany vernacular version the disguise saint’s in the role father’s the that mentions Rosenthal, quoting probably Campbell, Furthermore, versions. German the of three but silence, Marina’s of explanation the omits that version Latin the is not it as disagree I but referring, was Rosenthal version Latin which for her silence: the promise made to her father not to reveal her true identity. Marina’s of version I doFrench not know to of is the inmost common the of theme seduction clear that MarinaSaint is similar; she is accused by innkeeper’s of an daughter fathering her child.Itis caseof became andsoon.The is Reparata accusedbyayoung girl pregnant, Margareta who seduce Eugenia,Euphrosyne’s attracts beauty monks,the Hilariais accused by her sister, most of the transvestite nuns who are considered attractive of liminal a shehas attributes In thesesequences the by women: Melanthia tries to 180 Cazelles, Turner, Campbell, “Epistemology of the Cloister,” 217. vitae Brigitte Cazelles Brigitte The promise ) because the other monks consider her a eunuch. This ambiguity is a characteristic of The Ritual Process The Lady as Saint 179 , 238. , 95. The attribute of liminal persona refers to the neglect of sexual differences, of sexual neglect to the refers persona ofliminal attribute The 95. , refers to an affirmation of Rosenthal when she states that the that states she when Rosenthal of affirmation an to refers vita is more logical than the Latin because it offers an explanation an offers it because Latin the than logical is more 180 Although hermotivationkeep silent can beto easily 33 persona : vitae 178 she isreducedtoauniform , only the context differs. CEU eTD Collection deist mie quele fut fame mais ne hansili peresquele ellea catorsisme “Quant uintses ditidentity: toreveal her pansaMarina not de bien faire. Elle metoit en son cuer ce con li disoit si genitor cotidie/Non cessabat corrigere/ Neesse muliebriter, Tractaret se viriliter to this detail. The only information which is related to her disguise is her father’s effort: reference direct isno Inthe there text is other her absent. sequenceof promise the logical that is it therefore, will; own her by monastery the enters Marina version in this above, mentioned Lippomano’s version does not have this sequence as it is a translation of a Greek version.As I Luigi verse. in written version fifteenth-century one and Lippomano, Luigi of that silence. orders ofthe is under she father her of thedeath the After guilty. if not even identity her abbot, of secret the but I do notalso of her approval. Although her reply is not given,in followingthe sequences she keeps consider thisconsider explanation that the lack of More hera replypersuasiveprecisely, in this it dialogue is the argumentfather’s is not onlydialogue a markfor whichof herher pointsobedience, out her but acceptance of being silent. I 119v,National Library of France, reproduced inClugnet, 182 Sainte Marine man.” In Ms. Latin B. 49 Inf., f.135v, The AmbrosianLibrary of Milan, reproduced inClugnet, 184 183 was a woman.” In Iacopo da Varazze, 181 esset mulier vocavit etipsam in bono propisito confirmans praecepit, nealiqundoalicui revelaret, quod in matters … this isher case promise: what heris minorimportance; age of have heridentity. detail The concerning her not toreveal texts of sequence Latin the promise “Take care, [my] daughter, that no one should know your secret until the end [of] your [days].” In Ms. 2328, f. “Her father never stopped admonishing her every day not to behave like a woman, but to hold herself as a as herself hold to but woman, a like behave to not day every her admonishing stopped never father “Her Campbell, “Epistemology of the Cloister,” 220. “[He] called his daughter and instructed her encouraging her good choice, not to show anyone ever that she that ever anyone show to not choice, good her encouraging her instructed and daughter his called “[He] All the French versions have the sequence of her promise, or at least her father asking The only Latin versions which omit this sequence are one sixteenth-century version, Except for two Latin versions from the group of texts from Italy, all the other seven 183 , 269. 181 and Vide, utnullus filia, cognoscat mysterium tuum tuum usque infinem Legenda Aurea , 534. 34 Vie et office de Sainte Marine , 5. . Vie et office de office Vie et 184 filiam suam filiam ,…. Hanc 182 CEU eTD Collection 1023 reproduced inClugnet, 186 is not in Marina transvestitism caseof that isI consider the Saint however, author right; issaintbut onher imposed by alossfather, meaning freedom. the of Uptoacertain the point become Chirst-like.to her allows it and virginity Marina’s protecting of function the has transvestitism that Furthermore, she points out that cross-dressingkeeping silent about her identity. is not a decision monastery and enteringthe accepts fathershe only when her authority of as sheis the under of the das du nìmer keinem menschen sagest dz due in iuncfrow seyest dz gelobtim tochter” die dich bit ich tochter liebe ir zu heimlichen er sprach “… da identity: her reveal to not promise placefather’s visither to his Itishim because of sickness. her heremakes father that her German version these In death of the herpromise the and father. of her thesequence between of time passes two different period certain a versions French the and sequences Latin inthe Both father. her to visit her is point this are presented at matters What town. market the to goes she when and father her visits she together:when times: two Marina goes herseclusion abandons in Marina only arethe which ones backThese threeversions of father. her to as in three centuries fifteenth the and fourteenth the during versions German in the changed pattern This indispensable detail. TheGerman versions presentthis detail butintoo, a differentcontext. to keep silent about her identity, Iagain emphasize that most of the Latin versions do give this father her her detail of the promising asthey present more Latin versions logical the than are His daughter promised that.” In Günter Zainer, 187 Clugnet, in reproduced France, of Library manner. She kept in her heart what he told her and she 185 was very eager to do good.” In Ms. 423, f. 20r, National fustmoult ardans de bien faire.” translation. Clugnet, “Than he said to hersecretly: Dear daughter, I ask you that youwill never tell anybody that you are a virgin. “When she was fourteen years her father asked her not to tell that she is a woman but behave in a good Leben der Heiligen, Brigitte Cazelles mentions, referring to one of the French versions written inverse, written versions French the of one to referring mentions, Cazelles Brigitte Vie et office de Sainte Marine 186 of the four versions Marina enters the monastery alone according to the wishes the to according alone monastery the enters versions Marina four the of 1472, the fourteenth-century fromversion the Library of Strasbourg Ms.and Helmst. Vie et office de Sainte Marine 185 , 126. I would like to thank my supervisor, Gerhard Jaritz, for the Contrary to Rosenthal, who states that the French versions French the that states Rosenthal, who Contrary to Vie etoffice de Sainte Marine Leben derHeiligen, 35 , 126 and140-141. (Augsburg, 1472),f. 56r-56v, reproduced in , 166. 187 CEU eTD Collection 190 189 188 sixteenth the In fish. -- provision the of type the mentions even manuscript fifteenth-century the that fact is the striking more is even What town. market the of pattern the have version fifteenth-century one and fourteenth-century one Thus, developments. these of both have however, Italy, from versions Latin The century. thirteenth the to ninth the from France from marketthe which town, isfound also inthe Latin oldest version and inall Latinthe versions isthatof pattern Thedominant wood. andgathering thatof town market of that the patterns, two versions are there Latin In the circulated. versions areawherethe the out may alsopoint Thefirewood. copyistused his own environment toaugment details the of and texts, the this monasteries asin the translation of Luigi butgoes Lippomano, to amarket for town goods or monasteries. This haspattern been developed sense inthe longer shethat no visits other with monksmonastery a group together leaves the of Marina and monks they go toother and Western versions; however, it was developedand Margareta. Theodora, into a second sequence. In the oldest pattern, passive, rather as her show versions German and French, Latin, the Although imposed. necessarily saint accused of fathering someone’s childis foundin various saint’s vita by of freedom deprived father,hershe could monastery the when leftshe have was expelled. side however,this be ifMarina of her; omitted wereto hagiographers Western individualized. These versions show a different side of the saint, namely, she is more active and Iacopo da Varazze, da Iacopo Campbell, “Epistemology of the Cloister,” 217. 71. Sex,” Their beyond Rise “To Lowerre, as it offers her the privilege of revealing her identity. The pattern inandfoundof appears inalsoherThe pattern versions Greek the the exitSyriac Marina’s expulsion from the monastery is one of the most important sequences of her of sequences is important of one the most monastery from the expulsion Marina’s Exit-Journey-Expulsion 188 one has to compare them with the earliest versions as they are the prototypes. the are versionsthey as earliest the with compare them to has one Legenda Aurea, 190 1567. 36 189 The motive of the transvestite the of motive The vitae such as Eugenia, CEU eTD Collection Iacopo da Varazze, da Iacopo 192 Marine plaustro et bobusetlignamonasterio deferebat 191 as in motif,early it haveas vernacular appeared this the from donot France Latinversions the Thisfound isinnkeeper’s daughter. intheAlthough also detail Syriac version. eighth-century wasadded,namely,confession, another devil the that eventsinfluenced the regarding the fourteenth-century Latin was in relic.only This pattern nearMarina’s omitted one possessed girl confessing version from the of detail the only has Italy.version Greek The devil. the by temptation namely, Thus,versions, in this version, besides the pattern of the has sea. detail the the of from source, a French while version, same topographical of afifteenth-century detail translated probably woods, the the have -- fourteenth-century one and fifteenth-century two -- texts three version, German Legend of version vernacular fifteenth-century the In text. in one except vernacular woods. the with version the and town, market the of development topographical the versions, Syriac and Greek in the found is also that pattern unchanged an Italy: of region in the circulated Threeversions versionsFrance havethesamedevelopment. from Latin whereasthe varied, from more of Latin the are Italy versions thedevelopments from However, France. and Italy is also found in an earlier version, that of the hasdetail andwoods into changed appearsin version the di of Petrus Natalibus. in with thefirst circulated century,parallel secondThus, the pattern one. the topographical “Therefore, she used to go frequently on a cart drawn by oxen and used to bring wood to the monastery,” in monastery,” the to wood bring to used and by oxen drawn a cart on frequently go to used she “Therefore, Petrus deNatalibus, , 266-267. Besides the topographical Besides thetopographical isthere addition, asecondmotifis that added to these the In town. market the of that into changed was woods the of detail topographical the French in the changed not was town market the of addition topographical The versions Latin in the developed monastery the from exit her of pattern the up, sum To Legenda Aurea Catalogus sanctrum , 534. (Venice, 1521), 104v reproducedClugnet, in 37 The GoldenLegend …. 192 : Ibat igitur frequentercum Ibat Vie et office de Sainte de etoffice Vie 191 The Golden This detail CEU eTD Collection conception of women. Therefore, Marina admits that she has sinned, but the sin she is women sinful. women consider who Fathers, Church the of view of point the internalized has Marina Accordingly, admits having committed. First, her sin is connected with the fact that she is a woman. hers. promise to her fatheraccording to the identity of a man. Furthermore, Villemur mentions that Saint Marinabut kept her she also penance Marina notonly accepting herfatheracts but andkeepsobeys herpromise, showed maternal behavior towards the child that is not 195 eunuch because she was beardless and had thin voice,” in Léon Clugnet, Léon in voice,” thin had and beardless was she because eunuch 194 193 eum esse quodesset gracili eunuchumpropterea imberbisetuoce text: Greek atemptation. considered are connectedtoMarina’sbeauty, physical of the whichare eunuchs, namely, characteristics intemptation by innkeeper accusationsof devil. the case one rape However, daughter’s the by monks,where generally of is she is rape asa Marina accused accompanied generally influence.French vernacular to owing probably addition, this has version fifteenth-century one only versions, German the it. In whichomitted versions vernacular in with parallel and circulated thirteenth century the 197 196 accessed December3, 2010): 8. “Then, after the blessed one had lived several years in the monastery, the monks were thinking that she was a she that thinking were monks the monastery, in the years several lived had one blessed the after “Then, 70. Sex,” Their beyond Rise “To Lowerre, Ibidem, 66. 71. Sex,” Their beyond Rise “To Lowerre, Frederique 195 There are several interpretations of her silence and the implications of the sin she sin the of implications andthe silence her of interpretations several are There The final phase of her transition is her willing penance. It is important to note that by that note to important is It penance. willing her is transition her of phase final The Penance At this point of the discussion, I want to call attention to the fact that in factthat cases the tothe call attention I want to discussion, the of this point At Cum uero aliquot annos peregisset beatain monasterio, existimabant monachi Villemur, 196 ismisogynist attitude thisFurthermore, Femmes travesties: un‘mauvais’ genre 193 The Latin version of Luigi Lippomano has the same detail as the as detail same the has Lippomano Luigi of version Latin The 38 . http://clio.revues.org/index253.html 197 Vie etoffice de Sainte Marine hagiographer’s the reflects and . 194 , 27. (Last CEU eTD Collection that in the first the martyr is persecuted by a pagan while in the latter the saint is thesaintin in by persecuted is latter martyra pagan while that the the persecuted first the influenced other storieslike motif accidental.was isused in not It martyrs about hagiographic literature andthen of non-martyr saints. in from simply versions TheChrist- changingit. the The pattern Latin prose the without translate difference in these two types of stories is vernacular into the motif motif the into of vernacular ei iratus,eieciteume monasterio not does ofwherehis textisa appear: pattern a Greekversion this translation as it omits who Lippomano, Luigi of that and century, fifteenth the from verse in version one of version the except Italy from versions Latin in the ispresent pattern ‘In ueritate dico quia tu qui hoc malom operatus es nonmanebis in hoc monasterio ninth century: asthe early as France from versions Latin in the present also is which beating, of sequence Syriac versions she isjudged inher absence. intheGreekand while versions, vernacular of the Latin and the development is trial later a monastery. The Greek and One first of the sequences herSyriacrefers to trial beating beforeand beingexpelled from the versions do not have these patterns. The sequence of her 202 Vie etoffice deSainte Marine evil,will not remain in this monastery.’”In Ms. 5296, f.63r, National Library of France, reproduced inClugnet, 201 200 monastery. pricethe in her of is a form sin the childof exacted shehastoraise of infront the Marine 199 198 denies nor admits her referring is to thatshe identity hidher feelsand guilty it.sin, about “Then,superior, her angry with him expelled herfrom the monastery,”InClugnet, “But her abbotgotangry. And ordered her to be whipped and said: ‘I truly say you,that who donehave 30. this Monasticism,” Early in Saint Transvestite Female “The Anson, Tracy, Ibidem, 66. , 28. The oldest Latin version edited by Heribert Rosweyde already has the addition of of the addition has the Rosweyde already Latin byHeribert version edited The oldest regions. thethree in notabledifferences all are herfor there the pattern As of penance Women of the Gilte Legende, 200 Ad iracundiamautem commotus est abbas eius. Iussitque eam flagellari et ait: , 12. 199 imitatio Christi and third,she sinned by entering amalemonastery. Therefore, 19. . 202 French the in developed pattern this Gradually, in two fifteenth-century versions in verse, while verse, in versions fifteenth-century in two 39 198 Second, Marina neither Marina Second, The GoldenLegend Vie et office de Sainte de office Vie et Tunc praefectus .’ 201 This , CEU eTD Collection had this motif. The second is an expression found motif.had in secondisan this in The in a version verse expression written fifteenth the already version Greek the that is apparent it therefore, translation, Lippomano’s Luigi from is Christe, quiaper ignorantiam peccaui insanctametcastam tuamsponsam ‘ identity: her discovers he when forgiveness saint’s the asks who following quotation herreferring as to bridethe of ThefirstChrist. is the reply of abbotthe have the versions Latin of the case,only two As previous andMarina. inthe God between in adialogue isit developed one French in the whereas version, Latin in the identifiable 203 version fifteenth-century one only as versions, German in the changed motif this of developments The knowing herexact accusors. by Christians.other bride.” InClugnet, bride.” 207 206 Cazelles, Brigitte in pain,” and/ travail Endure for suffered/ who Him By her,delivered/ be/ will she /Since / And her/sufferings, since Assuages truth/ / This of God. company/ she will/ inthe Are suffer/ who/ those knows/well/That gainshe for her/heart, joy in With punishment/ the eternalendures maiden glory. / And this205 thought is/ indeed204 worthy/ To those who, in this/life, / Vatican Library, reproduced in Clugnet, reproduced Library, Vatican Cazelles, “Forgive me, Lord Jesus Christ, because I have sinned because of my ignorance against Your Ms. Helmst.holy and chaste 1203, Library of Wolfenbüttel, reproduced in Clugnet, “He that Marin/be orders beaten and/whipped,And / imposes the onmaiden many torments. /The holy Ibidem, 65. A second motif, namely, motif, A second 206 Qui mieux misereQui est partie. de A ceux qui sont en ceste vie memoire ceste valoir peut Moult ; Puis degloire le couronnera Celuy qui pour luy soffrera, deliuerra qu’elle dist Qui de sagriefte, L’assoulagoit deverite La promesse tribulation. en sont Qui dieu acompagnon Que ceuìx ont Joieustement, quebien sauoit La le viergesainte souffri E la vierge faitmoult souffir. Forment le fait batre et afflir. has the sequence of beingher expelled from monastery. the The Lady as Saint Vie etoffice de Sainte Marine 203 withoutdeath isto who condemned sacrifice ritual isMarina a , 65. 204 Vie et office de Sainte Marine sponsa Christi sponsa 205 The Lady as Saint , 30. 40 , is also an addition which is barely , 250 and French text in Ms.1728, f. 107v, The , 174. Vie etoffice deSainte Marine Ignosce mihi, DomineIesu .’ 207 This quotation , 139-147. CEU eTD Collection emphasize and justify the sufferings she went through during her penance: her during through went she sufferings the justify and emphasize way than the Latin quotations: lessare somewhat present in but than versions, other elaborated amore sequence the detailed motif present the from of one the fifteenth, the century and in one thirteenth-fourteenth from prose, the Two manuscripts and verse. prose on my throne, God loves thy beauty, come beautiful friend, I will give thou the crown of glory and grace.’” In grace.’” and Ms. 23117, f.457v, Nationalof glory Library crown ofthe France, reproduced thou inClugnet, give will I friend, beautiful come beauty, thy loves God throne, my on soul leaves the body, a voice came209 fromClugnet, in reproduced Heavens Milan, of Library Ambrosian and said: ‘Come to me my highly208 sweet bride, I will put you Semper habuitcorpore. but: called of bride Christ isnot the Marina Here century. “She did not live much and the virgin died as a martyr inChrist and went to our Lord. In that hour when the “Heavenly spouse,whom[she] always [in her] mind had andbody,”Latinin49 B. f. Inf., 136r, The However, the fifteenth-century versions written in as more verse dramatic versionsthey written are fifteenth-century the However, Maiz tant estes mieulx achesnice ; estes mieulx achesnice Maiz tant vous a Trop le monde troublee Je vous deciel: ay appreste ma Venes, sans columbe fiel. A monet enivre; cuer traiet biaulte devostre Le soulas : entreres En chambrederoy moy a Ma doulce amye, venes, y la oye Et : est tourterele flourie vigne la est Jilec mener: veni vous jardin mon En neDe vous me puis consirier. venezca: m’espouse, Ma seur, Le roy dez roys sil’appela: enlachieDe s’amour ; estoit Avoit surmonte tout son chief : Car l’oudour de s’umilite en Que demourast vieute. tel Ne voult maiz souffrir a nul feur sonCil de l’amoitqui cuer tout de grace.’ et deglore coronne en mon trone,vois vintdu ciel qui ‘Viengamoidist: ma douceelleue espouseesi metrai te Dieux aimemorut ta etbiaute, ala gairesNe demooura a quela la vierge pour foy Ihu Cris receuoitnostremartire tel vieng Seigneur. ten bele En cetteamie heureet ie quete donnerailame li parti la du corps vne 208 The motif is more elaborated in the French versions written in written versions French the in elaborated more is motif The 209 Vie et office de Sainte Marine Sainte de office et Vie 41 sponsa Christi Vie et office deSainte Marine Caelestem quemmente/ sponsum, in the scene of her death. These death. her of scene in the , 271. , 158. CEU eTD Collection the gate of the monastery. However,at penance her does she ones, inFrench the the and Latin in the German also and versions versionsSyriac and Greek this limbo. also but child, her raises she where scene the only not is place This expelled. sheis after penance place isthe Marina’s of This versions. in German of the three difference 211 Sainte Marine it: of front in cell small in a but monastery the of gates the of front in stay not does saint the Saint I could not put into words, / And no one could recount, / Orshould describe this event,”Spouse./ in Cazelles, Great were herjoy to and bliss/her her When presented Who she found by angels/ Heaven to herself Carried / body,in the her from arms/ Ofdeparted soul HimHer / whomFriend, she wanted her of voice so much. / her deepest wish.The fair maiden desired nothing more/ Than to go to Him who/ was callingHis her. / To kiss Him all day long/ Was bloodblood, was/ And yourthe teeth causemore are white deserving.of andher small. virtue, harmless/ Instead dove,/ my /Come, You / of my heart. I charmed / and haveservingOf reached Has beauty/ your prepared are of sweetness /The her King! ofthe chamber the theHeaven whiter purity,lowly, for you. / / YouThe thanworld must and has comeyou beentheof into utterly and my lily,hergarden. becruel with / whiteness./toThere you, me.’/ the/ / vineAndYour ‘Myyouis in are bloom, sister,allgarment the / And the Hearing dovemy can bespouse, of isheard.her humility/ Hadmade/ reached Fair thethe realmfriend, of Paradise.come / Touchedof come by piety,her forward!to /Thesilk, King me,of kings / thus calledEnter her: / / Your/ 210 I do notmouth want tois bebrighter separated fromthan you any longer, / But wish to take Cazelles, “He who loved her dearly/ Did not let the maidensuffer/ And assume suchvile tasks for long. / The fragrance , 254-255 and Latintext in Ms.1728, f. 109v, VaticanThe Library, reproduced inClugnet, Besides the motifs of Ne dire si s’en conuient traire. retraire ne qu’on chose piust Ceste Mon cuerpenser nele pourroit D’jecluy que tant desiroit ; sezbrasfutentre Quant elle grant soulas etgrant feste La eust a son presentee. Et espous Ou ciel lez l’en out anges porter L’ame enale guerpy: corps Quant otla voux de son amy. Et nette blanche la faisoit, estoit. merueillez sangDe son Celuy queroit et nuyt et jour ; par amour; levoult Embracier Que celuy veoir qui l’appelle: Ne desiroit riens tam belle jl venir. conuient vous O moy Ne deuesavillain seruir, Les auezmenus dens blancz, et Rouge estvobouche plus quesang, auesdesamis, vous Vesture Plus blancheestes fleurque deliz, The Lady as Saint , 178. , 65. imitatio Christi 210 42 and sponsa Christi sponsa topos there is another striking underwent changes as changes underwent Vie et office de The Lady as 211 In the In CEU eTD Collection Library Universityof the of Cambridge, reproduced inClugnet, 215 Later, he was deemed worthy of the holy monastic habit.” In LéonClugnet, 214 Clugnet, Sainte Marine Amadeni. of Theodor work the as period same the approximately from is which work 2005), 67-68. Valensise mentions the existence of a cell infront of the monastery Syriain by quoting another is a woman. The French version, a translation of insertion. explanatory Amadeni’sis manuscript the only (I havedocument found) which has detail this in an does versionsinonly Marina and fourteenth- dopenanceinGerman fifteenth-century a cell. isa cell because is a to of monastery.important This thisin frontthe manuscript reference Syria, where the Maronite Christians themonastery in that was states entered. Amadeni monastery Marina with the connection worship her. The most thatimportant the saint wasinformation born in Syria whichand not which inBythynia. the A secondauthor insertion intends regards SaintMarina written by D’Amadenito there aresomeTheodorus insertions explanatory various by inform data inthe reader correctly. In one such insertion he points out ibi et abiit. breasts: saint’s the childonto the throws uero sancto quoqueetmonastico habituest dignatus creuisset autempuer, degebatinmonasterio, educatus in uirtuteettemperantia. Porro into is version Lippomano’s monastery the become childaccepted the amonk:and will Lippomano and one French version, the child is notpresented as a separate character. In Luigi Domenico, M.Valensise, herttliclich v 213 to thank my supervisor,Gerhard Jartiz, for thetranslation. Heiligen, Zainer, Günter in eatanddrink.” to bread and water only years forthree gave him and severely 212 “vnd wurden zornig auffin vnd tet “And throwing the child in her lap, [she] left him [the child] there and went away.” In Ms. Mm. VI. 4, f. 186v, “And once the child hadgrown, [he] was livingin the monastery,[being] educated invirtue and abstinence. Amadeni,Theodorus “And became angry about him and put him into a small cell in front of the monastery and treated him very The destiny of the child is not clearly pointed out. Except in the version of Luigi of version in the Except out. pointed clearly not is child the of destiny The (Augsburg,1472), f.56r-56v, reproducedClugnet, in 215 , II also mentions the cells in which the monks used to live in. Ė This detail indicates that the copyist was writing bearing in mind that the saintin mind that was writing copyist bearing the that Thisindicates detail gaben im dru iar gabenim dru ze essenvnd nur brot wasser v BiologiaS.Marinae monachum indutae virginis 213 Monografia diPolistena Ɲ in furin dzcloster ein clein cellin v Et proiciens puerum inpuelle gremio reliquit eum [Monograph of Polistena] (Locri: Franco Pancallo Editore, Pancallo Franco (Locri: of Polistena] [Monograph 43 Vie etofficedeSainte Marine Vie etoffice deSainte Marine The GoldenLegend . 214 In another Latin version the mother the version Latin another In (Venice, 1676), 12. See also Mons. Vie et office de Sainte Marine Sainte de office et Vie Ė ze trinck , has an important Ɲ .” 212 Ė , 262. , 127. Iwould like hielten in hielten gar In the In Vie et office de Vie etoffice Leben der vita , 30. Cum of CEU eTD Collection 220 Harley 2253 in Quire,” 219 manuscript from Italy which was written mostly for lecturers. Latin fourteenth-century caseof the the asin around her relics, occurred miracles that of additions the in consists versions the among difference The regions. three the inall pattern disguise when monksthe and then peopleother find out her real identity. Itis the only similar Eugenia, Euphrosyne). This is phasethe of undoing all ambiguitiesthe regarding Marina’s at or acertain while Papulamoment of Marina, Apollonaris) Gaul, alive Hilaria, (Susanna, Reparata, (Margareta death either attheir contexts: in is different revealed identity when their of a changeregarding herplace penance. introduced topographical Christi 218 protest not for thesaint. justification offer a to was trying thecopyist probably whichhasthis addition; from is all regions only three version the text 217 Marine of mine?’”Ms. in 1534, f. 44v,National Library of France, reproduced inClugnet, 216 chastity. their maintain and gender their hide if they only sainthood achieve can man. rien?’” addition: “Vnefois lenffant dist aMarin: quoy ‘Pour me nourris quant nestu tu mon pere ne Larissa Tracy, Larissa Seventh ofthe Lyrics Love the and Marina Gore’: under ‘Gynest Saint “A Fein, Susanna quoting 19, Ibidem, Larissa Tracy, Larissa Léon Clugnet, Léon relative any nor my father neither are you when me youfeeding are ‘Why Marinus: to said child the “Once, 219 , 168. , 216 The last phase of a transvestite nun’s life was that of the reintegration. It is the phase is the It reintegration. the of that was life nun’s atransvestite of phase last The 3. Reintegration To sum up, the French versions developed two motifs, the The sanctity abandoningas she result hergender, of does The sanctity wasadirect Marina of Saint This attitude reflects the misogynist concepts of monks according to whom women which were present in an incipient form in the Latin versions. The German versions German The versions. Latin inthe form incipient in an present were which Studies in the Harley Manuscript: The Scribes, Content, and Scribal Contexts of British Library MS It is This thetranslator. this clear or wasaddedbythe copyist fifteenth-century that (Kalamazoo: MedievalInstitute Publications, 2000), 363-364. 218 when being expelled. She is considered a saint because she has suffered as a Women of the Gilte Legende, Women of the Gilte Legende Gilte the of Women Vie et office deSainteMarine , 18. 19-21. , 255. 44 217 imitatio Christi Vie et office de Sainte 220 and Therefore, sponsa CEU eTD Collection prototypes omit it.prototypes omit The copyists thesedetails without transcribed takingaccount the into saint. Gradually, her origin was omitted from from the was omitted herorigin Gradually, saint. herrepresentations. visual This represents the first phase of the development not wasonly of a Saintturning Marina’s point in their vernaculars the into versions of these the translation However, audience. toasmall restricted diffusion as the text became more accessible totexts. a wider public. the versions in the FrenchGreek, which already has additions compared too Greekandthe Syriac texts.Furthermore, and German vernaculars Latin version of her The earliest are translations centuries. tenth and ninth, eighth, the from date Latin and Greek, of in Syriac, eitherversions preserved Latin or Greek of versions her earliest The well. as West in the but inEast, only not 50-53) patterns, of Table the (see versions second attemptto explain her sanctity herrefers to punishment andwilling penance. The do. notshe does of because what but does because she of everything is she saint not from the Syriac details preserve versions these of most Furthermore, century. eighth the as early as Bythynia as origin her mentions version Syriac the however, centuries; sixteenth the and fifteenth her andcult her of of transmission the traces shows which a detail saint, the of origin the as Greece of regions different mention versions from Latin of mentions origins variety Italy, which are the one other texts Italy. all Except the The variety of places ascribed to her indicate the origins of the copyists, not of the in monastic were spacesand Italy of from the or France circulated The Latin versions Marina’s Saint of The circulation Conclusions topos where saint the is tohave supposed lived, even the though two Eastern vita were written as early as the sixth century, however, the oldest vita , dating from the ninth century, is a translation from is atranslation century, ninth the from dating , vita 45 vita . These additions of origins occurred in the of additions . These origins occurred influenced the developmentnumerous of vitae ; the only versions which offer a vita but also of CEU eTD Collection 221 monastery andentering the pattern in first the father finds hisdaughter of the one clothing the even Latinthe versions from Italy preserve thiswhich can pattern be divided into groups: two furthermore, France, from versions Latin in the is omitted clothing her changing of pattern The detail of changing herwhich clothes translated is text foundonly The Marinus. masculine the to Marina in feminine the thefrom allname her of changing namefour ofas theMary Latin is thatversions of emphasize the in the mosthagiographers/copyists is Instead, versions. clothing of the omitted Luigi from Italy.Lippomano The from the sixteenthidentity. her of hiding the only century.emphasized accordingly, and, monks vita East the womanin to apassivethe West. submissive and individualized more a from behavior saint’s the of development the influenced isdevotion fact have of Virgin this the seems pattern Mary to with that connection by herself.from German most differsthe The version second issuein The Latin. original the a herfather, or with on only separate occasion monastic together as entering community: the is she when described occasions different three are there namely, century, ninth the as early as her free own accordingact to will. and herfather not imitate to is saint the in versions considered Western the that is demonstrates case that this best the version is one Latin text from Italy according countries. of depictionstheir own the of environment usedthe authors to whichthe that sense the in changed rather are the details topographical these fathersaint, the of depictions is named Marinus.geography Thus, of the country where they occurred. In the next chapter, in which I analyze the Sandra Lowerre, “To Rise beyond Their Sex,”66. Their beyond Rise “To Lowerre, Sandra was no longer concerned with the temptations she might represent for a community of a community for represent might she temptations the with concerned longer no was Although saint,considered a the transvestite detail her beingof in disguised men’s sequences in different monastery of three into herThe pattern the developed entrance intriguing most the father; saint’s the to names different attributed copyists The 46 221 Furthermore, the copyist of her of copyist the Furthermore, puer senex in CEU eTD Collection Marina. and God between in adialogue is developed it one French in the whereas version, Latin motif, namely, that of in from simply versions A it. the pattern prose the changing without second Latin translate vernacular into the motif motif the into of vernacular Syriac versions she is judgedin her absence.Gradually, developedinpattern this French the whilein Greekand versions the of Latin vernacular is the trial later the and development a her of Thesequence have patterns. donot these versions monastery. GreekandSyriac The the regions. her Oneof firstsequences the trialto beatingrefers from being before and expelled in notableall three differences are there text.Asfor pattern the of Greek her as the penance, which are considered a temptation; the Latin version of Luigi Lippomano has the same details ofeunuchs, beauty,characteristics namely, physical Marina’s with the rape areconnected as a by in accusationstemptation of devil.the casetheinnkeeper’s However, one daughter’s developmentof the markettown, and that of the woods. an is that pattern unchanged alsofoundin GreekandSyriacthe versions, topographical Italy: of region in the circulated versions three Thus, development. same the have France from versions Latin the while vary, Italy from versions Latin the of developments The France. and detail which refers to tonsure, found only in the version of Luigi Lippomano. a man into isthe her totransformation related aspect second The together. monastery the entering father anddaughter namely, of a different that the sequence, itclothing and addedto of pattern the changed versions sixteenth-century and fourteenth- other Two Lippomano. together, such such as in together, In casesthe where is Marina by accompanied monks, generally she is accused of rape Italy from versions Latin the in developed monastery the from exit her of pattern The sponsa Christi The GoldenLegend imitatio Christi , is also an addition which is barely identifiable in the identifiable barely is which addition an is also , in two fifteenth-century versions in verse, while verse, in versions fifteenth-century in two and the sixteenth-century version of Luigi of version sixteenth-century the and 47 CEU eTD Collection that of the saintherself. including numerousadditions which defined theidentity and the mentality copyist,the of not by developed versions The sixteenth. the until century ninth the from regions these of all innocence. and herpenance, lifestyle, monastic her virtuous version emphasizes which concentrated a name, Fortunatus. The same author offers a folkloric version of her of version offersafolkloric Thesameauthor a name, Fortunatus. image Crucifixion,probably the a monastic custom,of of influence and the childacquires the upon the meditations ofher consists Another addition from herself accusations. the release vita additions.important The was book written with and intentreligious the mainsequencesher of century, twentieth the of half first in the priest by a written version, Italian front of the gates of the monastery but in a small cell in front of it Colombo, 1943),2-114. this versions German these In expelled. being place penanceafter of of Marina’s the among German versions, three the difference 222 Guido, Luigi are the same. The additions refer to the temptation of Satan to reveal her identity and identity reveal her to of Satan temptation the refer to additions same. arethe The On the whole, it is essential to point out that numerous parallel versions circulated in circulated versions parallel numerous that out point to is essential it whole, the On The Besides the motifs of vita La vita di S. Marina vergine di Bitinia protettrice della città di Polistena of Saint Marina underwent numerous changes over time and space. In an time over space. and changes numerous Marinaof Saint underwent imitatio Christi topos underwent changes as the saint does not stay in 48 and sponsa Christi , there is another striking vita 222 there are several are there in Italian. It is a It Italian. in (Polistena: C. CEU eTD Collection time, and audience. 223 The table presents, briefly, the variations of the patterns from the TABLE OFPATTERNS TABLE 49 vitae 223 of MarinaSaint according to region, Entrance Patterns Father Origin Fourteenth Fourteenth Thirteenth Thirteenth Thirteenth Sixteenth Sixteenth Fifteenth Fifteenth Century Eleventh century century century century century century century century century century century century century century Ninth Ninth Ninth Eight

CEU eTD Collection Rosweyde mentioned mentioned Not Not ------Prototypes Greek ------Together Syriac ------Bythynia and Bythynia mentioned Marinus Eugene Greece Latin Italy Not ------50 Italy Vernacular ------Alexandria enters first enters enters first enters first enters Father Father Father Egypt Latin ------France Vernacular enters first enters Alexander Father ------Vernacular mentioned mentioned Germany A town A town Not Not ------The promise Clothes Fourteenth Fourteenth Thirteenth Sixteenth Sixteenth Fifteenth Fifteenth Eleventh century century century century century century century century century Ninth Ninth

CEU eTD Collection ------Father enters Father enters Father enters decision and decision Together/ Marina’s decision decision decision decision Father’s Father’s Father’s Father’s first first first - - - 51 ------information- information- information- her name her her name her name her changing changing changing Promise No No No ------enters first enters enters first enters Together/ decision Father’s Father Father ------enters first enters decision decision Father’s Father’s Enters Enters Father alone/ alone ------The penance Exit Fourteenth Fourteenth Thirteenth Thirteenth Thirteenth Sixteenth Sixteenth Fifteenth Fifteenth Eleventh Eleventh Eleventh century century century century century century century century century century century century century century century Ninth Ninth Eight

CEU eTD Collection Market Beaten town ------trial No ------No trial ------Market town Market Market town Market town Market No promise/ No No promise No and woods Promise Promise ------52 ------Promise Promise Market Market Market Beaten Beaten Beaten town town town ------Promise Promise Promise Beaten/ ------Sea/Market Promise Promise woods woods town ------Reintegration Limbo-a patterns Other Child Gate Fourteenth Fourteenth Fourteenth Twentieth Sixteenth Sixteenth Fifteenth Fifteenth Fifteenth century century century century century century century century century century similar

CEU eTD Collection similar similar similar ------similar ------Beaten/ Sponsa Christi Thrown to her to Thrown No trial- No No trial- No A monk beaten/ beaten/ Christi breasts similar Beaten - - - - Sponsa 53 Temptation/meditation similar ------similar ------Talks to his to Talks hsdot Chased out Chased out imitatio Beaten- Christi/ Sponsa Sponsa Marina Christi similar Christi ------Chased out similar A cell A cell - - - - CEU eTD Collection 226 (1944): 449. 225 representations in regions. representations different eithergeneral too superficial.or is Clugnet’s analysis a viewgeneral onSaintMarina’s visual summarizes briefly. In his article, his In briefly. summarizes in shevenerated even but in France. is venerated was nowadays Italy, also Marinaatall is celebrated that many more.Her conclusion she because not is again erroneous and paintings engravings, statues, illuminations, West: in the especially, and, East inthe both Marina of Saint representations numerous are There superficial. arerather conclusions these nom.” donner memen’apasvoulu son etcelui-là seul qu’un siècles, artiste les inspire,à travers n’a Elle nicélèbrée.ni n’est célèbre, Marina-la-Moniale and“Aussi ofAntioch:SaintMary/Marina compared to West, mentionsand East inthe both saint first the of that representations various the the enumerating after visualauthor, representationsthe part, second the In other. each with confused are themselves saints the also but saints oftwo Saint Marina the Monk arediscusses their on visual Thefirstrepresentations. partpoints outnot only that the less numerous vitae article, the part of first 224 Ibidem, 502. Clugnet, Marina A. Sacopoulo, “Sainte Marina dans l’hagiographie et l’iconographie,” et l’hagiographie dans Marina “Sainte Sacopoulo, A. Marina of Saint Mary/Marina of Antioch and Saint Marina the Monk and the second part There is literature Marina.There of on little fewSaint visual The the items are representation The only depictions she mentions are those from the article of Brossé, whose work she d’ailleurs qu’elle n’a quelquetenté ‘primitif’ flamand,italien français.ou plus pas byzantins, fresquistes des ou mosaïstes des lasensibilité enflammer n’a contemplative pu et vie ascétique de cette humble, Mais ladiscrétion Vie et office de Sainte Marine, Marina(-us): FromMarina(-us): Solitary to Monk Sainte Marinedansl’hagiographieetl’iconographie XXVIII-XXXII. 224 Les peintures de la grottede Marina prèsde Tripoli Marina Sacopoulos’ analysis is rather superficial. The superficial. rather is analysis Sacopoulos’ Marina CHAPTER II 54 Sponsa Christi Sponsa Revue du Caire du Revue 226 , focuses on the that considerI 225 vitae 7, No. 70 of the of , CEU eTD Collection include the engravings, frescoes, and flags in the group include frescoes, andflags in the engravings,of from the group paintings becausethey date grouped these depictions in chronological illuminations,order: paintings, andI statues. illuminations, frescoes, paintings, engravings, statues, shrines,flags,have and I other. her: depict which representations visual differentI use mana woman. of tothat a of that from changes physiognomy her material visual in the is that difference important most the in There are major representations; differences these regions, andaudience. time, different century. vita. entitled them according to the French or Latin version of her version Latin Frenchor the to them according from Westand painted area, but the that from wasnot of scenes thepainter the that states letters. in Latin heads abovetheir names character each the of sceneswrote the life. of her todepict lastpart scenes from the supposed scenes panels youth her from represent while lastwhich the four, are badly are damaged, killing the devil painted over eight panels with scenes from Saint Marina’s life. The first four 228 htm (Last accessed 14March 2011). 227 characters, Greek herself. In the group of the older AmongMuslim inhabitants. frescoes aresome these which depictions saintrepresent the layer is a painting of the saint(see whose namecat. is written fig.with layerrepresentations of moreand recent a an are older there outthat points lived and have 3-6). Unfortunately, cave the from frescoes the analyzes Brossé Charles-Léonce the faces of the characters had been destroyed by the 233 232 231 230 229 Brossé, “Les peintures de la Grotte de Marina près Tripoli,” près Marina de Grotte la de “Les peintures Brossé, Haurani, “SaintMarina the Monk,” http://maroniteinstitute.org/MARI/JMS/july00/Saint_Marina_The_Monk. Sacopoulo, “SainteMarina dans l’hagiographie et l’iconographie,” 501-502. Ibidem, 41. Ibidem, 39. Ibidem, 39. Ibidem, 38. 233 In this part I investigate the various representations of Saint Marina according to 232 Miroir des Enfants The authorof may paintingsthe have influencedalso been by medieval a work 228 while the more recent layer of paintings illustrates Saint Demetrius Saint illustrates paintings of layer recent more the while written around the eleventh century which contains the saint’s the contains which century eleventh the around written 55 Syria 229 7, No. 1(1926): 32. vita It is remarkable that the painter of 227 231 iswheresaint supposedto the from the ninth or thirteenth or ninth the from 230 The author CEU eTD Collection Spain, and the origin of one sequence of illuminations is unknown. Most of these syncretism. religious result of which arethe of versions ofherlife some find or (Parabita) these (Castroreale) visual places can one representations In more. many and Venice, Ardea, Parabita, Atri, di Casoli Tollo, Bruzio, Casole such as Castel Ritaldi, is venerated, still places where she other also are there But Zambrone. di Giovani San and Amalfi, Amalfi, di Pogerola Lago, di Terrati Castroreale, Salina, Marina Santa Milazzo, di Marina Santa Polistena, Filandari, towns: small of anumber of saint patron country. In this chapter I focus mostly on her representation in southern Italy, where she is the Italy thein is that cult phenomenon this for explanation of possible One Saintnumerous. so not are representations Marina still exists,frescoes,(paintings,flags, arefrom and statues) Italy. InGermany and Spain the visual so there are more depictions of her all acrossclothing. the white in representation her for answers possible several are there Polistena from Marina Saint it inis cases only Thisis where caseof those possible. the of offer statue the explanations whose clothes Marina seems to wear.specific this to (seecat. monastic fig. order For this 17). did reason, I mention not order the I prefer to specify only wearingis notfrom white depicted thatare a Cistercian andblue clothes abbey, Marina the color of the clothes and to Marina clothes Saintis the in in. instance, depicted For a monastic community connectionsand the between itismind that to establish exact difficult similarly. saint the depict they haveapproximately sameperiod. I the included the in shrines becauseof group statues the The illuminations1. Illuminations, paintings,engravings,and flags frescoes, I deal with are mainly from France; a few are from Germany or Most of illuminations the arefrom France, while other visual representations in bear onehasto clothes of the attribute iconographical the about speaking When 56 Magnum legendarium austriacum CEU eTD Collection details are added (the crozier, the aspergil, the Bible) and more attention is paid to the details. tothe is paid more attention and Bible) the theaspergil, crozier, (the areadded details in crozier his left ismorein hand. entire elaborate The sense composition the thatliturgical of a group fourof monks, theis abbot placing righthand his on herhead whilehe holds a two narrative sequences; she has a tonsure and clothes are black. Depicted as kneeling in front of in firstis the presented monastery the into SaintMarina’s entrance Here, fig.10). (see cat. does while one or two monks welcome them at the entrance of the monastery. father her as hands her raises hair, brown or blond short with boy a as depicted Marina, child The in gestures. also but characteristics, in physical only not father her resembles who child a as isdepicted she of andphysiognomy, herAs pattern tonsure the for her focus on disguise. not do pinkish-purple) or (red clothes her of colors the context, in this that consider I differ. clothes of the colors butfather,of the her tothose clothes monastery. wearssimilar She the of entrance nexttoherfatherthe at kneeling or in position a standing is Marina represented of her clothes. attribute focus on the Marina Saint of representations the illuminations century from the ofthem three are intoentrance monastery,is the found illuminations infour from fig.France (see cat. 7-10): usedin visual attributes the iconographic Marina.of firstSaint The of representation theme, numerous. so not individualfour figures,which of depictions,but of are up to arealso there representations sequences narrative are illuminations these Generally, fifteenth century. to the fourteenth the manuscript with an unknownhistoriale origin dating from theMagnum legendariumaustriacum twelfth century, all the others are from illuminations are from the arefrom illuminations This theme undergoes a slight change in a fifteenth-century illumination from from France illumination change ainThis afifteenth-century slight themeundergoes and Ifocus variety chapter, on of the patterns of previous the discussion Similarthe to of of Vincentus Bellovacensis, andCollections or Golden Legend Golden Legend , the , Miroir historialdu Jeanle ditBon and manuscriptsother containinglives of saints: a , one from the 57 Lives of SaintsLives of Passionarium . In three fourteenth- three In . . Except for one for Except . , Speculum CEU eTD Collection mother, in front of the gates of the monastery. The same pattern of penance is found as in the as found is penance of pattern same The monastery. the of gates the of front in mother, of this French illumination presents Marina receiving the baby from a woman, apparently the Details havebeen added as she is saying depicted physiognomy, and wearing Franciscan clothes, the saintis kneeling infront of abbot.the and the third emphasize her trial and penance. Tonsured, haloed, with masculine herfig. trial Thefirst(see sequence 6). arrival depicts the while innkeeper,the of second the the of version French century fifteenth- in a elaborated more is This her. towards is pointing abbot the while monastery is sequencesthere narrative only a reminder of themethe of heris saint trial:the outside the these In child. the of company in the penance her on and expulsion her on focus illuminations this detailhides other the while astonsure her shows she illustration German the but is cases, both in wearingmasculine a hood. The followingGolden Legend the two from illustration sequences German fifteenth-century the in changed clothes the of pattern The oxen. from the first group drawn by is saintblue clothing a cart while wearing the monastery. driving depicted Here, of thisthemedevelops sequence in Thefirst her refers sequences. from three to exit the 12, 17),while theFrenchonesfocus heron depicting fig. trial The (see cat. 13). series fig.and (seecat. German the ones 18-21) fig. (seecat. provenance of illuminations unknown her father. without monastery the she enters a bedwhere father on in this deceasedmonastery. istheonly saint’s Again, the representation canseethe is sequence,one Inthesecond character asaint. factin mind the the bearing that was artist is asit the reveals that Thisdetail essential monastery. the a halobefore entering For instance, this is theonly scene among four the in which a mature Marinais depicted with The next theme is that of her exit, which is emphasized only in a series of as the saint is wearing black clothes (see cat. fig. 12). Her physiognomy is Golden Legend , where the largest sequence out of fouris that of 58 Pater pecaui ora prome . The last sequence CEU eTD Collection figure 1) from the (see illumination A fourteenth-century differently. it present theme, same the on focusing Besides the two illuminations mentioned above, thereare another four which, although monastery the baby mature holding asomewhat herin arms. previous group, butin a simplified form as the saintis sitting depicted in front of gates the of the monks. from forgiveness a haloed focuses whiletheotherrepresentation Marina amazementof the on for asks abbot the illumination French the In breasts. by her out is pointed identity feminine by surrounded monks.a group of The physiognomy and thetonsure aremasculine whileher Marina from of naked, Both depict them fig.century. fourteenth provenance 22) the (seecat. French one from the fifteenthinto which depiction. is the “Ta-ta” by inserted revealed interjection the century (see clothes communicates with cat.is child,whothe talking his to supposed father. This detail is fig. 13) and(see cat.fig. thesaint, manuscriptblue haloed, German 17) white andwearing tonsured, and one illumination thirteenth-century is teachingthe ofblackIn child. another with attributes clothes, same the of unknownfig. depicted thesaint, (see cat. manuscript 16), French in fifteenth-century Accordingly, a but in front of her; the gestures, the clothing, and the physiognomy are the same. Golden Legend representation is alsobaby in her arerathermaternal Hergestures arms. andsuggestprotection andlove. A similar found in a fourteenth-century of monastery.the Lying black down, clothes, with tonsured, with a halo, saint the holds the Catalan version (see cat. fig. 15) of the More illuminations depict the theme of her penance than other events in her life. her in events other than penance her of theme the depict illuminations More The last theme is the discovery herof identity, which is found in illuminations:two a baby. the of that also but changes, undergo saint the of representation the did only Not . The only difference is that the saint does not hold the baby on her right side, right her on baby the hold not does saint the is that difference only . The Miroir historial ditdu roi Jean le Bon 59 shows her holding the baby infront baby the holding her shows CEU eTD Collection andlong black hair. She holds a book, possibly Bible,the in her lefthand andaflowerin her masculine with physiognomy, a halo, blue clothes, white and wearing is saintdepicted the from Italy (see cat. fig. 23-24). In the first, a 1333-1350, The saint is represented as an individual figure in only two manuscript illuminations manuscript two inonly figure individual an as is represented saint The Fig. 1. Speculum historiale Saint Marina, disguisedas a monk, with achildinherarms , Folio 408v, National Library of France, stack: MS 5080 RES. 60 Passionarium dating from the twelfth century, twelfth the from dating , France, CEU eTD Collection mostly in the company of other saints. sequences. Thispattern changed in whereis paintings,the depicted she withtogether child, the illuminations saintthe is either as depicted individual an mostly,figure or, in narrative the In paintings. and illuminations in the saint the of representations the between difference and isan There Bruzio, Polistena. essential Casole of Venice,Siena, regions various Italy: developments; images important differonly toregion the according and audience. are no there Chronologically, andbuildings. rivers, walls, forests, as such landscapes various but have illuminations all an abstract background, the aremore “realistic:”others can one see background variesfrom of representations these tospecific. fourteenth-century abstract Two Besides these, are there individual figure representations of saintthe only in Italy. The illuminations, her exitand penance in Germanthe illuminationsand of unknown origin. Accordingly, the theme of her entrance, trial, penance, and death are represented in the French century. twelfth inthe ambiguous already are figure individual Italian asthe such illuminations similar in all the three regions; Marina is depicted as a monk, although there are some monastic community which promoted her promoted which community monastic the not clothes indicate sheis The wearing of necessarily large number recipients. depicted do black clothes. issaint with represented a haloin a medallion,masculine andin with physiognomy, tonsured, is from the Thesecondrepresentation he attributed. characteristics masculine identity the in heherdespite bore that mind true meaning breasts, her with depicted right hand. What is intriguing in this representation is the fact that the artist seems to have Except for one painting by an Italian artist from Germany, all the others are from regions. in other than life her of sequences more on focus illuminations French The To sum up, these illuminations circulated mostly in monastic space and did not have a have not did and space monastic in mostly circulated illuminations these up, sum To vita 61 or her cult. The physiognomic attributes are attributes physiognomic The or her cult. Golden Legend , where the where , CEU eTD Collection 234 her.two are There next or to in herarms and hair,child the clothes, short dark-colored saints (see other with together Virgin figurethe venerating is Marina Saint where Robusti), (Jacopo 2 andTintoretto cat. fig. by paintings in two 32). case the is This Mary. Virgin the The venerating is shown depicted is iconographicMarina attributes A moreless groupof the or century wasthat notablesaints among difference Venice. which of the saint are the same: seem feminine, gestures maternal even the more in than depictions. previous the arerather features asher is changed her physiognomy same,only are the halo andthe hood, an individual figure holding thebaby, similar tothe Virgin Mary and Child.Theclothes, the depicts her fig. 30) apainting cat. as from of Museum contrast, Berlin In the gates. of the (see this pattern. In this particular case the trial is not inside the walls of the monastery, but in front depicts which representation Italian only is the This trial. Marina’s of be that to seems which In Francis receivingthe stigmata. background the of this can section one see a sequence Saint and Isaac of sacrifice the monastery, the of front in child the holding Marina Saint four sequences dedicated to various companythe of (seecat. saints other fig.28-29).In this case, entire the is painting into divided religious scenes: SaintExecuted Andrew by Andrea di Bartolo,adoring the paintingcontexts. fromthein similar Siena saint the showsHolypresent Siena, thefrom saintone and Cross, in Germany from theone samecentury, same context -- hood covering herhair,holding child the in her arms. Twootherpaintings datingfrom the is depicted with a halo, in white and dark-colored clothes, withsaint The masculinestigmata. the physiognomy, is receiving who a Francis, Saint with appear Dominic Saint and Marina town. the of saint patron asitis region andsheimportant relics where becamethe of the Saint weretranslated Marina Clugnet, This pattern of her representation did not undergo important changes in sixteenth- changes important undergo not did representation her of pattern This The first groups of paintings Idiscuss are from Venice (see cat. fig. 27-34). This is an Vie et office de Sainte Marine, 234 In a fourteenth-century painting by an anonymous artist, Saint artist, anonymous an by painting fourteenth-century a In XVI. 62 CEU eTD Collection ambiguous any longer: Marina is a holy woman doing penance. Other details added to the or illuminations of femininemalethe from paintings.the None of her are physical attributes isfrom masculinethe either There and noecho tonsure. clothes Marina of the the femininewith features, butasa woman. did Notonly physiognomy the also but change, the Marina’s physiognomy is totally changed as she is no longer represented as a man or a man indutae virginis 235 monastery. herinsidethe from her depicts of which Venice representation in teaching clothes black childinsidemonastery the the fig.(see cat. Thisis the 34). only herasamonkQuerena depicted Lattanzio in half firstcentury, the nineteenth changes, the of Although herphysiognomy underwent are. coveredis not by characters’ beard other a asthe same: ahood covering the andan herhead, clothes, white as herface uncertain physiognomy her child in her arms in a similar way as the Virgin does. The other iconographic attributes are holds Marina saints, other two and Francis, Saint and Benedict Saint by Surrounded Virgin. oneangel each with On MarinaSaintis on underthe side. right level, second positioned the painting: celestial and earthly. The Holy Virgin and her child are situated on the celestial level same context near the Holy Virgin (see cat. fig. 33). In this in Italy. in southern of statues her attribute became martyr’s the representations of case,palm the there are two levels of the Virginthe holding her childandin othershethe holds a martyr’s palm in herhand.This detail to similarly is represented she in one Virgin, the to is close she paintings Venetian the of both differentiates her when otherthe painting thechild standsnexther.she toItis exactly which maternal this gesture is depicted as more feminine,La Vergine inGloriaeSanti just as in the German whichherfeatures a morerender her feminine aspect: physiognomy gestures. In and her the painting. In See also, from the same period, the illustrations from Theodorus Amadeni, In a Dutch engraving from the first half of the seventeenth century seventeenth the of half first the from engraving aDutch In A third sixteenth-century paintingby Venetian an placesanonymous author herin the (Venice,1676): 1 and introduction. , Saint Marina holds the child in her arms close her,to whereas in 63 Biologia S. Marinae monachum 235 (see cat.fig. 35; CEU eTD Collection depiction. (aBible,engraving arosary at her feet,the skull) focus on religiousmessage the of the http://fe.fondazionezeri.unibo.it/catalogo/scheda.jsp?decorator=layout&apply=true&ti adoring theMadonnaand the Child in glory Fig. 2. Saint Cecilia,Saint Marina, SaintTheodore, SaintCosmas, andSaintDamian po_scheda=OA&id=45261 century, Italy, Venice, (in , Last accessed: May 21, 2011). , Robusti Jacopo (il Tintoretto), 64 sixteenth CEU eTD Collection Editore, 2001), 108-109. 238 237 Editore, 1995), 93. 236 two frescoes datingfrom 1903 discovery isthe identity of andher these There anotable between herveneration. difference pattern is also foundin a painting carried duringprocessions. The secondfresco focuses on the saint is in the companyfig. 38,40). The firstsequence focuses onher expulsion from monastery.the Inthis sequence of the child cat. lifeher (see sequences of different focuson two frescoes which are of representations the and sits on the stairs Two century. twentieth the and half nineteenth the from second of the dating representations of the monastery.later are of Polistena Marina Churchof from the Saint paintings The clothes. white wearing The same which is pointed outby halo.the inare visible herher only of thefocuses sequence on penance. Thesecondsequence sanctity, both of them the saint wears in sequence the of her front discovery monastery penance of identity. the and herthe of In monks’ clothes while her masculine physiognomy and tonsure are the same (the child, the clothes, the halo, the Bible in her right hand), but her but hand), inherright Bible the halo, the clothes, child,the same(the are the Hericonographicalcat. fig. Holy Veneranda, the Saint venerating Virgin (see attributes 42). Barbara and Saint saints, female twoother Marina with depicts century, eighteenth of the themes of the trial and the that remembers if one interesting more is even It Italy. of parts other from representations scene,later Norepresentations is detail this among of absent. thisvisual occur sequence the in the while beaten, being is saint the that suggests monk the of gesture the representation, 39, 41). Carlo Carlino, Carlo Ibidem, 92. Giovanni Russo, Giovanni Several representations (seecat.fig. Several Marinaherof 38-47) representations Saintfrom Polistena depict later,inA French century fig. (see cat. two artistsengravings other focusedon 36-37), The fourth painting, attributed to a minor artist, 237 There is a notable difference in the expulsion sequence; in the earlier in the sequence; expulsion the in difference notable is a There La ‘Scuola’ di Monteleone. Disegni dal XVII alXIX secolo Polistena La Chiesa Madre 1783-1983 sponsa Christi sponsa 236 and those which were covered the walls earlier (see cat. fig.(see cat. which walls earlier werecoveredthe and those were more developed in France than inItaly. than in France developed more were 65 (Polistena the Mother Church) (Rosarno: Virgiglio (Rosarno: Church) Mother the (Polistena 238 dating possibly from secondthe half (Soveria Mannelli: Rubbetino CEU eTD Collection 239 Saint Mary of Antioch, of iconographicalThe handof cross. the has the attribute reliquary, representation the which was actually with ofAntioch Mary/Marina Saint inrepresents depiction of reliquary the interior the and the the Church of SaintMarina Marina the Monk, in theVenice. hand Churchreliquary Dueof Saint to Marina isthe that the Monk of inSaint Venice.century. Marina/Mary This of Antioch.is the in thirteenth these the Venice asearly saints between as two was confusion thatthere out Oncase the backconcerning are is point In Marina andthe cross side thisimportant to Monk’s. caseitof Saint the those a hand reliquaryher right at the child Antioch, while of Mary of Saint attributes iconographic These arethe of Saint Marina of of Antioch:Antioch Saint Marina stands with her feet on the Devil’s head and has a crown on her head. fromMary/Marina Saint and Marina Saint the attributes: saints’ different two of a combination fact in is fig. This depiction (seecat. 57). from her is of that asawoman Castroreale representation placesother she wears black as a nun’s habit isdepicted and a woman. The most interesting Milazzo she wears whitein arethesamein and sense that BruzioCasole the attributes iconographical Her twentieth. (Casole Bruzzio) thebeginning the of or from nineteenth century the dating representations, later These orare black (Milazzo) monks’ thechild. with is together Saint depicted Marina Pogerola di Amalfi, andCastroreale, Tollo, clothes, while in the imitatedmostly an Polistena, earlier prototype). statues, clothes (onehas tobear inmind the that other visual representationsfig. (see cat. from 80-98) white of with saintthe representations in of earliest the one establishing isThis important painting was or was not commissionedVenetian paintings where she is in the proximitybefore to the Holy Virgin. the It is debated earlier tothe similar statue beardless, depicted sheis as more is uncertain again physiognomy whether this of the saint from the same church. Art, 1997), 496. Byzantine Era A.D. 843-1261 William, D. Wixom, “Byzantine Art in the West,” in West,” inthe Art “Byzantine D. Wixom, William, In the region of Casole Bruzio, Milazzo, Santa Marina Salina, Santa Marina di Salerno, , ed. Helen C. Evans and William D. Wixom (New York: Metropolitan Museum of 239 66 TheGlory of Byzantium. Artand Culture of the Middle Although the church bears the name of Saint of name the bears church the Although CEU eTD Collection existence of her of existence Scanio as her birthplace, thename of her parents (Pandariti), and the date of her birth,1062. 245 244 Marina]Saint (Palermo: 1959): 75. contexts as well because otherwise she could not access the monastery. The theme of her discovery omitted. is discovery 243 ofher theme The monastery. the access not could she otherwise because well as contexts these in disguise her keeps she that consider I monks. the helps she knows that One and out. monastery a male enters she pointed that clearly not is disguise of her sequence second proceed.The to how her advices who God masculine, Marinus. the to Marina, feminine, the from It name her and ismonk of a for those interesting of anun clothes the changes she as name her and thatclothes to her connected is thechange this case first paternalthe In monastery. the entering when and figure Jerusalem to ship onthe who life: of her sequences is inseveral occurs the of transvestitism theme The saint. ofa new agentvita of the compose herto inorder elements these transformation, used and Monk the Marina of Saint vita ofthe themes some developed is substitutedJerusalem to andreturns then to thebyand monastery. died have Afterparents that five her years that she discovers returnsofshe to Sicily, Sicily to and dies.returning When It is clear years. thatthree for the monks hagiographerthe she prayed to God to be in the company of the saints). She goes to Jerusalem and remainsbishop in tells a monasteryher that she willhelping go a to Here JerusalemSyria. in Tripoli, two in arrives times ship and The only person. then willpossessed the she cures die and prays in Marina her ship. ownof the country owner (onthe ship the to deeds their confess and scared get sailors The her. approach to tries he when possessed becomes sailors the of One money. her steal and sea the into her throw to decide and monk a rich is she think sailors The Marinus. In order to hide beauty,her God advises change her to clothesher forthose of amonk and again. name her into Jerusalem goto to decides she Then of Marina. name the under amonastery enters She healed. is person she was doing penancefamily and decidedas to remainshe a virgin. So, when herparentshad wanted herbeento marry she lied to them by tellingmolested. that already leading a Christian life by poorthe helping andby being humble. Shevisited Jerusalem togetherwithShe her is accused of being242 possessed, but when she prays, a sick Sicilian’s the Marina Saint for basis the as version Metaphrast’s the Symon developed and used possibly author anonymous The Monk. the Marina with identified be can She existence or her cult. her or existence Sanctorum siculorum her. nextto as ablacknun’shabit she is from child with a woman depicted wearing Castroreale, 241 240 Scaniu, the Monk and Marina/Mary of Antioch, is misinterpreted. Marvin C.Ross and Glanville Downey, translation. as her asearly was missing name confusion the hand relic was supposed to belong to Marina the Monk, whose left hand Ibidem, 76. Ibidem, 75. Giuseppe Rossi Taibbi, The saint was born in 1062 in Scanio in the Pandariti family during King Roger’s reign. As a child, she was M. C. Ross and G. Downey, “A Reliquary of Saint Marina,” See also Clugnet, Marina the Sicilian wasmentioned for the first time among the saints of Sicily in the A second depiction, a result of local religious syncretism, is that of Saint Marina of 242 also called Santa Marina la Siciliana (see cat. fig. 59). Similarly to the depiction vita La vie et l’office, , there is no information concerning her relics and her death. Her vita mentions vita Her death. her and relics her concerning no information is , there 243 of Ottavio Gaetani, butthere are no liturgical documentswhich attest her A Greek copy of her copy A Greek Martirio di Santa Lucia. Vita di Santa Marina XXVI-XXVIII. 241 240 vita where information regarding the two saints, Marina This in earlier confusion of also article an appears has been translated into Latin by Agostino Fiorito. Agostino by Latin into translated been has 67 Byzantinoslavica [The Martyrdom of Saint Lucy. Life of 23 (1962): 41-44. vita . 245 Despitethe Rossi Vitae 244 CEU eTD Collection nineteenth-century Venice, wasdepicted she nineteenth-century again within uncertain physiognomy. Similarly, mostly in Mary. appear Virginthe proximity of the she is In attributes when depicted Besides this, her gestures are more maternal when holding the child. The changes in these two becamephysiognomy in more ambiguous sense the sheisthat shown feminine.as more precisely,More of attribute her changes.important the underwent representations her Chronologically, nobility. the of representatives or saints other of company in the Marina 121 ). She is even depicted on the shirts of men from Casole Bruzio (see cat. fig.123). painted on a flag is which carried, together with statue,the during processions (see cat. fig. 52, 247 246 since 1450. in was destroyed World Second the War.The formerher hadexisted church to dedicated a statue in the church, but is there wasalso There afresco portal; is of her the herphysiognomy again above ambiguous. it has been stolen. The representationchurch of her statue is depicted on the stained glass window and as a painting.was In Tollo, reconstructeddepicting herasawoman and asamonk one cat.fig. (see 74-75). InCasole Bruzioafter the 1964 as it church. It is the ceiling of the on and a frescoabove portal the on sheis fig.depicted 54-55) (see cat. remarkablewith childthe nexther to and amountainous landscape behind.In MarinaSanta di Salerno that in the in her church black clothes the aboveof entrance the represents The frescofrom Pogerola same church glass medallions,windows, maps, cards, postthere andpillows, shirts (see fig. cat. 60, 120-123). are two statues of century. twelfth the since the saint:Patara. of Mount name the from originated Pandariti name one Taibbi considers that the name Scanio came from the name of a place, Pizzu di Scaniu, and that the Ibidem, 76. www.comune.tollo.ch.it/comune_arteCultura.asp To sum up, there are several paintings from the region of Venice which depict Saint Besides paintings, Marina the Monk is also represented on frescoes, flags, stained flags, frescoes, on represented isalso Monk the Marina paintings, Besides 247 In Santa Marina Salina and Filandari, the same representation of the statue is statue of the same the representation Salina andFilandari, Marina In Santa (Last accessed: March 09, 2011). 68 246 Her cult has existed in Termini Imerese CEU eTD Collection 250 249 mentions that “Già248 dal sec. XII century. theeleventh backitcan be to as pre-date this traced event to seems there fu più commune l’uso di apporre iscrizioniaudience. morea wider diverse and to accessible were when therepresentations Berlin]) [Museum of alle campane” becameand inmore Germany ambiguous attribute all regions (Italy,three France/Holland, (The use asaholy depicted of The physiognomic withnoher masculine trace woman disguise. of she is feminine depictedwith ambiguous in century later features; one Holland/France she is compared illuminations. tothe Insixteenth-century Italy and Germany (Museum of Berlin), monastery. of the interior sky,and the asanexterior, such landscapes onecan various that illuminations in of the issimilartothat sense see the background other engravings fromhalf theof the eighteenthseventeenthfirst in the time century. first the for a woman as is depicted Marina centurySaint It is France-Holland, of theregion penance depict sequence thather represents as a man her Inthe wereinfluencedbythemonastic communities. habitFranciscan representations and the thisagain. way. Two in the The saint the with paintings pattern already were there century seventeenth in the that show clearly of the century. community waseither somehow white nineteenth-centuryconsidered or black. ambiguous physiognomy.frescoes This inambiguity her physiognomy can also be seen in the ridicule Thefrom same the with her depicts Berlin of Polístena. Museum The from representation painting fourteenth-century a by TheTheodorus attributes of the Amadeniclothes of vary,her too;in intheythe arethe seventeenth black clothes of the Franciscan Russo,“Il CultodiS. Marina Vergine a Polistena 1094,”nel Ibidem, XXXI. Clugnet, Although herAlthough toItaly weretransferred relics inyear 1230, the cultthe Marina of Saint 2. Statues changes important underwent Marina Saint of visualrepresentation the seems that It 248 Vie et office de Sainte Marine, depictionsmentions areinfluenced the Clugnet that bythehagiographers. XXVII. 69 Corriere di Reggio April 02 (1983): 4. He 249 250 These The CEU eTD Collection was interpreted as a sign that the saint wanted to be accepted by the community of by asa community that wanted to beaccepted that the sign saintinterpreted of the was front of the Church of Casoleof the Bruzio, saint. the Theoxen statuedid astatue ordered from Scalzati it, aconvent to According legend. isby local a cultnot explained wantwas toplaced move anyin further.a cart which This factwas drawn by oxen. When it arrived in of of her were relics brought toFilandari in 1930and1991. Cove, New Jersey, have her cult as well. her Jersey, cult have New Cove, its foundation and that her feasthas been held since 1740. 255 254 253 252 Valentia: Edizioni Mapograf, 1995), 19. 251 time in 1094and again 1656]. S.V.V. M.-figura di S.inscriptions onMarinabells was diffused already fromVergine the twelfthcentury) and also “‘fatta la primarifatta volta al 1094 colla 1656 S.M.V.’” [made the figure of the Virgin Marina for the first Tufo. be found in Vaticano Regesto the and ina mentioningdocument thevisitAntonio of del werekept. documents important where of Mileto, dioceses of fires and earthquakes domination. Byzantine whichthe during century, seventh the around time some Filandari, including destroyed Calabria, and Sicily notthe firstmonks, who arrived from Libya,only Egypt, and Syria, introduced her cult in the region of the One church that are different. states cultof tehm ofher transmission the about of story the versions of Filandari, but also the monks to Calabria. monks to 257 256 (Polistena: Centro Studi Polistenesi, 2003), 7. Russo, Ibidem, 40. Ibidem, 21. Ibidem, 21. Ibidem, 63. 11. 7and Ibidem, Pasquale Romano, Pasquale 253 In Casole Bruzio there is no documentary attestation of the saint; the existence of her There is no written evidence or early visual representations of her earlyof is because andthecultevidence or There visual nowritten representations The community of Polistena states that the cult was transmitted by the Orthodox Her cult because of spread abroad immigrants inandArgentina;the more U.S.A. the La Festa di Santa LaFesta di Marina ela‘pittoresca-bizzara’ processione con la teoria dei santiaPolistena 255 Il cultodiSanta Marina aFilandari Documents verify that she has been the patron saint of Polistena since Polistena of saint patron the been has she that verify Documents 251 257 70 (The (The Cult of MarinaSaint atFilandari) (Vibo 254 252 256 A small amountinformation can Polistena immigrants in Glen in immigrants Polistena CEU eTD Collection 261 exist. still may Marinas two the between confusion the cult her of evidence concrete no is there where cases the in that mention to important is it that I consider cult. ofher introduction represented as a monk and is celebrated on17 July.Santathe In about Marina di Milazzo information there no is is no informationthere introduction of about Scanio, her cult. In the Santa MarinaSicily, di In Salina there cult. is a statue ofof her her dating from around 1887.Marina is introduction the about information no is There monk in companythe of a child. In Terrati feasther is on 17July.She is depicted wearing monks’ clothing. celebrated was she Initially, Greeks. by the on wasintroduced cult 17 her possibly July, century, sixth the since influence Greek under then from been the has which a is place Marina July. Santa on17 second celebrated it is Bruzioshe In Casole 10February. death: half of the ofher dates possible ofthe one with nineteenth coincided Soreto di inMelicuca church ofthe consecration –The name. century on the 18 June.cult finally became predominant. InShe Campana, in 1320, there wasis avillage and in 1546 depicted whose a monasteryLucia, of Saint bearing her church to the transferred see was the and destroyed Itwas to her. as dedicated was a church beenintroduced by Orthodoxthe monks who built numerous monasteries have in could the area.cult Her In Stilo, inyears. 1524, a parish hundred forthree patriarchate Byzantine of the jurisdiction the under were 732 and in Rome from separated were ofCalabria churches the and region The Venice. to relics of her translation the before century, tenth the since here existed cult Her Calabria. in cult ofher existence the mentioning omitted Clugnet MarinaSaint the Virgin) (Naples: TipografiaPontificia M. D’Auria, 1908), 166-185.Valensise mentions that 259 258 vitae cart pulled by oxen. Thisplace. motif of the cart from the legend has been incorporated from her 262 260 might have been transmitted from the island of Sicily to the peninsula. century. twelfth than inthan after an in any churches. Reconstructed churchhasearthquake a other 1783, the church of Polistena, besides her relicin brought 1870, thereare more depictions of saintthe statue of saint patron the dating from seventeenth century the fig.(see cat. 65). in On it is mainaltar of when the Neoclassical was church awooden 1929. the reconstructed Bruziochanged style gradually from Romanesque toBaroque in eighteenththe century and to Lecce in fig.1927 (seecat. 61). Marinafrom church the is madeof and cardboard andwood wasexecuted by Luigi Guacci da Saint of statue The Polistena. from Marina Saint of Church the from century seventeenth the areabefore in her southern of the representations for of theabsence any reason one previous becausemostly and damagescausedbyearthquakes, the of Thismaybe has a relic hers. of http://santamarina.altervista.org/ http://santamarina.altervista.org/ http://www.santamarinacasole.it/ http://www.santamarinacasole.it/ Domenico M. Valensise, M. Domenico . 258 In Milazzo, Sicily,a church dedicated to her that was built under the Norman rule in the Almost every church dedicated to the saint has been successively reconstructed, has beensuccessively saint tothe dedicated every Almostchurch What is important to remark in this legend is the fact that the statue was carried in was carried a statue is the factthat in the legend toremarkthis is important What 259 It may be one of the earliest places of her worship and her cult indeed Studi Storico-Critici intornoa S. Marina Vergine . (Last. accessed January 10, 2011). (last accessed January 10, 2011). (last accessed January 10, 2011). . (Last accessed January 2011).10, 261 Built around the year one thousand, the church in Casole church the thousand, one year the around Built 71 (Historical-Critical Studies about 260 262 In the In CEU eTD Collection saint before that commissioned from Zaffiro and that she was not represented as a bust, but entirely. but bust, a as represented not was she that and 265 Zaffiro from commissioned that before saint Gruppo Editoriale L’Espresso,2009), 17-20. are documents There which mentionthat there was ofstatue a the 268 267 266 two statues in clothes and the position of the head and knees. between the Therearesimilarities San Serra Bruno. statue: as the sameplace the from he was wasinspired sculptor factthe the of by because Brunone by Muller that Saint statue the David its existence. only sources the attest previousthe one was is Nothingdamaged. known about her in depiction previousthe statue, (seecat.fig. for Thereason was of of creation the statue 81). a newstatue the execution that 264 Tipolitografia Varamo, 1990), 161. 263 significant other implies change This awoman. into man a from physiognomy in her changes differ from placeone attributes main The liesthese in to the other. gradual the difference iconographical attributes of the saint are the clothes of a monk and the child bust. The details refer to the sequence of her penance from century. eighteenth date the outside the monastery. Filandari by Tropean sailors. The standard arrival of herwanted to leave they could not move the statue as it was too heavy. The legendstatue concerning the offers On Venice. wayback,the in stopped commissioners the day Filandari; next the when they informationfrom of saintthe astatue commissioned of community Tropea the there; wasbrought statue about Filandari figure(see 3).SimilarlyCasole isto Bruzio,there alegend which explains howthe its provenance. The statue was brought to ZaffiroVicenzoin 1835. painting andfrescoes, which sequencespresent of life,her and awooden statue made by Idem, Iacopo da Varazze, da Iacopo Ibidem, 31. Romano, Idem, Russo, All of the statues show the saint together with her child, either standing or only as a to brought was statue the when year the about data precise isno there Unfortunately, La statua di S. Marina Vergine diPolistena è opera lignea di Vicenzo Zaffiro, Lo Stemma Municipale delle Citàdi Polistena La statua di S.Marina Vergine diPolistena èopera lignea di Vicenzo Zaffiro Il culto di Santa Marina aFilandari Legenda Aurea 263 His name is written on the list of materials and costs to cover the cover to costs and materials of thelist on is written name His 266 Its style is that of the Napoles School and it is supposed to (1567). 267 264 One hypothesis regarding herrepresentation refers to , 30. 72 (The Municipal Herald of the City of Polistena) (Rome: 265 162-163. 268 next toher, but (Polistena: CEU eTD Collection place where the church was there is a small altar dedicated to her after church was demolished. was church after to her dedicated altar small a is there was church the where place on herfeast day Padova in 1509. conquered The church Venetians the when which civil heldbecame also but it her relics character, was destroyedecclesiastical an only in1818. had cult Valensise the First Bora. mentions that by Giovanni on the Constantinople from translated were relics her when century thirteenth the from dates cult The 271 Bregno,” “Lorenzo Schulz, Markham Anne in middle.” its in placed is ofalabaster made Marina ofS. statue large 270 Marinae statuamaior efformata… ex alabastro Marinae dedicatum,inquoeiusdem virginis corpus requiescat… cuiusmedium ocupatS. mentioned in Amadeni’s manuscript:unpublished were richer in region the were richer of Venice. 269 of her place the on formerremembrance her for built shrine the and century, sixteenth the from dates which church alsothe church show in Polistena her at she a Bible,asin to with entrance in herhand caseof holds the the statue that together the in (see whitecat. fig. 80).clothes of sackwith replaced by breadthe The attributes rosary martyr palm andthe of the are also a The statue at (seethe Patriarchal clothes. shewearswhite in Polistena namely, of clothing, attribute the regarding differences cat. fig.Seminary some are from there 63).. those Polistena, If with of statues these compares one monastic order. Venice, the cross and the child, the saintholds on to her clothing (except at Salerno) (see cat. fig. 74). holds a sackwearing with black bread clothes, and saint, the have attributes: sameiconographic the andSantaMarina Salerno MarinaMilazzo, di holdsa rosary a cross aswith a Santa MarinaSalina, from statues Santa The to other. the region from one markrepresentation hands raisedof her the differentiating of function the while have which attributes important are objects theThese hand. her child next to her left Seminary of saintVenice, the is clothed in a monk’s garment andholding various in objects side from Patriarchal the one the and diSalina, Marina from one Santa MarinaMilazzo, di transformations visible in her clothing. In two statues from Polistena, the one from Santa Valensise, rests,…a virgin of the body the where Marina toS. dedicated altar greater see the can one choir, same the “In Clugnet, Her masculine physiognomy is underlined by the short hair under the hood. Besides hood. the under hair short the by is underlined physiognomy masculine Her Jahrbuch der Berliner Museen Vie et office de Sainte Marine, Studi Storico-Critici intorno a S. Marina Vergine 26 (1984): 150. 271 289. 73 270 The visual representations of Saint Marina Saint of representations visual The In eodemchoro conspicitur altare maius, S. , 159-160. Valensise presents her cult in Venice. 269 The statue is CEU eTD Collection 273 272 Franciscan clothes. in his who, her clothesmentioned is in middle the of seventeenththe by d’Amadeni,century Théodore flags of Italian or Greek origin which depicted the saint in different ways. Ibidem, XXXI. Clugnet, Clugnet mentions paintings, icons, statues, reliefs, frescoes, mosaics, tapestries, and tapestries, mosaics, frescoes, reliefs, statues, icons, paintings, mentions Clugnet Vie et office de Sainte Marine, Biologia, Fig. 3 . SaintMarina 273 Italy, Calabria, Filandari (photo by the author). Clugnet adds that the representations of the saint were influenced by the expresses his disagreement with several paintings that show the saint in saint the show that paintings several with disagreement his expresses (statue), eighteenth century, Church of Saint Marina, Saint of Church century, eighteenth (statue), XXXI. 74 272 The change in change The CEU eTD Collection 274 vitae the saint are the same.are the saintthe to next child the of presence the and veil, the clothes, the church: same in the found is which clothes with her head covered by a veil.habit and acrown her on head.InTerrati sheisdi wearingLago, represented The blueandblack relief from Terrati di Lago resemblesholding achild fig. (seecat. 79). at 67-73, Except Terrati shedi Lago, wears ablack nun’s the statue Zambrone, undergone remarkable changes in herrepresenting gender. In Filandari, San Giovani di Terrati di Lago, Inwood,representations. andfeminine variable inher contribution essential an make details These Castel open. wide arms his Ritardi, nother childpulls the touch but hands orhaswith does atherclothes, prays representations she isgestures represented featureher is physiognomy ismoreimportant of femininethat because her long hair.Her asare a woman ormore a cap but maternal byprotection of the a religious communitycrown. of that place. Her head is not covered by either a hood This and outher a points patronage a church.martyr’sor gesture palm The and but aBible, allowsas she herto her, tothereholds isbe a striking represented difference replacedin her with moreattributes thecomplex ones as if for ascelebration she (seeiswith cat.not fig.child represented 66). Besides are clothes hersimple Atri, di halo. AtCasoli asilvery with a capor monkis of thethe replaced childmore next holding a crossdetail. withCasole Bruzio represents the saint wearing white and blackThe clothes (see cat. fig. 65). The hood onemost hand. Inpaintings, the changes may also bevalidfor statues. the the previous Ibidem, XXXI. written by written hagiographers. the The third group of statues is even more different than the previous two, as the saint has In Casole Bruzio and Casoli di Atri the attributes of clothes are changed. The statue in 274 in representationsher referto authors Although these 75 CEU eTD Collection in the West, where she while is know adragon, striking as and Margaret, a hammer she Michael)holding is mostly (Saint saints depictedwarrior withof other company the in the dragon. represented Mary/Marina/Margaret of Antioch. In the East, where she is mostly knownas Marina of Antioch, she is Salih (London: Routledge,2002), 25 and 28. There are two major types of representing Saint in 275 Antioch. of Marina/Margaret Saint of representing predominant) type (more from Western the beenborrowed has palm) amartyr’s or cross (pairedthe dragon with the of attributes the that observe will one Polistena, of heralds city eighteenth-century Marina the Monk withname. This thedetermined of developmentvisualseveral representations of Saint the iconographic becauseonly bothof saintsthe butalso havelivedin periods, becauseof similar their attributes of not the issue acomplex is quite Antioch of andMarina/Mary/Margaret Monk the Marina other saint.saints, two the between confusion The Polistena. of Analyzingtown the to attention special with the Calabria of region in the Antioch, of Marina/Mary Saint and Monk the Marina/Mary as she isa man. represented as a woman are more likely beto found on the peninsular part while on the insular part numerous than those which represent her as a woman. Itseems that her representations physiognomy, and the gestures.as in is a monkwhich she statues of a nun depicted those from the cloths, are the The statues which represent her as a monk and physiognomy. clothes, arethe gestures, arerepresentations more her in differentiation gender the to contribute which attributes The nun. a as also but monk Thus, iconographic the of attribute clothingthe changesnotonly when she is as represented a of similarity mainly the Mary crossis the attribute. with because of iconographic herAntioch, depicting her as a woman and one as a monk (see cat. fig. 74-75). The first one is reminiscent Wendy R. Larson, “The Role of Patronage and audience in the cults of Sts Margaret and Marina of Antioch,” Marina and Margaret of Sts cults inthe audience and RoleofPatronage “The Larson, R. Wendy Gender and Holiness: Men, Women, and Saints Latein Medieval Europe In Santa Marina di Salerno, in the same church, there are two statues of the saint: one Now I want to focus on the religious syncretism between the two saints, Saint saints, two the between syncretism religious the on focus to want I Now The most important iconographic attributes which differentiate groups the of 76 , ed. Samantha J. E. Riches, Sarah Riches, J. E. Samantha ed. , 275 CEU eTD Collection 285 284 283 282 281 Pierre Belon, 2004), 164-167. Gerace wasclosed. in isMarina toSaintin herthat 1605 achurchdedicated name.There alsodocumentation 280 1974), 54. See also Cristina Rognoni, to her in the area of Gioia Tauro. nella Calabriafeudale delCinquecento because of this confusion with another saint, Saint Margaret, sometimes also called Saint 279 administrationem sanctaenostrae Marinae, the name of Marina is a monastery dedicated to her in Regio dating from as early as 1050. Gerace] 276 storia deimanoscrittigreci without identifying which saintare they referring Giovanni to. inMercati, his study, but institutions, ecclesiastical with in connection Marina of name the mention documents which mention the name of Saint Marina the Monk. Aslater ones, and saint, particular not I specify one which do concretely mentioned documents, Marina: earlier before, the first group of 278 451. 277 for Stilo,from 1324; as attestations are For Casole datingfrom there well. Bruzio, 1358 documentmentions the existence of a church in Filandari in 1530, One such of in variousCalabria. regions Marina Saint to of existence a church dedicated the Ibidem, 279. Domenico Vendola, Domenico Ibidem, 489. Idem, Russo, Francesco Guillou,André Sandro Leanza, Sandro Giovanni Mercati, Vincenzo Naymo, Vincenzo Oppedisano. Antonio . (Gerace Superiore: Tipografia Isidoro Cavallaro, 1932), 51. The representations of Saint Marina in city heraldry varied in Polistena mainly in Polistena varied heraldry in city Marina Saint of representations The In Calabria, there are basically two types of documents connected with the toponym of toponym the with connected documents of types two basically are there Calabria, In The secondof group is documents connected with several whichmention attestations Regestro Vaticano per la Calabria Calabria Cristiana Le brébion de la métroplole Byzantine de region Regestro Vaticano per la Calabria Per la storia dei manoscritti greci Uno stato feudale nella Calabria del Cinquecento 278 Apulia-Lucania-Calabria 284 At the end of the fifteenth century, there were three churches dedicated were three there century, At fifteenth endof the the Cronistoria della Diocesi di Gerace and for Polistena from 1310. , mentions her in the region of Messina-Item, of region the in her mentions , Les actes privés grecs de l’archivo ducal de medinaceli (Soveria Mannelli: Rubbettino, 1999), 429-431. 279 Another ecclesiastical institution which is connected with vol.I (Rome: Gesualdi Editore, 1974), 484. , 277 (Vatican: Biblioteca Apostolica Vaticana, 1861), 352. mentions several documents note churches bearing churches note documents several mentions 77 276 vol.III (Rome: Gesualdi Editore, 1977), 389. (Vatican: Biblioteca Apostolica Vaticana, 1865), 240. while Vicenzo Naymo, in his in Naymo, Vicenzo while 285 [Chronographical History of the Dioceses of Dioceses the of History [Chronographical (Vatican: Biblioteca Apostolica Vaticana, (Gioiosa Jonica: Corab, 2004), 61, 110, 281 but there are earlier are there but (Paris: Association 282 and 1360; Uno stato vitam et vitam Per la 280 283 CEU eTD Collection Polistena disappeared from from disappeared city the heraldry. Valensise (see cat.fig. From 112). nineteenth the century of representations Marinaonwards Saint have 1801 (see cat. fig. 111). In 1813, this attribute had been changed again with that of a palm tree of Margaret, Saint is attribute cross,which of the another in the same time, at least in 1794. Later, of childthe fig. (seecat. 109, 113).It ispossible thatboth of representationsthese circulated the attribute of the palm frond was in chainsin other;inthe changed 1750, 1785,and 1794she is represented as a monk in company the for that 1794 she asSaintisholding represented amartyr’sMargaret: palm in hand one and adragon Mary/MargaretSaint tookherplace. Inrepresentations1777, from 1721, 1788,1792, 1793, heraldry of Polistena changed from this earliest form in the sense that a new representation in city of Margaret asearly Saintthe representations century. fifteenth attribute the Her as of martyr’s palmin her hand,meaning thatshe wasascribed borrowed the iconographic the its hands. I want to emphasizejurisdiction theof the factcity (see cat.fig.that 102).in thisheraldic depiction she is alreadyimage presented which with a was attached to the Church of Saint Rocco in order to show the 290 ed.de Istituto GiovanniXXIII nella Pontificia Università lateranense (Rome: Citta’Nuova Editrice,1967), 1165. 289 288 287 286 saints: thetwo between until 1816, herrepresentation differed, although only saintwas venerated. one Marina of Antioquia. church and an inscription mentioning hername; and Maria Chiara Celletti, “Marina (Margherita), santa, martire di Antiochia di Pisidia,” in Pisidia,” di Antiochia di martire santa, (Margherita), “Marina Celletti, Chiara Maria Ibidem, 12. See also Russo, “Il Culto di S. Marina Vergine a Polistena nel 1094,” Ibidem, 15.4. Russo, Valensise, The earliest visual which has from survivedrepresentation dates 1441 andis acarved x x , 132-133 and endnotes 171-176. Lo Stemma Municipale delle Cità di Polistena, Studi Storico-Critici intorno a S. Marina Vergine, There was an image of St. Marina of Antioch painted on the top of the old A relief carving showing St. Marina of Antioch; and 286 moreIn aperiod years, of thantthree starting1441 from hundred 288 Here she is depicted as a monk holding a baby by 290 78 mentions regarding confusion some the cases 12. 169. See also Valensise, Seealso 169. 289 as in a depiction datingfrom Bibliotheca Sanctorum 287 Monografia di , CEU eTD Collection 291 because saints the evidence two the by hasbeen natural destroyed calamities. information of isstatue herbetween confusion of date the There noregarding asamonk). twelfth-century Italy where she has rather ambiguous physical physical characteristics. has ambiguous rather she where Italy twelfth-century masculine regionother (Germany, Spain, Italy). and In all narrativethe sequencesshe is with physiognomy,depicted in than anddeath of trial,herany more penance, entrance, in France representations are there except her of themes the of most on focus which manuscripts, French in the case the scenes represented a space, illuminations great variety of from sequences life.Marina’s Thisis the of her death and one individual asaman.represented figureis she Sicily of in regions while peninsula Italian the on be found to likely more are woman from asa her representations seems that her asawoman.It which represent than those numerous physiognomy,the clothes, the are anun as is depicted she where those from amonk as is depicted she which and the gestures.documents. Thein of saintvariousthe representations church of information existence the regarding statues is there However, ofthechurches. destruction tothe contributed which earthquakes the which may of be because thelackCalabria. for of reasons representations One the of except earlier represent her as a monk are more Ibidem, 170. On the other hand, the church documents mention her as Saint Marina (there was a was (there Marina Saint as her mention documents church the hand, other the On x As far as the manuscripts circulated in more restricted spaces, such monastic as the such spaces, in more restricted circulated manuscripts As farasthe Conclusions The most important iconographic which attributes differentiate groups the of statues in There are no representations of Saint Marina before the sixteenth century (Venice), century thesixteenth before Marina Saint of representations no There are her representations on the city city onthe heraldry; her representations 79 vita 291 . Accordingly, . CEU eTD Collection physiognomy; monk to nun: to monk from her for transformation several reasons Onecan suggest of cult. her existence the public is Germany presentin masculine. because of totally transformation Thegradual Italy, possibly engravings which heremphasize masculine representation. InHolland sheis feminine and in the and illuminations the only are there in France instance, For transformation. gradual her of France,Germany, arenotraces there a wider publicspace.In Holland inthe and audience accessible to were was herrepresentations because gradual The transformation representation. of her andlocal cultinfluences. For instance,Marina too. Saint Sicilian the representations, merging is amemories of product her changed Local developments attributes. iconographical of her likely that because of theitis amartyr as depicted confusion isalways Antioch of Mary/Marina As Saint isincreasing. Monk the between the two saints moreSaint Marinafeminine, was ascribed but somethe Notonlydevelopment. theproximity does Virginthe moreto make ambiguous or her Mary confusion between Madonnae Saint Mary/Marina of makesMarina tothe Virgin similar is gestures she closewhen toher. situated This Antioch andSaint Italy, from paintings Saintof anumber In Mary. Virgin the to in proximity Marinarepresentations the company of other saints Italy is Marinathat did notcontinue tobe represented in various narrative sequences,in but (Saint Francis,in most changes important with of occured baby.Marinawhich the representthe together One Saint Dominic).penance, her of theme the on focus which paintings the for true proves TheThis audience. second change was in her 2. 1. There is no clear chronological delimitation as the starting point of her feminine a wider for depicted was she when changes notable underwent representations Her gives heran ambiguous physiognomy further which to femininecontributed the the proximity Virginto Mary feminine gives her a more ambiguous and more feminine gestures in some of the penance sequences from the illuminations; 80 vita and her visual imitatio CEU eTD Collection the date of canonization of Saint Marina. of Saint of canonization date the mention which sources any found I not have woman.” as canonized were women These honored. appropriately attempts early Byzantine tochurch may be summed up in the theimage of the transvestite saint: despite real andcontrary, literary 292 in the end it was their true identity as a woman which was, by necessity, duly and Harvey, “Women in Early Byzantine Hagiography,” 48: “Indeed, the dilemma of women and sanctity the for sanctity and ofwomen dilemma the “Indeed, 48: Hagiography,” Byzantine in Early “Women Harvey, 6. 5. 4. 3. Antioch whose iconographic attributes were also ascribed to Saint Marina. Saint ascribed werealsoto attributes iconographic whose Antioch of with Mary/Marina/Margaret Saint syncretismledtoconfusion Religious her true identity was only discovered at her death; impact; an had Sicilian the Marina Saint like developments local the artist was ignorant of herwas ignorant of artist the vita ; 81 292 CEU eTD Collection 293 representations and the representations arelessnumerous. visual representations andwas hercultstill Germany,active. Holland, andSpain are among regions the where her firstnineteenth century halfof the because uptothe is probably France, depictions has numerous which Thesecond region andstatues. painting ofherboth development trace the can one here, exists; Marinaof still Saint thecult because visual representations abundant more has Italy Of three regions, these andGermany. France, Italy, on: I havefocused region,Marina major on which Saint andaudience. according arethree time, There to regions the monastery with herfather, in monastery while the together the differences which are worth mentioning. First of all, these illuminations all depict her entering her of versions Latin the vernacular the and her father, and of that to thesimilar is colors physiognomy Her father. her with together ofmonastery the into hersaint the of clothes vary (see fig. 4). If one compares these details with areas. southern I will on of especially the the from focus Italy whichcome region representations on and the Then Germany. and Spain with area this compare and France of region the with investigation Istart found of in her themanuscripts, are the visual and earliestrepresentations the France, Clugnet, In the previous two chaptersIn Ihave previousthe two thevisualrepresentations analyzed and the In this chapter I analyze the chronological differences between the visual between differences chronological Ianalyzethe chapter In this A first group of fourteenth-century illuminations from focuses on from France entrance illuminations the fourteenth-century A firstgroup of 1. Illuminated Vie et office de Sainte Marine, vitae vitae of Saint Marina. Because most of the illuminations are from are mostilluminations of Marina. Because of the Saint Marina-Marinus-Mary XXII-XXVI. vita CHAPTER III and her visual from representation illuminations to vita 82 from the region of France, there are several are France, there region of from the vitae 293 there was a church dedicated to her to dedicated church was a there there are two different versions of vitae of CEU eTD Collection and physiognomy, the physiognomy, and clothing her of attribute the on focus France from representations visual the while monastery; discussing her disguise and do not emphasize her transvestitism. when masculine the Marinus to of from name change herMarina/Mary feminine the only the texts from the region of France but also from Italy, Germany, and Spain not focus while hair clothes, and color is making,different herfather with tothose similar gestures on the invisual Marina appears representations kneeling positions with her handsraised, with artist may have characters depicted these according tohis imagination. This is why in the The characters. of the physical characteristics or positions, clothes, gestures, the regarding death the of whichher father), foundinare not any herof of andthat of herdifferent (that entrance sequences combines two This illumination father. the from illumination century thirteenth to the fifteenth century focus on the second the version.from text There vernacular is only French the and one fifteenth- France ninth-century from versions Latin other while entrance, her of version first the on focuses version vernacular French sixteenth-century videtur, rogavitque abbatemetfratres, utfilium suum unicumreciperent quoddam monasterium intrasset, mutavithabitum suae, ut filiae non sed masculus femina ambiguously: rather entrance the the monks, to acceptand abbot the his only asked [he] and son.”female, In Iacoponot tobemale, da Varazze, appeareded she so that daughter, ofhis clothes the changed 294 the of version Latin the that consideration into taking entrance, her of version second the on or first the on focus illuminations the whether uncertain is It her. for her returns whenfather asecond occasion on herparentor with either together her entrance: “Marina Virgin the was the only [daughter] of her father; afterand her father entered some monastery, he One major conclusion can be drawn regarding the pattern of her entrance into the into entrance her of pattern the regarding be drawn can conclusion major One any texts the donotsuggest attributes, information iconographic Concerning these vitae emphasize her disguise by changing her name into the masculine the into name her by changing disguise her emphasize Golden Legend Marinavirgounicaeratpatri suo: cum antem pater 83 which depicts her entrance alone, without her without alone, entrance her depicts which Legenda Aurea vitae , 534. . Golden Legend ;…. 294 Besides,a presents CEU eTD Collection discovery in is male infrontof figure monastery. 5);Marina the clothes discovery presented (see version. The moment of her disguise is not depicted as in the case of Saint Euphrosyne’s France, Paris, the Paris, France, Fig. 4. Saint Marina entrusted tothemonastery GoldenLegend, Folio 139v, National Library of France, stack: French French 241. 84 , Richard deMontbaston, 1348, CEU eTD Collection ancore nous plaist l’odour details as the name of thein the mentioned country is which information only The where Marina was born: more orlessadded monasteriesand depictions ofWestern (trees). “realistic” of details nature miliariis quinque. towns: different and monastery complex, although the reproduced inClugnet, 296 63r-64r.National Library of France, reproduced inClugnet, 295 monastery disguisedasaman “The flower which is “andstill [he] pleasant went to the to monasteryus/ was born which in wasEgypt.” five miles In Ms. away 1728, from thef. 105r,city of TheAlexandria.” Vatican Library,In Ms. 5296, f. The backgrounds of these illuminations vary from The backgrounds of vary illuminations these abstract toconcrete from to more Fig. 5. Folio 61v, National Library of France, stack: French 183. 296 Discovery of thereal sex ofSt. Euphrosyne,who triedtoenter a Vie et office de Sainte Marine vitae do not mentions any detail the environment.regarding The artist 295 , Fauvel Master, 1327, Paris, etabiitinmonasterium quodlonge erat aciuitatealexandrina (in the French versions) and the distances between the between distances the and versions) French the (in , 169. 85 vitae Vie etoffice deSainte Marine is in connection with such topographical such with in connection is Vies des Saints En egiptenaquistlaflour/Dont Folio61v, , 11-14. CEU eTD Collection abbot or receives the child from the mother. This sequence of her trial is a later development her is later a trial of sequence This mother. from receivesthe the child abbot or the of in front kneels either physiognomy, masculine with clothes, in black dressed Marina, trial: outfour three focus narrativeof sequences on gradual the of representation this theme. illumination penance. Only from (seefigureFrance fifteenth-century one 6)focuses on her mostthat of her visual representations from all regionsthe (especially focus Italy) on her illuminations is unknown I cannot connect them with any particular region, but I can mentionwell: her expulsion of is which the later development cart, a and hermonks. One conclusion can be drawn:both of representationsthe depicther alone driving a penanceversion, whichlikely shows French Dutch influence,or mentionsin her company the of in frontin allher senseanalyzed, the woodandonly present going that after alone versions three one of the in thecompany monks. of The German illuminations correspond to three monastery.out of fourthe texts Marina monastery leavesthe Saint Iusedas Greekandone (one Syriac), versions prototypes AsWestern in the found is which thedevelopment later a is detail This alone. her origin ofher color from clothes black and towhite blue.Both of visual these depict representations of the from Marinaorigin depict addthedetaila closerperspective and of oxen the and the change of the of point version and rocks tothe such grass brown as green of environment details sea. The the vitae 12). The German 12). The depicted from behindin black clothes, tonsured, with masculine physiognomy fig.(see cat. driving acart. The German focuses illumination on presenting landscape the whileMarina is saint depict the illuminations Both monastery. focusher on of from the exitthe provenance, mention that she goes for wood and only one that she goes to a market-town close to the to close a market-town to goes she that one only and wood for goes she that mention vita The series of illuminations of unknown origin focus on other sequences of her life as The next series of illuminations, one from Germany and the other from an unknown an from other the and Germany from one illuminations, of series next The which has the detail of her exitfor wood. The series of illuminations of unknown vitae keep this detail of her exit but mention different reasons for it. Three it. for reasons different mention but exit her of detail this keep vitae . 86 vitae. In the CEU eTD Collection masculine physiognomy, the black clothes, and the tonsure all exemplify her disguise, illuminationsFrench depictinher front of monasterythe holding or teaching thechild. Her Accordingly, inItaly. especially but France, in only not representations visual her of emblem ‘In ueritatedico quia tu qui hoc malom operatus es nonmanebis inhoc monasterio,’ ninth century: culminating with detailed descriptions in fifteenth-centurythe versions in verse The Vatican Library, reproduced in Clugnet, reproduced Library, Vatican The Cazelles, Brigitte in cited ” pain. and/ travail Endure her, / And sincecompany/ ofshe God. / Thiswill/ truth/ Assuagesmaiden endures gainthe punishment/With her/sufferings, joy in her/heart, foreternal she knows/well/That those/ Sincewho/ suffer/ Are in shethe willglory. be/ 298 delivered/ By / HimAnd whoVie etoffice deSainte Marine suffered/ this for thoughtevil,will not remain in this monastery In Ms..” 5296, f.63r, National Library of is/France, reproduced inClugnet, indeed worthy/297 To those who, in this/life, / motifswith as connection such of herversions vernacular the and Latin the both Analyzing sequence. this emphasized illuminator French the that fact the by intrigued be but cannot One versions. Italian and German, French, the iswhich foundin not Greek the or Syriacthe Iusedas it versions prototypes,appears in but “He orders that Marin/be beaten and/whipped, / And imposes on the maiden many torments. / The holy / The torments. many maiden the on imposes And / and/whipped, beaten Marin/be that orders “He “But her abbot got angry. And ordered her to be whipped and said: ‘I truly say that you, who have done this The illumination, which presents her together with the child, becomes almost an Qui demisereestmieuxpartie quisontencestevie/ A ceux peutvaloircesteMoult memoire/ Puis lecouronnera degloire;/ Celuy quipour luy soffrera,/ Qui distqu’elledeliuerra/ L’assoulagoit desagriefte,/ La promessedeverite/ Qui sonten tribulation / Que ceuìxontdieua compagnon/ Joieustement, quebiensauoit/ La sainteviergelesouffri/ E lavierge faitmoult souffir./ Forment lefaitbatre etafflir./ Ad iracundiamautemcommotus est abbas eius. Iussitque eam flagellari et ait: vitae from France, it is clear that these versions emphasized in it her trial is from emphasized France, versions thatthese clear , 12. imitatio Christi Vie etoffice de Sainte Marine . 298 The Lady as Saint 87 and sponsa Christi , 250 and Latin text Ms.in1728, f. 107v, , 174. starting as early as the : 297 and CEU eTD Collection illumination she is teaching it to read. Not the French, nor the Spanish nor the German the Spanish nor the Not nor theFrench, itto read. is she teaching illumination Legend historial ditduroi Jean le Bon the from illumination French in afourteenth-century instance, For feminine. gradually becomes she in statues shown as also but paintings in the only not because important is This for the beginning of her story. In some of these depictions Marina’s gestures become maternal. although the Paris, she holds the child close to her breasts, while in a fifteenth-century French fifteenth-century a in while breasts, her to close child the holds she Speculum historiale Fig. 6. Scenes Saint Marina’s life.from vitae do not mention these details at all, except , Folio 201v, National Library of France, stack: French 51. and in a thirteenth-century Spanish version of the of version Spanish in athirteenth-century and 88 (François and collab., 1463, France, Golden Miroir vitae CEU eTD Collection Marine 302 168. mine?’ ”inMs. 1534, f.44v, National Library of France, reproduced inClugnet, 301 either of v the vitae Italian the nor French in the neither mentioned are details These iswoman. a she that indicate masculine, and while thebreasts are physiognomy the tonsure the representing Marina: artist managed tocombine ofboth male physical the characteristics andfemale when abbotthe considered her unworthy of a typical Christian burial. the although monastery, the inside by surrounded monks amazed by herbody. naked Both of depict representations Marina these French and narrative the sequencesof unknown origin. representationsthese Marina is In quant tu nourris nestu mon pere nerien?’” childthe is talkingits supposed to father: “Vne fois lenffantdist aMarin: ‘Pour quoyme mature. Despite this differentiation,in is and illuminations of origin German itthe ones her in rather unknown arms, series of the in holds Marina baby is a it in representations one visual Spanish and French the In French illuminations. vernacular version inthe itschanges physiognomy frorm regions, all in the thetexts character all separate of the 300 is that found from in Greek. a Latin translation added: childthe is speaking “ta-ta-ta” to its supposed father(seecat. fig. 17). This is adetail Library Universityof the of Cambridge, reproduced inClugnet, 299 that: mentions not mention any exact detail regarding this gesture. Only one Latin version from Italy See forinstance, Ms 2328 f.120r, National Library of France,reproduced in Clugnet, “Once, the child said to Marinus: ‘Why are you feeding me whenyou are neither my father nor any relative of Léon Clugnet, Léon “And throwing the child in her lap, [she] left him [the child] there and went away.” InMs. Mm. VI. 4, f. 186v, ; they were possibly supplied by artist’sthe imagination. , 6-7. To sum up, there is no clear indication of her gradual transformation into a woman in a woman into transformation gradual her of indication clear no is there up, sum To Only illuminationstwo focus on sequencethe of her death: fifteenth-century the In a thirteenth-century her is unfamiliar detail penancearather Austrian of In a depiction thirteenth-century et proiciens puerum inpuellegremio reliquit eumibi et abiit. Vie et office deSainteMarine itae, except for the hagiographer’s use of the feminine pronoun. Marina is Marina pronoun. feminine the useof for thehagiographer’s except vitae , 26-31. mention that she was washed outside the buildings as 301 89 300 Although childthe is barely asa presented Vie etoffice deSainte Marine 302 It is remarkable how the Vie etoffice deSainte Marine Vie et office de Sainte 299 , 262. Golden Legend , CEU eTD Collection characteristics arementioned: characteristics Latin translationthe of any in found not are details such that out point to important is it Again, of physiognomy. her Symeon theshown as more feminine. What contributes to her Metaphrast’sambiguity are not only the gestures, but also is Marina Saint Mary, Virgin the to close positioned When Mary. Virgin the of or saints other version century paintings (see figure 7)from Venice. In these paintings Marina isin proximity the of of her life in whichambiguous physiognomy. her physicalalso but only clothes, her asshehasnot is strange unfamiliar of rather representation community and the ones of a monastic intheclothes Marina Saint of between representations the connection any clear of the members of thepaintings Marina monk. which Saintabout depict asaFranciscan monastic community.masculineblack physiognomy, remind clothes and oned’Amadeni’s of Theodorus remarks The other individual 303 the istwelfth century other and the depiction from alater the regions. these all in in parallel circulated representations these of Both feminization. her of phase child climbs andher pullsdress.In my at thefirstopinion type of gesture represents firstthe the where Germany) and (France one masculine a and region) unknown Spain, (France, child towards onewhileholdingmaternal child:the ashavingtwotypesthe a depicted of attitudes Clugnet, vitae Golden Legend The same ambiguous physiognomy tosixteenth- fourteenth- of is the physiognomy The sameacharacteristic ambiguous Two Italian illuminations depict Marina as individualan figure; one dates from the and2. HolyPaintings PenitentStatues from Italy or elsewhere. The only possible connection with these representations is a representations with these connection The only from elsewhere. possible or Italy Vie et office de Sainte Marine is similar to the French representation of the saint. The tonsure, halo, tonsure, The saint. the of representation French the to similar is Cum uero aliquot annos peregrisset beata in monasterio, , XXXI-XXXII. 90 Golden Legend 303 It is difficult to identify . The depiction from CEU eTD Collection eunuch because she was beardless and had thin voice.” In Léon Clugnet, Léon In voice.” thin had and beardless was she because eunuch 304 proptereaquodessetimberbisetuocegracili existimabant monachieumesseeunuchum the same ambiguous physical characteristics in a fifteenth-century in same physicalthe by painting a fifteenth-century characteristics an ambiguous Italian artist. in the masculine Germany, besides of inher representations illuminations,the onecanfind isambiguity duringcontinuous the fourteenth century and insixteenth century Venice; while ambiguouslyMarinais represented as early as thetwelfth her century. This transformation of femininematernal besides the gestures, In Italy, centuries. andin eighteenth seventeenth the from masculine both switched region same to approximately the andfeminine representations illuminations maternal her depicted aman while as with ambiguous thegestures engravings in someof In France the regions. various circulated ofherrepresentation several versions that century paintingVenetian (seecat.fig. she 34) is again a man. Basically,can one conclude noambiguity; In an eighteenth-century French fig.engraving (see cat. 36)andin a nineteenth- datingfrom engraving seventeenththe (see cat.fig.century depicts 35) her asawoman with Although in sixteenth-century Marina wasstill Italy under continuous transformation, aDutch woman, detail the while inof gestures France, Spain, thethe firstphase. andItaly represents This Mary. Virgin heronly but gestures, also her physiognomy became feminine when positioned near the becomes more because feminine her whileof maternal gestures, in not Italian the paintings vita andof version her this herrepresentations between connection to establishis aclear difficult “Then, after the blessed one had lived several years in the monastery, the monks were thinking that she was a was she that thinking were monks the the monastery, in years several lived had one blessed the after “Then, , which circulated in sixteenth-century Venice. In fact, in the French illuminations she In fact, in French illuminations the Venice. in , which sixteenth-century circulated imitatio Madonnae represents the second phase of her transformation into a 91 Vie etoffice de Sainte Marine , 27. . 304 It CEU eTD Collection with paintings, statues, or different items of representation. Each town or village has its own has its village or town Each of representation. items different or statues, paintings, with Basically, the same statues. were similarthe to over) were painted (which frescoes visual of where Polistena, town representationare ofsimilar the saint to theis foundstatues.in paintings in wherethe of MarinaSicily as Santa di Milazzo such her places representations in variousThis is depictionstrue alsolife. her are There of aspect penitential focusthe on statues the and paintings the for starting the both frescoes there) only not (and Calabria and Sicily In life. her rewritten have also but andher, depicted the statues in the Calabrian visual andherrepresentations http://fe.fondazionezeri.unibo.it/catalogo/scheda.jsp?decorator=layout&apply=true&ti Fig. 7. of Assisi andtwo saints In southern Italy the cult of Saint Marina is still active. Basically, in this area both her Madonna with Childinglory with SaintBenedict, Saint Marina, Saint Francis po_scheda=OA&id=45261 , anonymous author, sixteenth century, Italy, Venice(in vitae are under continuous development as artists not only have only not artists as development continuous under are , Last accessed: May 21, 2011). 92 CEU eTD Collection Sainte Marine her hand. Iconsider that this confusion between the two saints could be apossible answer for whereisMarina Saint with depicted together childthe holding abook and amartyr’s palm in Calabria, southern in also but in Venice, occurred only not phenomenon This information. lacked because perhaps artist the or ignorance becauseof possibly another, to saint consideration into Antioch, of confusion buttaking the names itwas easyswitch from to one themartyr’s martyr’sActually, palm.is attribute palm of Marina aniconographic Saint of saint: the the was attribute iconographic added to with remarkable together another childthe Marina Saint Monk depicted the Venice, whenTintoretto In sixteenth-century their names. missing, was replaced by that of Saint Marina of Antioch, probably because of confusion over Venice toinleftMarina were relics hand, theMonk’s transferred 1230, whileher whichwas , First hadboth ledtoconfusion. saints samename fact the that ofAntioch. The Mary/Marina thirteenthrepresentations century ofin Saint Venice from depictions other sameplace. the Mary/Marina thereemphasis is laid on her temptation, the issaint representedtogetherwith childthe asin the of Antiochwas is image temptation. Thereis also an Thefact tobe of although sequence. that this worth the a reliquary(see cat. fig. 124-127).which heldAs early the as theleft hand of Saint 305 Italy, in versions fourteenth-century her life. One suchinto motifs new several motifinserted who Luigi, Guido by offered is version temptation twentieth-century in the by the devil, which versions of herwas the places, various already penance. doing of sequence saint’s the of depiction same the have all they which saint, flags,and of is the items: reliefs; various then on frescoes, depicted representation See for instance, Ms. Mm. VI. 1, f. 185v, Library of the University of Cambridge, in Clugnet, in of Cambridge, University the of Library 185v, f. 1, VI. Mm. Ms. instance, for See The last phase of her transformation into a woman is connected with the visual Although is saintthe representedin penancethe sequence andthis pattern isin used , 261. vitae 305 namely,ininnkeeper’s sequenceof daughter’s the the sometimes are extremely developed. This isThis sometimes areextremely case the developed. 93 in nuce in the Latin Vie et office de office Vie et CEU eTD Collection the Sicilian could easily be confused with Saint Marina the Monk. the Marina Saint with confused be easily could Sicilian the Saint Marina the Monk. This shows that not only Saint Marina/Mary of Antioch, but also Saint Marina first two attributes are found in her depicted wearing the clothes of anun, with feminine physiognomy, having and a child next toher.The whose Marina Terminata, Santa Sicilianor the 306 but they mixedalso and resulted in a new part of countrythe to the other, transforming continuously because of additions andomissions, with the local developments of her again. Monk Marina the from one century to the other: from Saint Marina Saintto Marina of Antioch and then Saintto the heraldry of the townin caseof the canbe demonstred easily Antioch Marina of with Saint Monkwasconfused the of Polistena, whereMarina Saintis asawoman. That Marina depicted andelsewhere, Lago, di Terrati Zambrone, the visual di Giovanni San Filandari, In representations paintings. in and statues both in nun a as representations her of the saint changed Taibbi, A second possible contribution to her final development into a woman is connected Martirio di Santa Lucia , 79-107. vita vitae , 306 while the attribute of the child is taken from the of vita . Not only the version of her of version the only Not . vita 94 of a new saint. This is the case of Saint Marina visual representations areless numerous. She is vitae circulate from one CEU eTD Collection connection with differentthe audiences. Sheis ambiguous in illuminationsthe because of the become ofherversions “emblems.” which different depiction, saintthe is in reproduced visual the material in any Thus,one town. differenttowns have gradually from that of a monkinto that of a nun. Basically, samethe visual representation of engravings, and items. other Thisis theregion where her visual representation evolved frescoes, statues, paintings, in illuminations, saint of the representations find numerous regions. other any ofMarinain whilein andSpain are Saint than fewerthere penance, representations Germany in of asawoman samescene the wasrepresented she Holland seventeenth-century In exists. of developments her from possibly there, visual because hercultnorepresentations longer vitae child where All herin the grasps mentioned clothes. details arenot these representations the figure as Marina when maternal she holds the baby toher.Thisgestures herclose renders aratherambiguous becomesand arealsoin clothing. Butthere exceptions: some makes of penitencethe sequencesMarina more feminine when inher details representations. various she holds thesupply had are only attributes, of thusthe whichpoint artist toone the rare remarks these child in and child.There the physiognomy, masculine the in clothes context of the the transvestitism, her arms then in , but were supplied by the artists. There are three chronological phases in her development from male to female in from female male to in her development phases chronological There arethree While in France herwas slowly cultit was flourishing in disappearing Italy: can one Except illuminations the andthe engravings from France, are there no further The illuminations focus, generally, on a more masculine Marina both in physiognomy The vitae do not do details offericonographical concrete Marina’s any of Saint attributes: CONCLUSIONS 95 CEU eTD Collection Antioch, and consequently influenced herfeminine representations. This is clearly shown in ledpublicsaints, alsotheconfusion between thetwo to MarinatheMonk andMarina of the to cult her of spread the that consider I company. in saints individual show to normal This is logical,if one remembers that paintings are made for public viewing andit is quite more developed. as is in became Then,spread, of case her the pattern ashercultpenance. Italy, penitence the her and monastery the into entrance her sequences: two on concentrate mostly they that sense in fixed, arerather the representations the monasticin space,hervisual for theregions all phase, Inafirst with depicted when the audience. in change for the herrepresentations visual more life focus on Onethe reasons the her canconnect penance sequenceof wasoffered. the regions Themore differences according andpublicnumerous to became, hercult recipients. in mentioned not whichwere representations thattheartist hadrepresentations demonstrated had tosupply of elements herthe visual different. Here all three phases of the development of her visual representations are present. is in situation The phasesItaly first arealsopresent. two the andGermany/Austria, France have InSpain investigated. one can find only firstthe phase of her while development, in I that in theregions present all phases arenot these herlife. However, of penance sequence the on only focus which statues, the and paintings, the illuminations, the of case in the only Mary of Antioch and Marina the Monk. local religious syncretism. This last phase is connected with the confusion between two saints: Thesecondmonasteries. phase is with proximity related her Virgin the to Mary and third to private space,suchas in restricted rather circulated Theseilluminations maternal gestures. In the case of paintings, Saint Marina is accompanied or accompanies several saints. several accompanies or is accompanied Marina Saint paintings, of case the In This investigation into the differences SaintMarina’s between visual and textual the and representations visual the between connections the Basically, 96 vitae . This facilitated the development of vitae arevisible CEU eTD Collection representations in East. the representations Marina’s Saint regarding investigation the broaden to want I also but Marina, Saint of analysis the with representations visual their connect to want I only Not audience. and time, common (separation,patterns liminality, and reintegration) which change according toregion, visual representations of all the virgin monks. Their monks. virgin the all of representations visual adequately investigated and needfurther research. My intentionfuture is investigate the to have been not saints visual whose still many of the one representations transvestite such since Middleregions Marinaas CyprusandLebanon the is Ages.Mediterranean Saint (both visual and textual) of Saint Marina as her cult numerous poems, interpretations of herlife, and hymns dedicated toher. has also existed in Centralemphasizes and Eastern of herversions the likeness of the saintphysiognomy. to Christ.confusion, proximity the Virgin Mary to hermorerendered feminine with ambiguous These arethe case of the illustrated,city heraldry from the town of Polistena in southern Italy. Besides mostly the issue of in Italy, by My analysis has proved that there is still more to investigate about the representations the about investigate to more is still there that proved has analysis My Not only visualher becamemorerepresentations developed, however, also numerous vitae appeared with more additions, such as the theme of temptation which 97 vitae and visual representations have CEU eTD Collection Oppedisano, Antonio.Oppedisano, Naymo, Vincenzo. Natalibus, Petrus. Natalibus, Mercati, Giovanni. Guido, Luigi, Mons. ______. Lippomano, Luigi. Lippomano, Guillou, André. Guidi, Ignazio and Blochet E. “Vie de Sainte Marine.” Clugnet, Léon. “Vie de Sainte Marine.” Cazelles, Brigitte. Cazelles, Auctore incerto, Arndes, Steffen. Amadeni, Theodoro. ______. Primary sources 2004. Isidoro Cavallaro, 1932. 245-276. Apostolica Vaticana, 1974. Thirteenth Century 1997. 691-695. Paris: J.-P.Migne, 1849-1850.Facsimile reprint, Turnhout: Brepols, 1986- Orientale, 1995. office de Sainte office Marine Vaticana, 1865. et office deSainteMarine et office de SainteMarine, Vie et office deSainte Marine. The Council inTrullo Revisited. VitaSanctae Marinae Virginis Leben derHeiligen Le brébiondelamétroploleByzantineregion. The Lady as Saint: A Collection of French Hagiographic Romances of the Catalogus sanctrum De uitissanctorum Uno stato feudale nella Calabria del Cinquecento La vitadiS. Marina Per lastoria greci deimanoscritti Biologia S. Marinae monachum indutaevirginis Cronistoria dellaDiocesi diGerace. 137-139. . Philadelphia: University of Pennsylvania Press,1991. , 266-267. , 26-31. (Lubeck,401 1492), reproduced in Clugnet, BIBLIOGRAPHY (Venice, 1581), 282v-283v 1581), (Venice, reproduced in Clugnet, Revue de L’Orient Chrétien Revue deL’Orient (Venice, 1521), 104v in 1521), 104v reproduced (Venice, Clugnet, . Polistena: Arti Poligrafiche Varamo, 2002. 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GruppoEditoriale Bibliotheca Sanctorum Corriere diReggio 5 (1998):1-36. 26 (1984): 143- 23(1962):41- Revue du , . CEU eTD Collection Villemur, Frederique.Villemur, Villefroy, Guillaume de. Guillaume Villefroy, ______. http://www.slowtrav.com/blog/annienc/2008/05/santa_marina.html http://www.ccel.org/ccel/schaff/npnf214.viii.v.i.html Wixom, William, in “Material Combsand AsMemory: Howard. Cremation Early Culture Williams, Medieval D. “Byzantine Art“Les en Virolleaud, Charles. travaux archéologiques Syrie en1922-1923.” in the West.” In Valensise, M., Domenico, Mons. 2011). http://www.santamarina.altervista.org/ http://www.santamarinacasole.it/ http://www.comune.tollo.ch.it/comune_arteCultura.asp http://www.fordham.edu/halsall/basis/trullo.html Typografia Regia,1744. D’Auria, 1908. 2005. D. Wixom, NewYork: 434-450. Metropolitan Museum 1997. Art, of Culture of the Middle Byzantine Era A.D. 843-1261 Britain.” index253.html (1924): 113-122.(1924): Studi Storico-Critici intornoaS. Marina Vergine Early Medieval Europe Early Medieval (Last accessed: December 3, 2010). accessed: 3, December (Last Femmes travesties: un‘mauvais’genre Femmes travesties: Catalogus codicum manuscriptorum Bibliothecaeregiae. (Last accessed: (Last April 11, 2011). Monografia di Polistena (Last accessed: April 11, 2011). 12 (2003): 89-128. 103 (Last accessed: (Last April 11, 2011). (Last accessed: (Last May 21, 2011). (Last accessed: (Last April 11, 2011). The Glory of Byzantium. Art and , ed. Helen C. Evans and William and Evans C. Helen ed. , . Locri: Franco Pancallo Editore, Pancallo Franco Locri: . . Naples: Tipografia Pontificia M. , Lastaccessed:April 11, . http://clio.revues.org/ Syria Paris: E 5, No. 2 CEU eTD Collection APPENDICES 104 CEU eTD Collection (REGIONS AREWHERE (REGIONS MARINA’S CULT SAINT MARKEDWITH DOTS) EXISTS MAPS OF ITALY APPENDIX I 105 CEU eTD Collection Italy 106 CEU eTD Collection Italy, Sicily. 107 CEU eTD Collection Italy, Calabria. Italy, 108 CEU eTD Collection LIST OF ILLUSTRATIONS ANDIMAGECATALOGUE LIST APPENDIX II 109 CEU eTD Collection Golden Legend, Library French stack: France, of 24947. religious French 241. France, Paris, the France, France, north(?), the north(?), France, PL. VII. PL. Léonce Brossé, "Les Peintures de la Grotte deMarina prèsTripoli," delaGrotte "LesPeintures Léonce Brossé, PL. VII. PL. Léonce Brossé, "Les Peintures de la Grotte deMarina prèsTripoli," delaGrotte "LesPeintures Léonce Brossé, VII. PL. Léonce Brossé, "Les Peintures de la Grotte deMarina prèsTripoli," delaGrotte "LesPeintures Léonce Brossé, PL. VIII. Léonce Brossé, "Les Peintures de la Grotte deMarina prèsTripoli," delaGrotte "LesPeintures Léonce Brossé, Polistena, (photo by the author). 2011). http://picasaweb.google.com/misha.seattle/20080226Venice# Fig. 10. Fig. 9. Fig. 8. Fig. 7. ILLUMINATIONS Fig. 6. Fig. 5. Fig. 4. Fig. 3. GROTTO SAINT MARINA’S Fig. 2. Fig. 1. RELICS , fourteenth century, France, fourteenth Saint Marina entrusted tothemonastery, Saint Marina’s Grotto Saint Marina Saint Marina’sGrotto Saint Marina, disguised as to amonastery,boy, entrusted Saint Marina’sGrotto Saint Marina’s Grotto Folio279v, Morgan NewYork, Library, M.672-5. stack: Saint Marinaandher accepted intothe father monastery bythe Saint Marina Saint Marina disguised. Death of father Golden Legend, Golden Legend, (relics), Church of at Church Italy, Maria (relics), Venice Formosa, of Santa (relics), Church of Santa Marina, Italy, Calabria, LIST OFILLUSTRATIONS Folio139v, National Library of France, stack: Folio100v, Vatican Library, 534. stack: (general view), Qannoubin, Lebanon, in Charles- Lebanon, Qannoubin, view), (general (central part), Qannoubin, Lebanon, in Charles- Lebanon, Qannoubin, part), (central La vie desPèresLa dudésert, (right part), Qannoubin, Lebanon, in Charles- Lebanon, Qannoubin, part), (right (leftpart), Qannoubin, Lebanon,in Charles- 110 Richard de Montbaston, 1348, Montbaston, de Richard , Bruges,1445-1465, , Lastaccessed: April 10, Folio 179v, National Syria Syria Syria Syria 1300-1350, , 1(1926): , 1(1926): , 1(1926): , 1(1926): the CEU eTD Collection Italy, 1676. Venice: Italy,Venice: 1676. (Florence: Edizioni 2007).del Galluzzo, with theMiniatures of the Ambrosian Codex C 240inf. Passionarium: Vitas.Marinevirginis, Marinae virginis virginis Vita S.Marinaevirginis Marinae virginis RES. 1499, Collection:1499, Library of France, stack: French 6 448. is supposedly the France, Magnum legendariumaustriacum, Paris, French183. stack: France, Library of National monastery disguised asaman GoldenLegend Speculumhistoriale Fig. 26.Theodorus Amadeni, Fig. 25.Theodorus Amadeni, Fig. 24. Fig. 22. Fig. 23. Fig. 21. Fig. 20. Fig. 19. Fig. 16. Fig. 15. Fig. 18. cod.1. Fig. 17. Speculumhistoriale Fig. 14. Fig. 13. Fig. 11. , Folio 38v, Vatican Library, stack: 375. hers, France, fifteenth century, manuscript6 448, Folio 156, National Saint Marina andthechild Saint Marina, disguised as monk, with achildinherarms Saint Saint Marina, discovery of heridentity Saint Marinaandthechild Saint Marina, expelled the from monastery, isteaching the child who Saint Marina entering the monastery on a cartdriven byoxen Saint Marina holding abook and a flower Saint Marina andthechild Scenes SaintMarina’slife from Saint Marina Saint Marina expelled from themonasterySaint Marinaexpelled from Discovery of the real sex of St.whoDiscoverythe realsex Euphrosyne, of of toentera tried , Folio 38v, Vatican Library, stack: 375. , Folio 38v, Vatican Library, stack: 375. Vita S.Marinaevirginis , Folio123v, National Library France,of stack:Spanish 44. Marina, reproduced inMarina, reproduced Jacobus deVoragine, , Folio 38v, Vatican Library, stack: 375. , Folio 201v, National Library of France, stack: French 51. , Folio408v, Library France, National of stack:MS5080 (scenes from herlife), Collection: 1300-1499, , Fauvel 1327,Paris, Master, Folio 10v, Cistercian abbey, monastic library, monastic abbey, Cistercian 10v, Folio Biologia S. Marinae monachum indutae virginis Biologia S. Marinae monachum indutae virginis Folio90, Vatican Library, Italian stack: 1191. , Folio 38v, Vatican Library, stack: 375. (rightside),1290?-1300?, Spain, Catalonia, , thirteenth century, Zwettl, Lower Austria, , 1300-1499,, Collection: 111 , François1463, France, and collab., , 1300-1499, Collection: , ed. Giovanni Paolo Maggioni Vies des Saints , , 1300-1499, Collection:, 1300-1499, 1100-1199, Italy,Rome, The GoldenLegend Vita S.Marinae , , Folio61v, 1333-1350, , 1300- Vita S. Vita S. , , CEU eTD Collection http://www.chorusvenezia.org/index.php?option=com_content&task=view&id=525&I Italy, Preußischer Inv.1549(at Kulturbesitz, http://fe.fondazionezeri.unibo.it/catalogo/scheda.jsp?decorator=layout&apply=true&ti Marina, temid=64 d%26%23039%3bAssisi+e+due+santi on+Bambino+in+gloria+con+san+Benedetto%2c+santa+Marina%2c+san+Francesco+ po_scheda=OA&id=43835&titolo=Anonimo+veneziano+sec.+XVI+%2c+Madonna+c http://fe.fondazionezeri.unibo.it/catalogo/scheda.jsp?decorator=layout&apply=true&ti Francis of Assisi andtwo saints po_scheda=OA&id=45270 http://fe.fondazionezeri.unibo.it/catalogo/scheda.jsp?decorator=layout&apply=true&ti Venice. (at Italy, century, Bernardino deSienaandSant’ Alvise) prayer bySaintMarc in frontof theMadonna withSaint Marina, theChild, Saint po_scheda=OA&id=45261 http://fe.fondazionezeri.unibo.it/catalogo/scheda.jsp?decorator=layout&apply=true&ti (at Venice. Italy, century, sixteenth Damian adoringtheMadonna and the Child in glory, pgesamt:Vivarini#|home po_scheda=OA&id=24728 po_scheda=OA&id=24728 po_scheda=OA&id=6716 http://fe.fondazionezeri.unibo.it/catalogo/scheda.jsp?decorator=layout&apply=true&ti Andrea di Bartolo (attributed to), fourteenth-fifteenth stigmatas Saint Francisreceiving ofIsaac, the century,the monastery,Sacrifice Italy, Siena. (at the monastery, ofIsaac, Sacrifice SaintFrancis receiving thestigmatas http://fe.fondazionezeri.unibo.it/catalogo/scheda.jsp?decorator=layout&apply=true&ti Bartolo (attributed to), fourteenth-fifteenth century, Italy, Siena. (at Fig. 34. Fig. 31. Fig. 27. FRESCOES, ANDFLAGS ENGRAVINGS, PAINTINGS, Fig. 33. Fig. 32. The Prayer of Dodge Andrea Gritti ( Fig. 30. Fig. 29. Fig. 28. , Lastaccessed: May 21, 2011). anonymous author, fourteenth century, fourteenth Italy, (at anonymous Venice. author, Saint Andrew adoring thecross, Saint Marina raisingthe child outside Saint Andrew adoring thecross, Saint Marina raisingthe child outside Saint Francis receiving thestigmatabetween SaintDominic and Saint Madonna with Childin glory with SaintBenedict, Marina, Saint Saint Cecilia, Saint Marina, SaintTheodore, SaintCosmas andSaint Saint Marina Saint Marina , Last accessed: May 21, 2011). , Last accessed:, Last May 21, 2011). , Last accessed: May 21, 2011). , Last accessed: May 21, 2011). , Last accessed: May 21, 2011). , Last accessed: May 21, 2011). , Lattanzio Querena, first half of the nineteenth century, nineteenth the of half first Querena, , Lattanzio , AntonioVivarini,Berlin, 1460. Museen Staatliche , anonymous artist, sixteenth century, Italy, Venice. (at , Lastaccessed: May 21, 2011). Venice (at , Robusti (il Jacopo sixteenthTintoretto), http://www.bildindex.de/?pgesamt:Antonio 112 Dodge Andrea Grittiassisted in Robusti Jacopo (il Tintoretto), , Andrea di (detail), CEU eTD Collection by author). the Saint Veneranda http://www.santamarinapolistena.it/Home/tabid/36/Default.aspx author). Saint Veneranda, (Polistena: Arti (Polistena: Arti Poligrafice Varamo, 2002): 91. 79. Santa Marina 116). Santa Marina Polistena, 69. Arti Marina] 2002): (Polistena: Varamo, Poligrafice Luigi, in Guido Polistena, Calabria, Italy, Calabria, Italy, Marina, Saint Calabria, Polistena (photo by (photo Calabria, author). the Polistena 271.1905), Léon Clugnet, Zurzolo, in LéonClugnet, by Léon Clugnet, repreoduced d’Orient etd’Occident, 11, 2011). Fils,Picard et IX. 1905), Fig. 44. Fig. 43. Fig. 42. Fig. 47. Fig. 40. Fig. 39. Fig. 46. Fig. 41. Fig. 38. Fig. 35. Fig. 36. Fig. 45. Fig. 37. Santa Marina, in Guido Luigi, in Guido [The Life of Saint Marina] (Polistena: Arti Poligrafice Varamo,2002): [The Life of Saint Marina] (Polistena: Arti Poligrafice Varamo,2002): Vie et de office Sainte Marine, Saint Marina Saint Marina Saint Marina expelled from themonastery Saint Marinaexpelledfrom Saint Marina expelled from themonastery Saint Marinaexpelledfrom Saint Marina, virgin Saint Marinaexpelled the from monastery Virgin Marytogether with virgin,SaintBarbaraand SaintMarina, Virgin Marytogether with virgin,SaintBarbaraand SaintMarina, Saint Marinaexpelledfromthemonastery Saint Marina Saint Marina Saint themonasteryMarina expelled from (detail), anonymous author, middle of the eighteenth century, (photo century, eighteenth the of middle author, anonymous (detail), anonymous author, Vie et deSainte office Marine Saint Marina (Polistena: LaBrutia, 1992). Paris: 1706-1708, Mariette, author:Bourgoing deVilleforte , in La vitadiSantaMarina (death scene), Grillo, 1903, Church of Saint Marina, Italy, Polistena (photoby the author). , B. A. Bolwert, first half of the sixteenth century, in (death (death Pagano,scene), Antonio 1834, Italy, Calabria, Vie des SS. PèresdesDèsertset Saintes Solitaires Vie etoffice de Sainte Marine , J.-M. Papillon, middle of the eighteenth century eighteenth the of middle Papillon, , J.-M. middle of the eighteenth century, (photo by by the (photo century, eighteenth the of middle , Italy Calabria, Polistena, (at La vitadiSantaMarina (Paris: Librairie A. Picard et Fils, 1905). 113 (Paris: Librairie A. Picard et Fils, et Picard A. Librairie (Paris: [The Life of Marina] Saint Lifeof [The , in Guido Luigi, in Guido , , in Guido Luigi, in Guido , , Grillo,Church 1903, of (book cover), in Raffaele , AntonioPagano, 1834, , Last accessed: April (Paris: Librairie A. Librairie (Paris: [The Life of Saint of Life [The La vitadi La vitadi CEU eTD Collection http://www.cartantica.it/pages/collaborazionisantamarina.asp http://www.santamarinacasole.it/ http://www.facebook.com/group.php?gid=113378910168#!/group.php?gid=11337891 (at Bruzio, Casole http://www.santamarina.altervista.org/index.php?option=com_content&task=blogcate accessed: 23.12. 2010). accessed: 23.12. community.webshots.com/photo/fulsize/1398213924058031385kwTgXX Maria di Salerno, (at Maria di Salerno, (at 0168&v=photos&so=30 0168&v=photos&so=30 gory&id=18&Itemid=34 2011). http://www.cartantica.it/pages/collaborazionisantamarina.asp April 11, 2011). 2011). 2011). http://www.cartantica.it/pages/collaborazionisantamarina.asp 2011). 2011). accessed: April 11, 2011). http://www.panoramio.com/photo/29856335 http://www.facebook.com/group.php?gid=113378910168#!/group.php?gid=11337891 Santa Marina di Salina, ( in ( Marina di Salina, Santa (at Fig. 50. Fig. 48. Fig. 60. Fig. 59. Fig. 58. Fig. 57. Fig. 56. Fig. 55. Fig. 54. Fig. 53. Fig. 49. Fig. 52. Fig. 51. http://www.cartantica.it/pages/collaborazionisantamarina.asp Saint Marina Saint Marina Saint Marina Saint Marina Saint Marina Saint Marina Saint Marina http://www.comunedisantamarina.org/ http://www.comunedisantamarina.org/ Saint Marina , Lastaccessed:April 11, 2011). , Lastaccessed:April 11, 2011). , Lastaccessed: April 11, 2011). Saint Marina Saint Marina, Saint Marina Saint Marina , Italy, Eolian Islands, Santa Marina di Salina, Saint Marina (frescoe), Church of Saint Marina, Italy, Comune Santa Comune Italy, Marina, Saint of Church (frescoe), (stained glass-window), Church of Saint Marina, Italy, Marina, Saint of Church glass-window), (stained (fresco), Church of Saint Marina, Italy, Comune Santa Comune Italy, Marina, Saint of Church (fresco), (flag), Church of Saint Marina, Italy, Eolian Islands, Eolian Italy, Marina, Saint of Church (flag), http://www.youtube.com/watch?v=y2ePKIvcONI , Lastaccessed: April 11, 2011). , Italy, Sicily, Santa Marina di Milazzo, (at (picture), Italy, Casole Bruzio (in Bruzio Casole Italy, (picture), (frescoe), Italy, Pogerola, (at Italy, Pogerola, (frescoe), (frescoe), Italy, Tollo,(at , Last accessed: April 11, 2011). 114 , Italy, Castroreale, (at , Italy,Castroreale, Italy, Casole Bruzio, (at (the Sicilian), (at (flag), (in (flag), , Lastaccessed: April 11, , Lastaccessed: April 11, , Last accessed: April , Lastaccessed: 11, April , Lastaccessed: 11, April , Lastaccessed: 11, http: //www. http: , Last accessed: Last , , Last , , Last , CEU eTD Collection http://www.slowtrav.com/blog/annienc/2008/05/santa_marina.html Fils,1905), 255. http://www.lisp4.facebook.com/note.php?note_id=136998566324920 Venice, in Léon Clugnet, http://www.santamarina.altervista.org/index.php?option=com_content&task=blogcate Milazzo, (at http://www.facebook.com/group.php?gid=113378910168#!/group.php?gid=11337891 (at Lastaccessed: April 12, 2011). vergine.html 0168&v=photos&so=30 gory&id=18&Itemid=34 13 October 2010). 13 October April 11, 2011). 2011). http://www.parrocchie.it/casoli/santamarina/libro.htm Marina di Salina, Zambrone, Calabria, (at Calabria, Zambrone, author). (at Italy, Calabria, Filandari, (photo by the author). http://aiellocalabro.blogspot.com/2010/07/la-festa-di-s-marina-terrati-lago-cs.html Fig 64. Fig. 72. Fig. 61. ANDRELIEFS STATUES, SHRINES, Fig. 65. Fig. 63. Fig. 62. (at Fig. 71. Fig. 66. Fig. 67. Fig. 70. Fig. 68. Fig. 69. http://www.youtube.com/watch?v=y2ePKIvcONI , Lastaccessed:April 11, 2011). Saint Marina Saint Marina Saint Marina Saint Marina Saint Marina Saint Marina Saint Marina Saint Marina Saint Marina Saint Marina Saint Marina Saint Marina , Lastaccessed:April 11, 2011). , Lastaccessed: April 11, 2011). Vie et office de Sainte Marine, http://www.tropeaedintorni.it/estemporanea-in-onore-della- (statue), Church of Saint Marina, Italy, Casoli di Atri, (at (statue), Italy, Calabria, Filandari, (photo by the author). , statue in the garden of the Patriarchal Seminary, Italy, , Church of Saint Marina, Italy, Sicily, Santa Marina di (statue), Church of Saint Marina, Italy, San Giovanni di Giovanni San Italy, Marina, Saint of Church (statue), , Church of Saint Marina, Italy, Eolian Islands, Santa Islands, Eolian Italy, Marina, Saint of Church , (statue), Church of Saint Marina, Italy, Terrati di Lago, (statue), Church of Saint Marina, Italy, Casole Bruzio, (close view), Italy, Calabria, Filandari, by (photo the (statue), eighteenth century, Church of Saint Marina, Saint of Church century, eighteenth (statue), (statue), (shrine), Italy, Venice, (at 115 U.S.A., New York,Inwood, (at , Lastaccessed: April 11, 2011). (Paris: Librairie A.Picard et (Paris: Librairie , Last accessed: , Last April 11, , Last accessed: Last , , Last accessed: Last , , CEU eTD Collection (at (at Edizioni 41. Mapograf, 1995), Santa Marinaa Filandari Calabria, Polistena, (at Polistena, Calabria, (photo by author). the April 11, 2011). Lastaccessed: April 12, 2011). (photo by author). the 2011). 11, 2011). http://www.comunedisantamarina.org/ http://www.comunedisantamarina.org/ (photo by author). the (photo by author). the http://www.cartantica.it/pages/collaborazionisantamarina.asp http://aiellocalabro.blogspot.com/2010/07/terrati-lago-cs-iniziato-il-novenario.html (at Fig. 79. Fig. 77. Fig. 73. Fig. 88. Fig. 81. Fig. 80. Fig. 76. Fig. 75. Fig. 74. Fig. 83. Fig. 82. Fig. 78. Fig. 86. Fig. 87. Fig. 84. Fig. 85. http://www.cartantica.it/pages/collaborazionisantamarina.asp Saint Marina Saint Marina Saint Marina Saint Marina Saint Marina Saint Marina Saint Marina Saint Marina Saint Marina Saint Marina Saint Marina, Saint Marina Saint Marina Saint Marina Saint Marina Saint Marina, http://www.santamarinapolistena.it/ (The Cult of Saint Marina in Filandari) (Vibo Valetia: (statue), Italy, Castel Ritardi, (statue), Italy. (statue), Italy, Calabria, Polistena, (photo by the author). (detail), Francesco Morani, Italy, Calabria, Santa Marina, (detail), Francesco Morani, Italy, Calabria, Santa Marina, (relief), Francesco Morani, Italy, Calabria, Santa Marina, Santa Morani, Italy,Francesco Calabria, (relief), (statue), Italy, Polistena, Calabria, (photo by author). the (detail), Italy, Calabria, Polistena, (photo by the author). by the (photo Polistena, Calabria, Italy, (detail), (detail), Italy, Calabria, Polistena, (photo by the author). by the (photo Polistena, Calabria, Italy, (detail), (statue), Italy, Salerno, Comune Santa Maria di Amalfi, Maria di Santa Comune Italy, (statue), Salerno, (statue and painting),in Pasquale Romano, (relief), Church of Saint Marina, Italy, Terrati di Lago, (statue), Italy, (statue), Comune SantaItaly, Maria Comune di Salerno,Santa Maria (at di Salerno, (at Vincenzo Zaffiro, 1835, Church of Saint Marina, Italy, Church of Saint Marina, Italy, Calabria, Polistena, Calabria, Italy, Marina, Saint of Church , Lastaccessed: April 11, 2011 , Lastaccessed: April 11, 2011). 116 , Last accessed: April , Lastaccessed: 12, , Last accessed: April , Last , Last accessed: Last , Il culto di , CEU eTD Collection 1783-1983) (Rosarno: Virgiglio1783-1983) (Rosarno: 1995),Editore, 131. Russo, Giovanni Russo, Russo, 2009), 12.2009), Stemma Municipale della Città di Polistena L’Espresso, 2009),12. L’Espresso, 2009),12. Editore, 1995),Editore, 63. Madre 1783-1983 century, Italy, Calabria, Polistena, (photo by the author). century, Italy, Calabria, Polistena, (photo by the author). Occident) Calabria Cristiana tra Oriente e Occidente Fig. 103. Fig. 105. Fig. 104. Fig. 102. Fig. 101. Fig. 100. Fig. 98. Fig. 97. Fig. 96. Fig. 95. Fig. 92. Fig. 94. Fig. 93. Fig. 91. Fig. 90. Fig. 89. Lo StemmaMunicipaledella Città di Polistena, Lo StemmaMunicipaledella Città di Polistena, (Camigliatello Silano: La Dea Editori, 2003), 31. Fig. 99. Saint Marina Saint Marina Saint Marina Saint Marina Saint Marina Saint Marina Saint Marina Saint Marina Saint Marina Saint Bruno Saint Marina Polistena laChiesa Madre Saint Marina Saint Marina Saint Marina Saint Marina Polistena [Polistena Church (Rosarno: Mother the Virgiglio1783-1983]) Polistena (detail), Italy, Calabria, Polistena, (photo by the author). (statue), in Demetrio Guzzardi, Stefano Vecchione, Stefano Guzzardi, in (statue), Demetrio (statue), Italy, Polistena, Calabria, (photo by author). the (statue), Italy, Polistena, Calabria, (photo by author). the (statue), Italy, Polistena, Calabria, (photo by author). the (statue), Italy, Polistena, Calabria, (photo by author). the (detail), Italy, Calabria, Polistena, (photo by the author). by the (photo Polistena, Calabria, Italy, (detail), author). by the (photo Polistena, Calabria, Italy, (detail), (detail), Italy, Calabria, Polistena, (photo by the author). by the (photo Polistena, Calabria, Italy, (detail), author). by the (photo Polistena, Calabria, Italy, (detail), (herald detail), Giovan Battista Pacichelli, eighteenth Pacichelli, Battista Giovan detail), (herald , silver by plate offered di D. Antonio in Cinquefrondi (asherald),in Russo, Giovanni (herald close view), fifteenth century, in Giovanni century, fifteenth view), close (herald (herald close view), fifteenth century, in Giovanni century, fifteenth view), close (herald (herald), fifteenth century, in Giovanni Russo, in Giovanni century, fifteenth (herald), (herald), Giovan Battista Pacichelli, eighteenth Pacichelli, Battista Giovan (herald), (Christian Calabria between Orient and Orient between Calabria (Christian 117 1783-1983 (Rome: GruppoEditoriale L’Espresso, (Polistena the Mother Church Mother the (Polistena (Rome: Gruppo Editoriale(Rome: Gruppo (Rome: Gruppo Editoriale(Rome: Gruppo Polistena la Chiesa Lo La CEU eTD Collection Municipale dellaCittà di Polistena, http://www.cartantica.it/pages/collaborazionisantamarina.asp Municipale dellaCittà di Polistena, Municipale dellaCittà di Polistena, Municipale dellaCittà di Polistena, Municipale dellaCittà di Polistena, Municipale dellaCittà di Polistena, Municipale dellaCittà di Polistena, Municipale dellaCittà di Polistena, Municipale dellaCittà di Polistena, 1783-1983) (Rosarno: Virgiglio1783-1983) (Rosarno: 1995),Editore, 131. Giovanni Russo, D. Wixom,New York: Metropolitan 496. Art, 1997. Museum of Culture ofthe Middle Byzantine Era A.D. 843-1261 inThe West,” in the Art “Byzantine Wixom, D. William 2009), 15.2009), Stemma Municipaledella CittàdiPolistena, 496. NewYork: Metropolitan Museum 1997. Art, of 843-1261 ByzantineEra A.D. the Middle inThe West,” in the Art “Byzantine Wixom, 2011). Fig. 116. Fig. 110. Fig. 111. Fig. 112. Fig. 113. Fig. 114. Fig. 115. Fig. 109. Fig. 108. Fig. 107. Fig. 118. Fig. 106. Fig. 119. Fig. 117. Reliquary of Saint Marina Saint Marina Polistena laChiesa Madre Saint Marina Reliquary ofSaint Marina Saint Marina Saint Marina Saint Marina Saint Marina Saint Marina Saint Marina Saint Marina Saint Marina Saint Marina Saint Marina , silver by plate offered di D. Antonio in Cinquefrondi (herald), eighteenth century, in Giovanni Russo, in Giovanni century, eighteenth (herald), (herald),1794, in Giovanni Russo, (herald),1801, in Giovanni Russo, (herald),1813, in Giovanni Russo, (herald),2009, in Giovanni Russo, (herald),1721, in Giovanni Russo, (herald),1794, in Giovanni Russo, (herald),1788, in Giovanni Russo, (herald),1792, in Giovanni Russo, (herald),1750 in Giovanni Russo, (Rome: Editoriale Gruppo L’Espresso, 2009),19. (Rome: Editoriale Gruppo L’Espresso, 2009),20. (Rome: Editoriale Gruppo L’Espresso, 2009),21. (Rome: Editoriale Gruppo L’Espresso, 2009),24. (Rome: Editoriale Gruppo L’Espresso, 2009),51. (Rome: Editoriale Gruppo L’Espresso, 2009),16. (Rome: Editoriale Gruppo L’Espresso, 2009),19. (Rome: Editoriale Gruppo L’Espresso, 2009),18. (Rome: Editoriale Gruppo L’Espresso, 2009),18. , ed. Helen C. Evans and William D. Wixom, D. William and Evans C. Helen , ed. (statue), Italy Italy (statue), (at Cumia, (back) Constantinople, 1213, in William D. 118 1783-1983 Gloryof Byzantium. Art and Culture of (Rome: GruppoEditoriale L’Espresso, (interior)Constantinople, before 1213 , ed. Helen C. Evans and William (Polistena the Mother Church Mother the (Polistena Glory of Byzantium. GloryofByzantium. Art and , Last accessed: April , Lastaccessed: 11, Lo Stemma Lo Stemma Lo Stemma Lo Stemma Lo Stemma Lo Stemma Lo Stemma Lo Stemma Lo Stemma Lo CEU eTD Collection http://www.santamarinafilandari.it/home.html 1460– 1465, Austria, Salzburg. 0168&v=photos&so=30 de Pierre II de Bretagne, Folio, 154v. http://www.santamarinafilandari.it/home.html http://www.facebook.com/group.php?gid=113378910168#!/group.php?gid=11337891 Fig. 127. Fig. 126. Fig. 120. DECORATIVE SAINT MARINA. ART Fig. 125. Fig. 121. Fig. 124. OF ANTIOCH SAINT MARINA(MARGARET/MARY) Fig. 123. Fig. 122. Saint Margaret Saint Margaret Saint Marina Saint Margaret and the dragon, Saint Marina Saint Margaret, Saint Marina Saint Marina , Lastaccessed:April 11, 2011). (decoration), Italy, Terrati di Lago. , 1395-1405,Austria, Vienna. , 1495-1505,Austria, Klagenfurt. (picture on flag), Italy, Calabria, Filandari, (at (decoration), Italy, Calabria, Filandari,Calabria, (at Italy, (decoration), Meister von St. Leonhard bei Tamsweg, (decoration), Italy, Casole Bruzio,(at 119 , Last accessed:, Last April 12, 2011). accessed:, Last April 12, 2011). France,Nantes, 1455-1457, Heures CEU eTD Collection IMAGE CATALOGUE RELICS 120 CEU eTD Collection http://picasaweb.google.com/misha.seattle/20080226Venice# Fig. 1. Saint Marina (relics), Church of Santa Maria Formosa, Italy, Venice at 2011). 121 , Lastaccessed: April 10, CEU eTD Collection Fig. 2. Saint Marina (relics), Church of Santa Marina, Italy, Calabria, Polistena, (photo by author). the 122 CEU eTD Collection SAINT MARINA’SGROTTO 123 CEU eTD Collection Léonce Brossé, "Les Peintures de la Grotte de Marina prèsTripoli," dela Grotte "Les Peintures Léonce Brossé, Fig. 3. Saint Marina’sGrotto (central part), Qannoubin, Lebanon,in Charles- PL. VIII. 124 Syria , 1(1926): CEU eTD Collection Léonce Brossé, "Les Peintures de la Grotte de Marina prèsTripoli," dela Grotte "Les Peintures Léonce Brossé, Fig. 4. Saint Marina’sGrotto (general view), Qannoubin, Lebanon, in Charles- PL. VII. 125 Syria , 1(1926): CEU eTD Collection Léonce Brossé, "Les Peintures de la Grotte de Marina prèsTripoli," dela Grotte "Les Peintures Léonce Brossé, Fig. 5. Saint Marina’sGrotto PL. VII. (left part), Qannoubin, Lebanon,in Charles- 126 Syria , 1(1926): CEU eTD Collection Léonce Brossé, "Les Peintures de la Grotte de Marina prèsTripoli," dela Grotte "Les Peintures Léonce Brossé, Fig. 6. Saint Marina’sGrotto (right part), Qannoubin, Lebanon,in Charles- PL. VII. 127 Syria , 1(1926): CEU eTD Collection ILLUMINATIONS 128 CEU eTD Collection France, north(?), the north(?), France, Fig. 7. Saint Marina, disguisedas boy, entrusted toamonastery, Golden Legend, Folio100v, Vatican Library, 534. stack: 129 1300-1350, CEU eTD Collection France, Paris, the Paris, France, Fig. 8. Saint Marina entrusted tothemonastery, Golden Legend, Folio 139v, National Library of France, stack: French French 241. 130 Richard deMontbaston, 1348, CEU eTD Collection religious , fourteenth France, century, fourteenth Fig. 9. Saint Marina and her accepted into father the monastery by the Library French stack: France, of 24947. La vie des Pères désert, des du vie La 131 Folio 179v, National CEU eTD Collection Golden Legend, Fig. 10. Saint Marinadisguised. Deathof father Folio 279v, New York, Morgan Library, stack: M.672-5. 132 , Bruges, 1445-1465, the CEU eTD Collection monastery disguisedasaman Fig. 11. Discovery of thereal sex ofSt. Euphrosyne,who triedtoenter a National Library of France, stack: French 183. , Fauvel Master, 1327, Paris, 133 Vies des Saints , Folio 61v, CEU eTD Collection Frederick III, 1446, III, Frederick Vienna, Fig. 12. Saint Marina exiting the the GoldenLegend, cod. 326. cod. monastery, court workshop of Emperor 134 Folio 111r, Austrian National Library, National Austrian 111r, Folio CEU eTD Collection Paris, Speculumhistoriale . Fig. 13. Scenes Saint from Marina’s life , Folio 201v, National Library of France, stack: French 51. 135 , François and collab., 1463, France, CEU eTD Collection France, Fig. 14. Speculumhistoriale Saint Marina, disguisedas monk, with achildinherarms , Folio 408v, National Library of France, stack: MS 5080 RES. 136 , 1333-1350, CEU eTD Collection the GoldenLegend Fig. 15. Saint Marina and the child , Folio 123v, National Library of France, stack: Spanish 44. (rightside), 1290?-1300?, Spain, Catalonia, 137 CEU eTD Collection is supposedly Fig. 16. hers, France, fifteenth century, manuscript 6448, Folio 156, National Saint Marina, expelled the from monastery,is teaching the child who Library of France, stack: French 6 448. 138 CEU eTD Collection Magnum legendariumaustriacum, Fig. 17. Saint Marina and the child Folio 10v, Cistercian abbey, monastic library, , thirteenth century, Zwettl, Lower Austria, cod.1. 139 CEU eTD Collection 1499, Collection: Fig. 18. Saint Marinaentering themonastery ona cart driven byoxen Vita S.Marinaevirginis , Folio 38v, Vatican Library, stack: 375. 140 , 1300- CEU eTD Collection Fig. 19. Marinae virginis Saint Marina (scenes from her life), 1300-1499,Collection: , Folio 38v, Vatican Library, stack: 375. 141 Vita S. CEU eTD Collection Fig. 20. Vita S.Marinaevirginis Saint Marinaexpelled themonasteryfrom , Folio 38v, Vatican Library, stack: 375. 142 , 1300-1499, Collection: CEU eTD Collection Fig. 21. Saint Marina and the child virginis , Folio 38v, Vatican Library, stack: 375. , 1300-1499,Collection: 143 Vita S.Marinae CEU eTD Collection Fig. 22. Marinae virginis Saint Marina, discovery of heridentity , Folio 38v, Vatican Library, stack: 375. 144 , 1300-1499,Collection: Vita S. CEU eTD Collection Passionarium: Vitas.Marinevirginis, Fig. 23. Saint Marinaholdinga book and a flower Folio 90,Vatican Library, stack: Italian 1191. 145 , 1100-1199, Italy, Rome, CEU eTD Collection with theMiniaturesofAmbrosian CodexC 240 inf. Fig. 24. Saint Marina, reproduced in Marina,Jacobus deVoragine, reproduced (Florence: Edizioni 2007).del Galluzzo, 146 , ed. Giovanni Paolo Maggioni The GoldenLegend CEU eTD Collection Fig. 25. Theodorus Amadeni,Fig. 25.Theodorus Biologia S.Marinae monachum indutaevirginis 1676. 147 , Italy,Venice: CEU eTD Collection Fig. 26. Theodorus Amadeni,Fig. 26.Theodorus Biologia S.Marinae monachum indutaevirginis 1676. 148 , Italy, Venice: CEU eTD Collection PAINTINGS, ENGRAVINGS, FRESCOES, AND FLAGSFRESCOES, ENGRAVINGS, PAINTINGS, 149 CEU eTD Collection http://fe.fondazionezeri.unibo.it/catalogo/scheda.jsp?decorator=layout&apply=true&ti Fig. 27. Marina, po_scheda=OA&id=6716 Saint Francis receiving the stigmatabetween SaintDominicand Saint anonymous author, fourteenth century, Italy, Venice. (at , Last accessed:, Last May 21, 2011). 150 CEU eTD Collection http://fe.fondazionezeri.unibo.it/catalogo/scheda.jsp?decorator=layout&apply=true&ti the monastery, of Sacrifice Isaac, Saint Francis receiving the stigmatas Fig. 28. Bartolo (attributed to), fourteenth-fifteenth century, Italy, Siena. (at po_scheda=OA&id=24728 Saint Andrew adoring thecross, SaintMarina raising thechildoutside , Last accessed: May 21, 2011). 151 , Andrea di CEU eTD Collection http://fe.fondazionezeri.unibo.it/catalogo/scheda.jsp?decorator=layout&apply=true&ti the monastery, of Sacrifice Isaac,Saint Francis receiving the stigmatas Andrea di Bartolo (attributed to), fourteenth-fifteenth century, Italy, Siena. (at Fig. 29. po_scheda=OA&id=24728 Saint Andrew adoring thecross, Saint Marina raising thechildoutside , Last accessed: May 21, 2011). 152 (detail), CEU eTD Collection http://www.bildindex.de/?pgesamt:Antoniopgesamt:Vivarini#|home Berlin, Staatliche Museen Preußischer Kulturbesitz, Inv. 1549 (at Fig. 30. Saint Marina May 21, 2011). , AntonioVivarini, 1460. 153 , Last accessed: Last , CEU eTD Collection http://fe.fondazionezeri.unibo.it/catalogo/scheda.jsp?decorator=layout&apply=true&ti Fig. 31. adoring theMadonnaand the Child in glory, Saint Cecilia, Saint Marina, SaintTheodore, SaintCosmas andSaintDamian po_scheda=OA&id=45261 century, Italy, Venice. (at , Last accessed: May 21, 2011). 154 Robusti Jacopo (il Tintoretto), sixteenth CEU eTD Collection http://fe.fondazionezeri.unibo.it/catalogo/scheda.jsp?decorator=layout&apply=true&ti prayer bySaintMarcin offront the Madonna withthe Child,Saint Marina, Saint Bernardino de Siena and Sant’ Bernardino deSienaand Alvise) Fig. 32.The Prayer Andrea of Dodge Gritti ( po_scheda=OA&id=45270 century, Italy, Venice. (at , Last accessed: May 21, 2011). , Robusti Jacopo (il Tintoretto), sixteenth Tintoretto), (il Jacopo Robusti , 155 Dodge AndreaGritti assisted in CEU eTD Collection po_scheda=OA&id=43835&titolo=Anonimo+veneziano+sec.+XVI+%2c+Madonna+c on+Bambino+in+gloria+con+san+Benedetto%2c+santa+Marina%2c+san+Francesco+ http://fe.fondazionezeri.unibo.it/catalogo/scheda.jsp?decorator=layout&apply=true&ti Francis ofAssisi andtwo saints Fig. 33. d%26%23039%3bAssisi+e+due+santi Madonna with Child in glorywith SaintBenedict, SaintMarina, Saint , anonymous author, sixteenth century, Italy, Venice. (at 156 , Lastaccessed: May 21, 2011). CEU eTD Collection http://www.chorusvenezia.org/index.php?option=com_content&task=view&id=525&I Fig. 34. Saint Marina temid=64 , Lattanzio Querena, first half of the nineteenth century, , Lastaccessed: May 21, 2011) Italy, Venice (at Italy, Venice 157 CEU eTD Collection Léon Clugnet, Fig. 35. Vie et de office Sainte Marine, Saint Marina , B. A. Bolwert, first half of the sixteenth century, in 158 (Paris: Librairie A. Picard et Fils, 1905). CEU eTD Collection d’Orient etd’Occident, repreoduced by repreoduced Léon Clugnet, Fig. 36. Saint Marina Paris: 1706-1708, Mariette, author:Bourgoing deVilleforte , in , Picard et Fils, 1905), IX. Vie des SS.Pères des Dèserts etdes Saintes Solitaires Vie et de office Sainte Marine 159 (Paris: Librairie A. Librairie (Paris: CEU eTD Collection in Léon Clugnet, Fig. 37. Saint Marina, virgin Vie et office deSainte Marine , J.-M. Papillon,middle of the eighteenth century 1905), 271.1905), 160 (Paris: Librairie A. Picard et Fils, CEU eTD Collection Fig. 38. Saint Marina, Italy, Calabria, Italy, Marina, Saint Saint Marinaexpelled themonasteryfrom Polistena by (photo author). the 161 , Grillo, 1903, Church of CEU eTD Collection Italy, Calabria, Polistena, in Guido Luigi, in Guido Polistena, Calabria, Italy, Fig. 39. Marina] (Polistena:Arti Poligrafice Varamo, 2002):69. Saint Marinaexpelled themonasteryfrom La vitadiSanta Marina 162 , AntonioPagano, 1834, [The Life of Saint CEU eTD Collection Fig. 40. Saint Marina Calabria, Polistena (photo by the author). (death scene), Grillo, 1903, Church of Saint Marina, Italy, 163 CEU eTD Collection Polistena, Fig. 41. in Guido Luigi, Guido in Saint Marina (Polistena: Arti (Polistena: Arti Poligrafice Varamo, 2002): 91. La vitadiSanta Marina (death scene), Antonio Pagano, 1834, Italy, Calabria, 164 [The Life of Saint Marina] LifeofSaint[The CEU eTD Collection Saint Veneranda, Fig. 42. Virgin Marytogether withvirgin, SaintMarina, SaintBarbara and anonymous author, middle of the eighteenth century, (photo by the author). 165 CEU eTD Collection Saint Veneranda Fig. 43. Virgin Marytogether withvirgin, SaintMarina, SaintBarbara and (detail), middleanonymous author, of eighteenththe century, (photo by author). the 166 CEU eTD Collection http://www.santamarinapolistena.it/Home/tabid/36/Default.aspx Fig. 44. Saint Marina 11, 2011). , Italy Calabria, Polistena, (at 167 ,Last accessed: April CEU eTD Collection Fig. 45. Saint Marinaexpelled themonasteryfrom Marina, (Polistena: La Brutia, 1992). 168 (book cover), in Raffaele Zurzolo, Santa CEU eTD Collection Santa Marina Fig. 46. [The Life of Saint Marina] (Polistena: Arti Poligrafice Varamo, 2002): Saint Marinaexpelled themonastery from 116). 169 , in Guido Luigi, in Guido , La vitadi CEU eTD Collection Santa Marina Fig. 47. [The Life of Saint Marina] (Polistena: Arti Poligrafice Varamo, 2002): Saint Marinaexpelled themonastery from 79. 170 , in Guido Luigi, in Guido , La vitadi CEU eTD Collection http://www.santamarina.altervista.org/index.php?option=com_content&task=blogcate gory&id=18&Itemid=34 Fig. 48. Saint Marina , Italy, Sicily, Santa Marina di Milazzo, (at , Lastaccessed: April 11, 2011). 171 CEU eTD Collection http://www.santamarinacasole.it/ Fig. 49. Saint Marina, , Lastaccessed: April 11, 2011). 172 Italy, Casole Bruzio, (at CEU eTD Collection http://www.facebook.com/group.php?gid=113378910168#!/group.php?gid=113378910168& Fig. 50. Saint Marina v=photos&so=30 (stained glass-window), Church of Saint Marina, Italy, Casole Bruzio, , Lastaccessed: April 11, 2011). 173 (at CEU eTD Collection http://www.facebook.com/group.php?gid=113378910168#!/group.php?gid=113378910168& Fig. 51. v=photos&so=30 Saint Marina , Lastaccessed: April 11, 2011). (picture), Italy, Casole Bruzio (at 174 CEU eTD Collection Salina, (at Salina, Fig. 52. Saint Marina http://www.youtube.com/watch?v=y2ePKIvcONI (flag), Church of Saint Marina, Italy, Eolian Islands, Santa Marina di 175 , Lastaccessed: April 11, 2011). CEU eTD Collection http://www.panoramio.com/photo/29856335 Fig. 53. Saint Marina (frescoe), Italy, Pogerola, (at 176 , Last accessed: April 11, 2011). CEU eTD Collection Fig. 54. Salerno, (at Salerno, Saint Marina http://www.comunedisantamarina.org/ (frescoe), Church of Saint Marina, Italy, Comune Santa Maria di 177 , Lastaccessed: April 11, 2011). CEU eTD Collection Fig. 55. Saint Marina (at http://www.comunedisantamarina.org/ (fresco), Church of Saint Marina, Italy, Comune Santa Maria di Salerno, 178 , Last accessed: April 11, 2011). CEU eTD Collection (at http://www.cartantica.it/pages/collaborazionisantamarina.asp Fig. 56. Saint Marina 2011). 179 (frescoe), Italy, Tollo, , Lastaccessed: April 11, CEU eTD Collection (at http://www.cartantica.it/pages/collaborazionisantamarina.asp Fig. 57. Saint Marina 2011). 180 , Italy, Castroreale, , Lastaccessed: April 11, CEU eTD Collection (at http://www.cartantica.it/pages/collaborazionisantamarina.asp Fig. 58. Saint Marina , Italy, Eolian Islands, Santa Marina di Salina, 2011). 181 , Lastaccessed: April 11, CEU eTD Collection (at http://www.cartantica.it/pages/collaborazionisantamarina.asp Fig. 59. Saint Marina 2011). 182 (the Sicilian), (the , Lastaccessed: April 11, CEU eTD Collection community.webshots.com/photo/fulsize/1398213924058031385kwTgXX Fig. 60. accessed: 23.12. 2010). accessed: 23.12. Saint Marina 183 (flag), (at http: //www. , Last CEU eTD Collection STATUES, SHRINES, AND RELIEFS 184 CEU eTD Collection http://www.santamarina.altervista.org/index.php?option=com_content&task=blogcategory&i Fig. 61. Saint Marina d=18&Itemid=34 , Church of Saint Marina, Italy, Sicily, Santa Marina di Milazzo, (at , Lastaccessed: April 11, 2011). 185 CEU eTD Collection Fig. 62. (at http://www.youtube.com/watch?v=y2ePKIvcONI Saint Marina , Church of Saint Marina, Italy, Eolian Islands, Santa Marina di Salina, 186 , Last accessed: April 11, 2011). CEU eTD Collection Fig. 63. Clugnet, Saint Marina Vie et office deSainte Vie etoffice Marine, , statue in the garden of the Patriarchal Seminary, Italy, Venice, (in Léon (Paris: LibrairieA.Fils, Picard et 1905),255). 187 CEU eTD Collection http://www.slowtrav.com/blog/annienc/2008/05/santa_marina.html Fig 64. Saint Marina 2011). (shrine), Italy, Venice, (at 188 , Lastaccessed: April 11, CEU eTD Collection http://www.facebook.com/group.php?gid=113378910168#!/group.php?gid=113378910168& Fig. 65. Saint Marina v=photos&so=30 (statue), Church of Saint Marina, Italy, Casole Bruzio, (at , Lastaccessed: April 11, 2011). 189 CEU eTD Collection http://www.parrocchie.it/casoli/santamarina/libro.htm Fig. 66. Saint Marina (statue), Church of Saint Marina, Italy, Casoli di Atri, (at 190 , Lastaccessed: April 11, 2011). CEU eTD Collection Fig. 67. Saint Marina (statue), eighteenth century, Church of Saint Marina, Italy, Calabria, Filandari, (photo by the author). 191 CEU eTD Collection Fig. 68. Saint Marina (statue), Italy, Calabria, Filandari, (photo by the author). 192 CEU eTD Collection Fig. 69. Saint Marina (close view), Italy, Calabria, Filandari, (Photo by the author). 193 CEU eTD Collection Calabria, (at Calabria, Fig. 70. Saint Marina http://www.tropeaedintorni.it/estemporanea-in-onore-della-vergine.html (statue), Church of Saint Marina, Italy, San Giovanni di Zambrone, accessed: April accessed: April 11, 2011). 194 , Last CEU eTD Collection http://aiellocalabro.blogspot.com/2010/07/la-festa-di-s-marina-terrati-lago-cs.html Fig. 71. Saint Marina (statue), Church of Saint Marina, Italy, Terrati di Lago, (at accessed: April accessed: April 12, 2011). 195 , Last CEU eTD Collection http://www.lisp4.facebook.com/note.php?note_id=136998566324920 Fig. 72. Saint Marina (statue), October 2010). 196 U.S.A., New York, Inwood, (at , Last accessed: 13 CEU eTD Collection http://aiellocalabro.blogspot.com/2010/07/terrati-lago-cs-iniziato-il-novenario.html Fig. 73. Saint Marina (relief), Church of SaintMarina, Italy, Terrati di Lago, (at accessed: April accessed: April 12, 2011). 197 , Last CEU eTD Collection Fig. 74. http://www.comunedisantamarina.org/ Saint Marina (statue), Italy, Comune Santa Maria di Salerno, (at 198 , Lastaccessed: April 11, 2011). CEU eTD Collection Fig. 75. http://www.comunedisantamarina.org/ Saint Marina (statue), Italy, Comune Santa Maria di Salerno, (at 199 , Lastaccessed: April 11, 2011 CEU eTD Collection Fig. 76. Saint Marina 200 (statue), Italy. CEU eTD Collection (at http://www.cartantica.it/pages/collaborazionisantamarina.asp Fig. 77. Saint Marina (statue), Italy, Salerno, Comune Santa Maria di Amalfi, 2011). 201 , Lastaccessed: April 11, CEU eTD Collection Filandari Fig. 78. Saint Marina [The Cult of Saint Marina in Filandari], (Vibo Valetia: Edizioni Mapograf, 1995), (statue and painting),in Pasquale Romano, 202 41. Il culto diSanta Marina a CEU eTD Collection (at http://www.cartantica.it/pages/collaborazionisantamarina.asp Fig. 79. Saint Marina (statue), Italy, Castel Ritardi, 2011). 203 , Lastaccessed: April 11, CEU eTD Collection Fig. 80. Saint Marina, Church of Saint Marina, Italy, Calabria, Polistena, (photo by the author). 204 CEU eTD Collection Fig. 81. Polistena, (at Polistena, Saint Marina, http://www.santamarinapolistena.it/ Vincenzo Zaffiro, 1835, Church of Saint Marina, Italy, Calabria, 205 , Last accessed: April 12, 2011). CEU eTD Collection Fig. 82. Saint Marina (relief), Francesco Morani, Italy, Calabria, Santa Marina, (photo by the author). 206 CEU eTD Collection Fig. 83. Saint Marina (detail), Francesco Morani, Italy, Calabria, Santa Marina, (photo by the author). 207 CEU eTD Collection Fig. 84. Saint Marina (detail), Francesco Morani, Italy, Calabria, Santa Marina, (photo by the author). 208 CEU eTD Collection Fig. 85. Saint Marina (statue), Italy, Calabria, Polistena, (photo by the author). 209 CEU eTD Collection Fig. 86. Saint Marina (detail), Italy, Calabria, Polistena, (photo by the author). 210 CEU eTD Collection Fig. 87. Saint Marina (statue), Italy, Calabria, Polistena, (photo by the author). 211 CEU eTD Collection Fig. 88. Saint Marina (detail), Italy, Calabria, Polistena, (photo by the author). 212 CEU eTD Collection Fig. 89. Saint Marina (detail), Italy, Calabria, Polistena, (photo by the author). 213 CEU eTD Collection Fig. 90. Saint Marina (detail), Italy, Calabria, Polistena, (photo by the author). 214 CEU eTD Collection 215 CEU eTD Collection Fig. 91. Fig. 92. Saint Marina Saint Marina (statue), Italy, Calabria, Polistena, (photo by the author). (detail), Italy, Calabria, Polistena, (photo by the author). 216 CEU eTD Collection Fig. 93. Saint Marina (detail), Italy, Calabria, Polistena, (photo by the author). 217 CEU eTD Collection Fig. 94. Cristiana OrienteeOccidente tra Saint Bruno (Camigliatello LaDeaSilano: Editori, 31. 2003), (statue), in Demetrio Guzzardi, Stefano Vecchione, in (statue), Guzzardi,Demetrio Stefano [Christian Calabria between Orient and Occident] and Orient between Calabria [Christian 218 La Calabria CEU eTD Collection Fig. 95. Saint Marina (statue), Italy, Calabria, Polistena, (photo by the author). 219 CEU eTD Collection Fig. 96. Saint Marina (statue), Italy, Calabria, Polistena, (photo by the author). 220 CEU eTD Collection Fig. 97. Saint Marina (statue), Italy, Calabria, Polistena, (photo by the author). 221 CEU eTD Collection Fig. 98. Saint Marina (detail), Italy, Calabria, Polistena, (photo by the author). 222 CEU eTD Collection Fig. 99. Polistena (herald), Giovan Battista Pacichelli, eighteenth century, Italy, Calabria, Polistena, by (photo author). the 223 CEU eTD Collection Fig. 100. Polistena (herald detail), Giovan Battista Pacichelli, eighteenth century, Italy, Calabria, Polistena, (photo by the author). 224 CEU eTD Collection Fig. 101. [Polistena the MotherChurch 1783-1983]) (Rosarno: Virgiglio 1995),Editore, 63. Saint Marina (as herald), in Giovanni Russo, 225 Polistena laChiesa Madre1783-1983 CEU eTD Collection Fig. 102. Saint Marina della Cittàdi Polistena (herald), fifteenth century,in Giovanni Russo, (Rome: GruppoEditoriale2009), 12. L’Espresso, 226 Lo Stemma Municipale CEU eTD Collection Fig. 103. Municipale dellaCittà di Polistena, Saint Marina (herald close view), fifteenth century,in Giovanni Russo, (Rome: Editoriale Gruppo L’Espresso, 2009), 12. 227 Lo Stemma CEU eTD Collection Fig. 104. Municipale dellaCittà di Polistena, Saint Marina (herald close view), fifteenth century,in Giovanni Russo, (Rome: Editoriale Gruppo L’Espresso, 2009), 12. 228 Lo Stemma CEU eTD Collection Fig. 105. Polistena laChiesa Madre Saint Marina , silver plate offered by di D. Antonio inCinquefrondi Giovanni Russo, 1783-1983 Virgiglio 1995),131. Editore, [Polistena the Church Mother 1783-1983] (Rosarno: 229 CEU eTD Collection Fig. 106. Polistena laChiesa Madre Saint Marina , silver plate offered by di D. Antonio inCinquefrondi Giovanni Russo, 1783-1983 Virgiglio 1995),131. Editore, [Polistena the Church Mother 1783-1983] (Rosarno: 230 CEU eTD Collection Fig. 107. Saint Marina di Polistena, (herald),1792, in Russo, Giovanni (Rome:2009), 18. GruppoEditoriale L’Espresso, 231 Lo Stemma Municipale della Città CEU eTD Collection Fig. 108. Saint Marina di Polistena, (herald),1788, in Russo, Giovanni (Rome:2009), 18. GruppoEditoriale L’Espresso, 232 Lo Stemma Municipale della Città CEU eTD Collection Fig. 109. Saint Marina di Polistena, (herald),1794, in Russo, Giovanni (Rome:2009), 19. GruppoEditoriale L’Espresso, 233 Lo Stemma Municipale della Città CEU eTD Collection Fig. 110. Saint Marina di Polistena, (herald),1794, in Russo, Giovanni (Rome:2009), 19. GruppoEditoriale L’Espresso, 234 Lo Stemma Municipale della Città CEU eTD Collection Fig. 111. Saint Marina di Polistena, (herald),1801, in Russo, Giovanni (Rome:2009), 20. GruppoEditoriale L’Espresso, 235 Lo Stemma Municipale della Città CEU eTD Collection Fig. 112. Saint Marina di Polistena, (herald),1813, in Russo, Giovanni (Rome:2009), 21. GruppoEditoriale L’Espresso, 236 Lo Stemma Municipale della Città CEU eTD Collection Fig. 113. Saint Marina di Polistena, (herald), 1750in Giovanni Russo, (Rome:2009), 24. GruppoEditoriale L’Espresso, 237 Lo Stemma Municipale della Città CEU eTD Collection Fig. 114. Saint Marina di Polistena, (herald),2009, in Russo, Giovanni (Rome:2009), 51. Gruppo Editoriale L’Espresso, 238 Lo Stemma Municipale della Città CEU eTD Collection Fig. 115. Saint Marina di Polistena, (herald),1721, in Russo, Giovanni (Rome:2009), 16. GruppoEditoriale L’Espresso, 239 Lo Stemma Municipale della Città CEU eTD Collection (at http://www.cartantica.it/pages/collaborazionisantamarina.asp Fig. 116. Saint Marina 2011). 240 (statue), Italy Cumia, , Lastaccessed: April 11, CEU eTD Collection Municipale dellaCittà di Polistena, Fig. 117. Saint Marina (herald), eighteenth century, in Giovanni Russo, (Rome: Editoriale Gruppo L’Espresso, 2009), 15. 241 Lo Stemma CEU eTD Collection Fig. 118. Culture oftheMiddle Byzantine Era A.D.843-1261 Wixom, “Byzantine Art in the West,” in The William Wixom,D. 496.NewYork: Metropolitan Museum Art, 1997. of Reliquary ofSaint Marina (back) Constantinople, 1213, in William D. 242 Glory of Byzantium. GloryofByzantium. Art and , ed. Helen C. Evans and CEU eTD Collection Fig. 119. Culture oftheMiddle Byzantine Era A.D.843-1261 Reliquary ofSaint Marina Wixom, “Byzantine Art in the West,” in The William Wixom,D. 496.New York: Metropolitan Museum Art, 1997. of (interior)Constantinople, before 1213 William D. 243 Glory of Byzantium. GloryofByzantium. Art and , ed. Helen C. Evans and CEU eTD Collection SAINT MARINA. DECORATIVE ART DECORATIVE SAINT MARINA. 244 CEU eTD Collection Fig. 120. Saint Marina (decoration), Italy, Terrati di Lago. 245 CEU eTD Collection http://www.santamarinafilandari.it/home.html Fig. 121. Saint Marina (picture on flag), Italy, Calabria, Filandari, (at 246 , Last accessed:, Last April 12, 2011). CEU eTD Collection (at http://www.santamarinafilandari.it/home.html Fig. 122. Saint Marina (decoration), Italy, Calabria, Filandari, 247 , Last, accessed: April 12, 2011). CEU eTD Collection http://www.facebook.com/group.php?gid=113378910168#!/group.php?gid=113378910168& Fig. 123. v=photos&so=30 Saint Marina , Lastaccessed: April 11, 2011). (decoration), Italy, Casole Bruzio, (at 248 CEU eTD Collection SAINT MARINA OFANTIOCH (MARGARET/MARY) 249 CEU eTD Collection Fig. 124. Saint Margaret andthe dragon, Bretagne, Folio, 154v, National Library of France, stack: Latin 1159. France, Nantes, 1455-1457,Heures de Pierrede II 250 CEU eTD Collection Fig. 125. 1460– 1465, Austria, Salzburg,Museum of Salzburg. Saint Margaret, Meister von St. Leonhard bei Tamsweg, 251 CEU eTD Collection Fig. 126. Saint Margaret , 1495-1505,Austria, Archiepiscopal Klagenfurt, Museum. 252 CEU eTD Collection Fig. 127. Saint Margaret , 1395-1405,Austria, Vienna,Austrian Gallery. 253 CEU eTD Collection 254