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The Art of Biblical Interpretation THE ART OF BIBLICAL INTERPRETATION Press SBL BIBLE AND ITS RECEPTION Rhonda Burnette-Bletsch, General Editor Editorial Board: Brennan Breed Stephen R. Burge Lesleigh Cushing J. Cheryl Exum Michael Rosenberg Robert Paul Seesengood Number 3 Press SBL THE ART OF BIBLICAL INTERPRETATION Visual Portrayals of Scriptural Narratives Edited by Heidi J. Hornik, Ian Boxall, and Bobbi Dykema Press SBL Atlanta Copyright © 2021 by SBL Press All rights reserved. No part of this work may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording, or by means of any information storage or retrieval system, except as may be expressly permit- ted by the 1976 Copyright Act or in writing from the publisher. Requests for permission should be addressed in writing to the Rights and Permissions Office, SBL Press, 825 Hous- ton Mill Road, Atlanta, GA 30329 USA. Library of Congress Control Number: 2021944614 Press SBL Contents Figures ...............................................................................................................vii Abbreviations ...................................................................................................xv Introduction Heidi J. Hornik, Ian Boxall, and Bobbi Dykema ....................................1 1. Unsettling the Gaze: Bathsheba beyond Verse and Image Yohana A. Junker ......................................................................................11 2. “I Am Come into My Garden”: The Canticle of Canticles and the Florilegium of Philips Galle and Adriaen Collaert James Clifton .............................................................................................37 3. “I Sought Him Whom My Soul Loves”: Symbol, Ornament, and Visual Exegesis of the Song of Songs in the Saint John’s Bible Jonathan Homrighausen .........................................................................67 4. Touch Me, Don’t Touch Me—Peter, Jesus, and Mary: Painted by Scarsellino and Portrayed by Cornelius à Lapide Heidi J. Hornik .......................................................................................103 5. The Vacant Girl: Bernardino Luini’s Salome Ela Nuțu ...................................................................................................Press 135 6. Picturing the Parable of the Sower Christine E. Joynes .................................................................................163 7. “The Belated Return of the ‘Son’”: Thomas Hart Benton’s Prodigal Son David B. SBLGowler ..................................................................................... 181 vi contents 8. Visualizing the Beloved Disciple in the Art of the Reclining Banquet Jeff Jay.......................................................................................................207 9. A Seat at the Table: Grant Wood’s Dinner for Threshers Meredith Munson ..................................................................................243 10. Seeing Christ’s Angel: Visual Exegesis of Revelation 10 Ian Boxall .................................................................................................261 Contributors ...................................................................................................293 Ancient Sources Index ..................................................................................297 Authors and Artists Index ............................................................................303 Subject Index ..................................................................................................310 Press SBL Figures 1.1. Jean Bourdichon, illuminator, Bathsheba Bathing, 1498–1499. Tem- pera and gold on parchment, Leaf: 24.3 × 17 cm (9 9/16 × 6 11/16 in.), MS 79, recto. J. Paul Getty Museum, courtesy of the Getty Open Content Program. 1.2. Rembrandt Harmenszoon van Rijn, Bathsheba at Her Bath, 1654. Oil on canvas, 142 x 142 cm. Photo: Mathieu Rabeau. Musée du Louvre, Paris, France ©RMN-Grand Palais/Art Resource, NY. 1.3. Willem Drost, Bathsheba with David’s Letter, 1654. Oil on canvas, 103 x 87 cm. Photo: Franck Raux. Musée du Louvre, Paris, France. ©RMN- Grand Palais/ Art Resource, NY. 1.4. Marc Chagall (1887–1985) © ARS, NY. David and Bathsheba. 1956. Lithograph, 35.8 x 26.5 cm. Photo: Gérard Blot. Musée National Marc Chagall. ©RMN-Grand Palais/Art Resource, NY. 1.5. Lorna Simpson, Guarded Conditions, 1989. 18 dye diffusion color Polaroid prints, 6 frames total (3 prints in each), 21 engraved plastic plaques, 17 plastic letters, overall: 214 x 376.6 x 4.1 cm. © Lorna Simpson. Courtesy of the artist and Hauser & Wirth. 2.1. Adriaen Collaert after Philips Galle, Bouquet of Flowers, ca. 1587– 1589. Engraving, 26.4 x 17.6 cm; plate 3 of Florilegium; Sarah Campbell Blaffer Foundation, Houston, 2014.7.3. Photo: Museum of Fine Arts, Houston. 2.2. Adriaen Collaert after Philips Galle, Title Plate, ca. 1587–1589. Engraving, 26.4 x 17.6 cm; plate 1 of FlorilegiumPress; Sarah Campbell Blaffer Foundation, Houston, 2014.7.1. Photo: Museum of Fine Arts, Houston. 2.3. Adriaen Collaert after Philips Galle, Sponsa and Sponsus, ca. 1587–1589. Engraving, 26.4 x 17.6 cm; plate 2 of Florilegium; Sarah Campbell Blaffer Foundation, Houston, 2014.7.2. Photo: Museum of Fine Arts, Houston. 2.4. Adriaen Collaert after Philips Galle, Roses, 1587–1589. Engraving, 26.4 x 17.6 cm; plate 4 of Florilegium; Sarah Campbell Blaffer Foundation, Houston, 2014.7.4. Photo: Museum of Fine Arts, Houston. SBL-vii - viii Figures 2.5. Adriaen Collaert after Philips Galle, Lilies, 1587–1589. Engraving, 26.4 x 17.6 cm; plate 6 of Florilegium; Sarah Campbell Blaffer Foundation, Houston, 2014.7.6. Photo: Museum of Fine Arts, Houston. 2.6. Johannes Wierix, The Virgin and Child in the Enclosed Garden, 1606. Engraving, 27.5 x 31 cm; Metropolitan Museum of Art, New York, 53.601.18(94). Photo: Metropolitan Museum of Art, New York. 2.7. Theodoor Galle, Reciprocal Invitation of the Bride and Bridegroom to Their Respective Gardens (Reciproca Sponsae Sponsique ad hortum suum invitatio). Engraving in Jan David, Paradisus Sponsi et Sponsae (Antwerp: Ex officina Plantiniana, Apud Ioannem Moretum, 1607); private collec- tion. Photo: Sarah Campbell Blaffer Foundation, Houston. 2.8. Unknown artist, Bruges, The “Mors Vincit Omnia” Hours, ca. 1510, Book of Hours, use of Rome. Colors on parchment, ca. 11 x 8.5 cm; Sarah Campbell Blaffer Foundation, Houston, 2015.19. Photo: Museum of Fine Arts, Houston. 2.9. Adriaen Collaert, Saint Lucy, ca. 1600. Engraving, 19.5 x 15 cm; from Martyrologium Sanctarum Virginum; Yale University Art Gallery, 2011.53.1.105. Photo: Yale University Art Gallery. 2.10. Daniel Seghers, A Garland of Flowers on a Carved Stone Medallion, ca. 1650. Oil on canvas, 114.3 x 95.3 cm; Sarah Campbell Blaffer Founda- tion, Houston, 1977.4. Photo: Museum of Fine Arts, Houston. 3.1. Donald Jackson, The Song of Solomon. Poetry Scribe: Sally Mae Joseph; Prose Scribe: Susan Leiper; Hebrew Script: Izzy Pludwinski; Book Heading: Donald Jackson. 2006. From The Saint John’s Bible. Gouache and ink on vellum, 15½ x 23½ in. Saint John’s University, Collegeville, MN. 3.2 (left and right). Donald Jackson, Garden of Desire, Scribe and Artist: Donald Jackson; Hebrew Script: Izzy Pludwinski. 2006. From The Saint John’s Bible. Gouache and ink on vellum, 31½ x 23½ in. Saint John’s Uni- versity, Collegeville, MN. Saint John’s University, Collegeville, MN. 3.3. Donald Jackson, detail of Garden of Desire. 2006. From The Saint John’s Bible. Gouache and ink on vellum, page measures 15¾ x 23½ in. Saint John’s University, Collegeville, MN.Press 3.4. Donald Jackson, I Am My Beloved’s, Scribe and Artist: Donald Jack- son; Hebrew Script: Izzy Pludwinski. 2006. From The Saint John’s Bible. Gouache and ink on vellum, 31½ x 23½ in. Saint John’s University, Col- legeville, MN. 3.5. Donald Jackson, Set Me as a Seal, Scribe: Sally Mae Joseph; Hebrew Script: Izzy Pludwinski;SBL Book Heading: Donald Jackson. 2006. From The Figures ix Saint John’s Bible. Gouache and ink on vellum, 15¾ x 23½ in. Saint John’s University, Collegeville, MN. 3.6. Donald Jackson, Solomon’s Temple (1 Kings 8:1–66). 2010. From The Saint John’s Bible. Gouache and ink on vellum, page measures 15¾ x 23½ in. Saint John’s University, Collegeville, MN. 3.7. Donald Jackson, Isaiah’s Temple Vision (Isaiah 6:1–13). 2005. From The Saint John’s Bible. Gouache and ink on vellum, page measures 15¾ x 23½ in. Saint John’s University, Collegeville, MN. 3.8. Donald Jackson, Crucifixion (Luke 23:44–49). 2002. From The Saint John’s Bible. Gouache and ink on vellum, page measures 15¾ x 23½ in. Saint John’s University, Collegeville, MN. 3.9. Donald Jackson, Resurrection (John 20:1–31). 2002. From The Saint John’s Bible. Gouache and ink on vellum, page measures 15¾ x 23½ in. Saint John’s University, Collegeville, MN. 3.10. Donald Jackson, detail from Set Me As a Seal (Song 8:6–7), Donald Jackson, Set Me as a Seal, Scribe: Sally Mae Joseph; Hebrew Script: Izzy Pludwinski. 2006. From The Saint John’s Bible. Gouache and ink on vellum, page measures 15¾ x 23½ in. Saint John’s University, Collegeville, MN. 4.1. Scarsellino, Christ and Saint Peter at the Sea of Galilee, ca. 1585–1590. Oil on canvas. 27¼ x 45¾ in. Credit Line: Harvard Art Museums/Fogg Museum, Bequest of Grenville L. Winthrop. 4.2. Scarsellino, Noli Me Tangere, ca. 1586. Oil on canvas, 74.5 x 93.5 cm. 1938E477. Photo: Franck Raux. Musee Magnin, Dijon, France. Photo Credit: © RMN-Grand Palais / Art Resource, NY. 4.3. Andrea di Bonaiuto, Vault. Pendentive with
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