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Ornament As Argument: Textile Pages and Textile Metaphors in Medieval German Manuscripts (800—1100)

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Ornament As Argument: Textile Pages and Textile Metaphors in Medieval German Manuscripts (800—1100) Ornament as Argument: Textile Pages and Textile Metaphors in Medieval German Manuscripts (800—1100) by Anna Bücheler A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of Art University of Toronto © Copyright by Anna Bücheler 2014 Ornament as Argument: Textile Pages and Textile Metaphors in Medieval German Manuscripts (800—1100) Anna Bücheler Doctor of Philosophy Department of Art University of Toronto 2014 Abstract This dissertation explores notions of ornamentation and issues of materiality in early and high medieval manuscript illumination. Focusing on ornament that evokes the weave patterns of Byzantine and Islamic silk in tenth and eleventh century manuscripts from Echternach, Einsiedeln, Reichenau, and elsewhere, this study argues that—in specific contexts—ornament has meaning and serves functions that go beyond mere decoration. The dissertation contextualizes so-called textile pages in the codicological and iconographic structure of the manuscripts in which they appear and examines them in light of exegetical texts that discuss the function and metaphoric meaning of matter in religious art. After the first chapter clarifies the formal relationship between medieval textiles and textile ornament, the subsequent chapters bring the ornamental images together with various textile metaphors. From such a reading of textile iconography emerge three major strands of meaning: the notion of scripture as a veil of revelation, the Incarnation as a symbolic garment, and textile-ornamented manuscripts as the corporeal book-bodies of scripture. In addition to an investigation of the allegorical meaning of textile ornament, a discussion of the function of physical matter in private meditation and the ii liturgy opens new perspectives on the utility and necessity of physical props for contemplative and liturgical purposes in medieval worship. iii Acknowledgments « This dissertation could not have been written without the support of numerous colleagues and friends in Canada, Germany, and Switzerland. My biggest debt of gratitude is to my mentor and Doktorvater, Adam S. Cohen. His teaching and guidance have been invaluable assets in my development as a scholar. By pushing my ideas and challenging me to take medieval manuscripts seriously, he has shaped my thinking about medieval art. I gladly acknowledge his contribution to this study and his unshakeable support in producing these pages. It has been an honor to benefit from Diane Reilly’s careful reading and her critical feedback. I also owe much to Jill Caskey and David Ganz for their useful comments and questions. Thanks also to Björn Ewald for stepping in as a committee member late in the process. Throughout my graduate career, I received support from many gifted teachers. I wish to thank especially Linda Safran and Alexander Nagel for a fruitful and inspiring learning experience at the University of Toronto, as well as Madeline Caviness, who first opened the doors to medieval art to me at Tufts University. I have been fortunate to receive generous support from various individuals and institutions. I thank the University of Toronto for making this project possible with a five-year fellowship, a Dissertation Completion Award, and two research travel grants from the School of Graduate Studies. The Swiss National Science Foundation and the European Research Council funded a stay at the University of Zürich, where I was kindly hosted by the Kunsthistorisches Institut. I thank especially Tristan Weddigen, whose interest in textiles has brought me to Zürich. The members of the research group “Textile: An Iconology of the Textile in Art and Architecture” have inspired my work intellectually on many occasions and I am lucky to have colleagues who have also become dear friends. The Emmy Noether-Nachwuchsgruppe “Kosmos/Ornatus” at the Freie Universität Berlin kindly welcomed me at their research colloquium during a year of research in Berlin. I thank especially Vera Beyer and Isabelle Dolezalek for challenging questions and valuable input during the earlier stages of writing. At the Abegg-Stiftung in Riggsberg near Berne, I spent several productive days at the library and in the textile collection and enjoyed comfortable nights at the guest house. I thank Regula Schorta and her team of researchers and conservators for sharing their knowledge about textiles and for their warm and generous hospitality. iv Several museums and libraries have graciously made their collections accessible to me: Abegg- Stiftung, Riggisberg; Bayerische Staatsbibliothek Munich (with gratitude especially to Elisabeth Klemm); Bibliothèque nationale de France, Paris; Bischöfliches Dom- und Diözesanmuseum Mainz (I thank Anja Coffeng for generous help with images); Domschatz and Dommuseum Hildesheim; Germanisches Nationalmuseum, Nuremberg (thank you to Frank Heydecke); Herzog Anton Ulrich Museum, Braunschweig (a warm thank you to Regine Marth); Herzog August Bibliothek, Wolfenbüttel; Hessische Landesbibliothek, Fulda; Hessisches Landesmuseum, Darmstadt; Landeshauptarchiv Koblenz (I thank Anja Ostrowitzky); Universitätsbibliothek Heidelberg; Uppsala Universitetsbibliotek; Staatsbibliothek Bamberg (I thank Werner Taegert and Stefan Knoch); Stadtbibliothek Trier; Staatliche Museen Preussischer Kulturbesitz, Kupferstichkabinett, Berlin; Stiftsbibliothek Einsiedeln (thanks to Pater Justinus); Württembergische Landesbibliothek Stuttgart. I also thank all those who have helped bring these chapters together by reading drafts and providing other assistance. I am especially grateful to my student Sabrina Schmid and to Isabelle Dolezalek, Flora Ward, Sarah Guérin, and David Alexandre. My family and dear friends in Rottweil, Berlin, Toronto, and Zürich have been pillars of love and friendship in the years leading up to the completion of the PhD. It is to those who walked with me in times of change and regrowth that I dedicate these pages.» v Table of Contents List of Figures ............................................................................................................................... vii Introduction: Textile Ornament as Argument ................................................................................. 1 Chapter 1: Textiles, Textile Ornament and Textile Iconography ................................................. 22 Chapter 2: Textile Ornament as a Veil of Revelation ................................................................... 70 Chapter 3: The habitus of the Body and the Veil of the Incarnation .......................................... 115 Chapter 4: Scripture Embodied ................................................................................................... 162 Conclusion .................................................................................................................................. 200 Bibliography ............................................................................................................................... 204 Figures ........................................................................................................................................ 239 vi List of Figures 1 Heidelberg, Universitätsbibliothek, Cod. Sal. IX b, Petershausen Sacramentary, dated 980, fol. 40v, photo: Heidelberg, Universitätsbibliothek, digital collection. 2 Wolfenbüttel, Herzog August Bibliothek, Cod. Guelf. 426 Helmst., Corvey, late 10th century, fol. 18v, photo: Bildindex Marburg. 3 Wolfenbüttel, Staatsarchiv Wolfenbüttel, 6 Urk 11, marriage Charter of Otto II and Theophanu, photo: Staatsarchiv Wolfenbüttel. 4 Uppsala Universitetsbibliotek, Cod. C 93, Codex Caesareus, fol. 2v—3r, photo: Uppsala Universitetsbibliotek. 5 Nuremberg, Germanisches Nationalmuseum, HS 156142 (Codex aureus Epternacensis), fols. 109v—110r, photo: Grebe, Codex Aureus, fig. 71, 96. 6 Oxford, Bodleian Library, MS Laud Lat. 27, fol. 73v, photo: Adam Cohen. 7 Mainz, Bischöfliches Dom- und Diözesanmuseum, Inv. Kautzsch Nr. 1 (=Nr. 974), 11th century century, fol. 113r, Luke, photo: Erzbischöfliches Diözesanmuseum Mainz. 8 Hildesheim, Domschatz. Ms. 61, Bernward Gospels, dated ca 1015, fol. 179r, Initial page to the Gospels of John, photo: Brandt, Das Kostbare Evangeliar, 30. 9 Maastricht, St. Servatius, silk samite, Inv. 6—3, photo: Stauffer, Die Mittelalterlichen Textilien, 33, plate 5. 10 Bamberg, Diozesanmuseum, silk tapestry, Gunthertuch, Constantinople, 971, photo: Baumstark, Rom und Byzanz, 2:207. 11 Hildesheim, Dommuseum, inv. no. D 1997—4, eastern Persia (?), photo: Puhle, Otto der Grosse, 2:481. 12 Hildesheim, Domschatz, Bernwardsbibel, inv. no. DS 61, fol. 4v, photo: Brandt and Eggebrecht, Bernward von Hildesheim, 570. 13 Riggisberg, Abegg Stiftung, silk fragment from Byzantium or the eastern Mediterranean, inv. no. 98, photo: Otavsky and Salīm, Mittelalterliche Textilien I, 137. 14 Nuremberg, Germanisches Nationalmuseum, HS 156142 (Codex aureus Epternacensis), fol. 17v—18r, photo: Grebe, Codex Aureus, fig. 32, 53. 15 Nuremberg, Germanisches Nationalmuseum, HS 156142 (Codex aureus Epternacensis) fol 51v—52r, photo: Grebe, Codex Aureus, fig, 50, 71. vii 16 Léon, Real Colegiata de San Isidoro, lining from the caja de los marfiles, photo: Schorta, Monochrome Seidengewebe, fig. 58, 93. 17 Nuremberg, Germanisches Nationalmuseum, HS 156142 (Codex aureus Epternacensis), fol. 75v—76r, photo: Grebe, Codex Aureus, fig. 60, 83. 18 New York, Metropolitan Museum, silk and cotton textile, Accession no. 31.106.64, photo: Metropolitan Museum, digital
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