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Theophilus' on Diverse Arts: the Persona of the Artist and The Theophilus’ On Diverse Arts: The Persona of the Artist and the Production of Art in the Twelfth Century by Heidi C. Gearhart A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (History of Art) in The University of Michigan 2010 Doctoral Committee: Professor Elizabeth L. Sears, Chair Associate Professor Megan L. Holmes Associate Professor Helmut Puff Assistant Professor Achim Timmermann Heidi C. Gearhart © 2010 All Rights Reserved Dedication For my family, without whom this would not be. In memory of Aileen Brink and Lucile Gearhart, whose wisdom inspired me; and in memory of Brian Cornwell, whose courage and love changed us all. I will not forget. ii Acknowledgments Many wonderful people helped me complete this project. Scholars, colleagues, librarians and friends aided me with tasks large and small, and contributed their time, energy, and encouragement. I am particularly grateful to my advisor, Professor Elizabeth Sears, who guided me through this project and gave so generously of her time, energy and expertise. Through many conversations, comments, and suggestions, she helped me see the dissertation in a deeper, clearer light, and her encouragement, understanding, and patient assistance enabled me to shape the dissertation, finally, into a whole. I have been privileged as well to have a supportive committee; Professors Megan Holmes, Helmut Puff, and Achim Timmermann continually gave much time and thought to the project, and their comments and suggestions improved the dissertation greatly. I am grateful for their assistance. Generous funding from the Department of the History of Art at the University of Michigan made much of my work on this project possible. In addition, a research fellowship from the Turcihin Foundation, given through the Department of History of Art, enabled one of my first forays into dissertation research, while a fellowship from the Rackham School of Graduate Studies funded the final months of dissertation writing. A year of research in Belgium was funded by the Belgian American Educational iii Foundation, and I am especially grateful to Emile L. Boulpaep and Marie-Claude Hayoit for their assistance and support during that year. I am honored to be a part of the history of the Foundation and to be a member of the “boat” of 2006. In Belgium, I was fortunate to work with Professor Barbara Baert at the Katholieke Universiteit Leuven, and appreciate her time, effort, and many thoughtful comments. By her generous invitation, I participated in a manuscript workshop organized through the universities Leuven, Lille, and the Courtauld Institute; the comments and suggestions of professors and colleagues during this workshop were a huge help, and I owe particular thanks to Professors John Lowden and Christian Heck; to Kathryn Gerry and finally to Laura Cleaver, who has been an invaluable colleague, and given many insightful comments on Theophilus, on pedagogy, on Rupert of Deutz. I spent two years in residence at the Zentralinstitut für Kunstgeschichte in Munich, thanks to a generous fellowship from the Kress Foundation. While there, I was privileged to have the support of distinguished scholars and to know colleagues whose work inspired and challenged me. Prof. Dr. Wolfgang Augustyn not only gave valuable support to me as an American visitor, but his comments and suggestions regarding Theophilus gave me new perspectives on the project. From the first day I arrived at the Institute, Dr. Iris Lauterbach was a tremendous help and resource, for which I am greatly appreciative. From my colleagues at the Institute I learned much, and I am grateful for the kindness, patience, and stimulating conversation of Benjamin Sommer, Anja Weisenseel, Michael Stöneberg, Manuel Teget-Welz, Li Töppe, Julia Weber, Jonas Beyer, and Claudia Schwaighofer. I was honored to work alongside fine American colleagues in Belgium and Munich, and benefited much from their company and expertise. Jessica Keating and Susannah Fisher helped me and stimulated me with conversations of reliquaries, automata, and the beautiful Codex iv Aureus. Victoria Sancho Lobis has been both a colleague and dear friend; I am ever grateful not only for her challenging thoughts, insightful questions, and sharp mind, but also for her bright demeanor, her strength, her encouragement. During research and travel I have been fortunate to meet some wonderful scholars, and their thoughts and suggestions have made it, in one way or another, into this dissertation. At the Metropolitan Museum of Art, Peter Barnet and Pete Dandridge gave me many helpful insights, and I learned much from conversations with them, and I owe many thanks to Christine Brennan for her kind support. At the Museum of Fine Arts Boston, I was privileged to work under Marietta Cambareri and the late Tracey Albainy, who taught me much, and alongside Frederick Ilchman, whose kind advice and encouragement has been invaluable. In Brisbane, Australia, I had the wonderful opportunity to discuss the philosophy of Augustine with Edward Morgan, and I am grateful for his help on the topic. Elizabeth Nogrady, in New York, has been a constant companion on this journey, and her positive outlook and wise comments were of tremendous value. The manuscripts of Theophilus are spread all over Europe, and I was given generous help from librarians, scholars and staff members in all of these places. For their assistance I am especially grateful to Christian Heitzmann at the Herzog-August Bibliothek in Wolfenbüttel; Andreas Fingernagel at the Österreichische Nationalbibliothek in Vienna; Pascal Trousse at the Bibliothèque royale de Belgique / Koninklijke Bibliotheek van België in Brussels; Christoph Mackert at the Universitaetsbibliothek Leipzig; Pierre-Jean Riamond at the Bibliothèque nationale de France, Paris; Michal Broda at the Wroclaw University Library; Elaine Pordes at the British Library, London; Sally Speirs and Christine Ferdinand at Magdalene College, Oxford; Julian Reid at Corpus Christi College, Oxford; Jayne v Ringrose at the University Library, Cambridge; Tricia Boyd at the Edinburgh University Library; Susy Marcon at the Biblioteca Nazionale Marciana, Venice; Rosella Pecchioli in the Biblioteca Nazionale Centrale, Florence; Wolfgang-Valentin Ikas, at the Bayerische Staatsbibliothek, Munich; Heinz Ristory, at the Stiftsbibliothek Klosterneuburg; Mireille Vial at the Bibliothèque interuniversitaire section médecine, Ecole de Médecine, Montpellier; and the staff at the Rakow Research Library, Corning Museum of Glass, in Corning, New York. I am also grateful to the librarians and staff at the Zentralinstitut für Kunstgeschichte, Munich, at the Central Library and the Maurits Sabbe Theological Library at the Katholieke Universiteit Leuven, at the Andover-Harvard Theological Library, and at the Burke Library at Union Theological Seminary, New York. Finally, I owe many thanks to the staff of the Fine Arts Library at University of Michigan, who for many years happily aided my research needs, and to Denise Edmund at Rackham Graduate School. The department and professors at Michigan went beyond the call of duty in helping me, giving time and expertise. In coursework and conversation I greatly benefited from the help of Ilene Forsyth, Sussan Babaie, Margaret Root, Pat Simons, Celeste Brusati, Susan Siegfried and Alex Potts; in Medieval studies and Classical studies I was lucky to work with Diane Hughes, Patrick Nold, Michael Bonner, and Donka Markus. I began my studies of medieval art at Tufts University, and my professors there have since offered continuous support, especially Professors Eva Hoffman, Cristelle Baskins, and Eric Rosenberg; I owe many thanks especially to Professor Madeline Caviness, who first set me on the path to study medieval art. My introduction to art history was at Pomona College, and I am ever appreciative of Professors George Gorse, Judson Emerick, and Diana Linden, who showed me what an engaging field it could be. vi My colleagues at Michigan have become great friends, and they have inspired me and helped me in countless ways. My thanks go to Katie Hornstein, Christina Chang, and Heather Badamo, who were a fine cohort, impressive in many ways; to Catherine McCurrach, who guided me in all things medieval, Noel Schiller, who helped ease my transition to Belgium. I owe many thanks to Chris DeFay, JP Park, Angela Ho, Diana Presciutti, Heather Flaherty and Kirsten Olds, who exuded unfailing calm and gave much helpful advice, to Katie Brion, Melanie Sympson, Kathy Zarur, Silvia Tita, Bea Zengotitabengoa, and Kristine Ronan for their support and conversation, and to Phillip Guilbeau, who patiently took notes at my defense. Beyond our art history department I learned much from Bob Rich, Ari Friedlander, and Mark Lotito, and I owe special thanks to Dimitri Krallis, Gavin Hollis, and Meredith Mira, who not only kept me going but kept me on the right track. Finally, my thanks go to Monica Huerta, for her insights, her comments, for brainstorms, and countless conversations, for her constant positive outlook and humor. Without her I am sure, it would have been a far more difficult, and far less pleasant, process. Friends and family at home and the world over have helped me in countless ways. In Munich, I owe innumerable thanks to Mike Marquès and Sabine Erneker for their unending encouragement and positive outlook; to Jemma and Sascha Klengel, for sharp wit, new insights, and warm encouragement; to Hanna Sophie Welker, for her consistent cheer and hospitality; and to Raynald Martin, Michael Fausel, Lisa Hanley, Patrick Brennan, Oliver Detjen, and Ingrid Fridman, for their wonderful support and humor; and to Susan McDonald, for helpful conversation about the nature of art-making and the virtues of labor. Dear friends and colleagues the world over contributed much. In Belgium, I was fortunate to know a group of extraordinary women whose studies of philosophy put the vii Middle Ages into context and whose wisdom guided me: Iina Koskinen, Defne Cizacka, Cordelia Rizzo, and Tonia Tatti. In Oxford I was grateful for the hospitality and kindness of Bryce and Eunice McLeod.
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