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This Thesis Has Been Submitted in Fulfilment of the Requirements for a Postgraduate Degree (E.G This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Images of the desert, religious renewal and the eremitic life in late-medieval Italy: a thirteenth-century tabernacle in the National Gallery of Scotland Vol. II Amelia Hope-Jones PhD History of Art The University of Edinburgh 2019 !1 List of Illustrations Introduction Figure 1. ‘Master of the Edinburgh Tabernacle’, c.1295. Scenes from the Lives of the Hermits; The Passion and Resurrection of Christ; Redeemer and Angels (The Edinburgh Tabernacle). National Gallery of Scotland, Edinburgh. [Source: National Gallery of Scotland] Figure 2. Monastic funeral (detail of figure 1) Figure 3. Requiescat in Pace (detail of figure 1) Figure 4. Beatus vir (detail of figure 1) Figure 5. Adiutorium meum intende (detail of figure 1) Chapter One Figure 6. Hermit fishing (detail of figure 1) Figure 7. Elderly monks travelling to the funeral (detail of figure 1) Figure 8. Desert landscape (detail of figure 1) Figure 9. Soul carried to heaven by four angels (detail of figure 1) Figure 10. Two demons (detail of figure 1) Figure 11. Demon presenting effigy of a woman to a hermit (detail of figure 1) Figure 12. Visitation of an angel (detail of figure 1) Figure 13. Hermits near summit witnessing ascent of saint’s soul (detail of figure 1) Figure 14. Lion breathes life into its cubs (detail of figure 1) Figure 15. Hermit reaches out towards boar (detail of figure 1) Figure 16. Hunt scene (detail of figure 1) Figure 17. Group of grieving hermits (detail of figure 1) !67 Chapter Two Figure 18. Flagellation of Christ (detail of figure 1) Figure 19. Grifo di Tancredi (attr.) c.1295-1300. Flagellation of Christ (detail of Virgin and Child with saints and scenes from the Passion of Christ.) Gemäldegalerie, Berlin. [Source: Artstor] Figure 20. Cimabue (attr.) c.1280. Flagellation of Christ. The Frick Collection, New York. [Source: Meiss 1957] Figure 21. The Mocking and Trial of Christ (detail of figure 1) Figure 22. Coppo di Marcovaldo, 1261 (signed). The Trial of Christ (detail of painted Crucifix.) Museo Civico, San Gimignano. [Source: Marques 1987] Figure 23. Coppo di Marcovaldo, 1261 (signed). The Mocking of Christ (detail of painted Crucifix.) Museo Civico, San Gimignano. [Source: Marques 1987] Figure 24. ‘Master of the Capture of Christ’, 1288-1290. The Betrayal and Capture of Christ. Upper Church of San Francesco, Assisi. [Source: Malafarina (ed.) 2005] Figure 25. Grieving angels (detail of figure 1) Figure 26. The Crucifixion (detail of figure 1) Figure 27. Cimabue, c.1280. The Crucifixion. Upper Church of San Francesco, Assisi. [Source: Malafarina (ed.) 2005] Figure 28. Crusader artist, Acre, c. 1250-75. The Crucifixion. Fol. 182v, The Perugia Missal, Ms. 6., Museo capitolare di San Lorenzo, Perugia. [Source: Evans (ed.) 2004] Figure 29. Cimabue, c.1280. Crucifix. Church of Santa Croce, Florence. [Source: Artstor] Figure 30. Descent into Limbo (detail of figure 1) Figure 31. ‘Master of Crucifix 432’, late twelfth century. Descent into Limbo (detail of Crucifix with scenes from the Passion and Resurrection of Christ.) Gallerie degli Uffizi, Florence. [Source: author] Figure 32. The Holy Women at the Tomb (detail of figure 1) Figure 33. Pacino di Bonaguida, c.1310. The Holy Women at the Tomb. Leaf from the Laudario of Sant’Agnese, Fitzwilliam Museum, Cambridge. [Source: Sciacca 2012] Figure 34. Christ Redeemer with six angels (detail of figure 1) !68 Figure 35. Duccio di Buoninsegna, 1311-1318. The Crucifixion; the Redeemer with Angels; Saint Nicholas; Saint Gregory. Boston Museum of Fine Arts, Boston. [Source: Boston Museum of Fine Arts] Figure 36. Scenes from the Lives of the Hermits (detail of figure 1) Figure 37. Giotto (?) and workshop, after 1296. The Death of St Francis. Upper Church of San Francesco, Assisi. [Source: Malafarina 2005] Figure 38. Umbrian, c.1290. Christ Mounting the Cross and the Funeral of St Clare. Davis Museum, Wellesley College, Massachusetts. [Source: Davis Museum] Figure 39. St Cecilia Master, c.1300. St Margaret Beheaded (detail of St Margaret of Antioch with scenes from her Life). Santa Margherita, Montici. [Source: Corpus III.I ] Figure 40. Master of the Bardi St Francis, c.1265. The death of St Francis (detail of St Francis with scenes from his Life [the Bardi dossal]). Bardi Chapel, Santa Croce, Florence. [Source: Cook 2005] Figure 41. Magdalene Master, c.1280. Mary Magdalene visited by an angel (detail of Mary Magdalene with scenes from her Life). Accademia, Florence. [Source: SCALA] Figure 42. Umbrian, c.1280. The Temptation of Christ (detail of Virgin and Child enthroned with scenes from the Life and Passion of Christ). Galleria Nazionale dell’Umbria, Perugia. [Source: Author] Figure 43. Margarito d’Arezzo (signed), 1263-64. St Benedict rolls in thorns to overcome temptation (detail of The Virgin and Child Enthroned, with scenes of the Nativity and Lives of the Saints). National Gallery, London. [Source: Arstor] Figure 44. Cimabue, late thirteenth century, and restorers. The young St John the Baptist leaves for the Wilderness. Baptistery of St John the Baptist, Florence. [Source: Corpus I.II] Figure 45. Cimabue, 1280-1290. The prophets Abraham and David (detail of Maestà). Gallerie degli Uffizi, Florence. [Source: Artstor] Figure 46. Bolognese, c.1270. Hunter and Parrot. Marginal illumination, Vat. Lat. 1434, 134r. Biblioteca Apostolica Vaticana, Vatican City. [Source: Conti 1981] Figure 47. Bolognese, c. 1265-70. Frieze with lion and lamb. Marginal ilumination, BN. Lat.22, 201r. Bibliothèque Nationale de France, Paris. [Source: Conti 1981] Figure 48. Bolognese, early fourteenth century. Daniel between the lions. Illuminated initial A, Vat. Lat. 22, fol. 326v. Biblioteca Apostolica Vaticana, Vatican City. [Source: Biblioteca Apostolica Vaticana] Figure 49. Two figures beyond the mountain (detail of figure 1) !69 Figure 50. ‘Miniatore di Gerona’, c.1275. Lamentation of Christ. Manuscript illumination from a Psalter, Biblioteca Universitaria cod. 346, 308v., Bologna. [Source: Conti 1981] Figure 51. Lunette above doorway of building (detail of figure 1) Figure 52. Giotto (attr.) c.1300. Chapel at La Verna (detail of Stigmatisation of St Francis). Louvre, Paris. [Source: Artstor] Figure 53. Voussoirs above doorway of hermit’s hut (detail of figure 1) Figure 54. Master of the Corsi Crucifix, c.1310-1320. The last Meeting of St Peter and St Paul (detail of Scenes from the Lives of St Peter and St Paul). Museo Bardini, Florence. [Source: Corpus III, IX] Figure 55. Florentine, c.1300. Nehemiah. Illuminated initial. Biblioteca Mediceo- Laurenziana, Cod. Plut. V dex. I [the Santa Croce Bible] fol.162v. Florence. [Source: Marques 1987] Figure 56. Stylite saint (detail of figure 1) Figure 57. Bonaventura Berlinghieri, 1235. The Stigmatisation of St Francis (detail of St Francis with scenes from his life [the Pescia panel]) Church of San Francesco, Pescia. [Source: Cooper and Robson 2013] Figure 58. Giotto, c.1300. The Stigmatisation of St Francis. Louvre, Paris. [Source: Artstor] Figure 59. Base-block of Edinburgh Tabernacle showing inscription (detail of figure 1) Figure 60. Drawing showing surviving letters of tabernacle inscription [Source: author] Figure 61. Reverse of Edinburgh Tabernacle, showing uneven alignment of restored headpiece. [Source: author] Figure 62. The Edinburgh Tabernacle, wings closed. [Source: National Galleries of Scotland] Figure 63. Magdalene Master, c.1270. Madonna and Child; St Peter and St Paul; Annunciation; Redeemer and five scenes from the Life of Christ. Metropolitan Museum of Art, New York. [Source: Tartuferi and Scalini (eds.) 2013] Figure 64. Grifo di Tancredi (attr.), 1290s. The Virgin and Child with four Saints [the San Gaggio Madonna]. Accademia, Florence. [Source: SCALA] Figure 65. Magdalene Master and Grifo di Tancredi (attr.) c.1300-05. Madonna and Child with twelve scenes from the Passion [the ‘Timken dossal’]. Putnam Foundation, Timken Museum of Art, San Diego. [Source: Timken Museum of Art] !70 Figure 66. Grifo di Tancredi (attr.), 1290-1300. Virgin and Child with saints and scenes from the Passion of Christ. Gemäldegalerie, Berlin. [Source: Artstor] Figure 67. Florentine, c.1300. Nine Scenes from the Passion of Christ. Christ Church Picture Gallery, Oxford. [Source: Christ Church Picture Gallery] Figure 68. Grifo di Tancredi (attr.) c.1280. St. Peter (panel of a polyptych). National Gallery of Art, Washington, D.C. [Source: National Gallery of Art] Figure 69. Florentine, c. 1270. The Deposition of Christ. Rijksmuseum, Amsterdam. [Source: Rijksmuseum] Figure 70. Florentine, c.1300. Virgin and Child with saints and the Crucifixion. Samuel H. Kress Foundation, Memphis Brooks Museum of Art, Memphis. [Source: Memphis Brooks Museum of Art] Figure 71. Grifo di Tancredi (attr.) c.1280-90. Painted chest with three female saints and the Man of Sorrows. Private Collection, Italy. [Source: Tartuferi 1994] Figure 72. Grifo di Tancredi (attr.) c.1300. Adam and his descendants. Illuminated initial A, Biblioteca Medicea Laurenziana, Plut. V dex. I [the Santa Croce Bible] fol. 138r. Florence [Source: Labriola 2004] Figure 73. Grifo di Tancredi (attr.) c.1290. St Francis. Illuminated initial from a Gradual. Worcester Art Museum n.1989.170. Worcester, Massachusetts. [Source: Labriola 2004] Figure 74 a. St John the Baptist (detail of figure 64) 74 b.
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