DOCSLIB.ORG

The Crusades and Visual Culture

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Crusades and Visual Culture The Crusades and Visual Culture Edited by Elizabeth Lapina University of Wisconsin-Madison, USA April Jehan Morris Hood College, USA Susanna A. Throop Ursinus College, USA and Laura J. Whatley Auburn University at Montgomery, USA ASHGATE Contents List of Illustrations vii About the Editors xi About the Contributors xiii Introduction 1 Elizabeth Lapina, April Jehan Morris, Susanna A. Throop, and Laura ]. Whatley 1 The Frankish Icon: Art and Devotion in the Latin Kingdom of Jerusalem 15 Lisa Mahoney 2 The Role and Meanings of the Image of St. Peter in the Crusader Sculpture of Nazareth: A New Reading 35 Gil Fishhof 3 The Vision of the Cross and the Crusades in England before 1189 57 John Munns 4 A Constellation of Crusade: The Resafa Heraldry Cup and the Aspirations of Raoul I, Lord of Coucy 75 Richard A. Leson 5 Pictorial and Sculptural Commemoration of Returning or Departing Crusaders 91 Nurith Kenaan-Kedar 6 "If I forget you, O Jerusalem ..King Philip the Fair, Saint George, and Crusade 105 Esther Dehoux 7 The Crusaders' Holy Land in Maps 117 P.D.A. Harvey vi THE CRUSADES AND VISUAL CULTURE 8 The Crusader Loss of Jerusalem in the Eyes of a Thirteenth- Century Virtual Pilgrim 131 Cathleen A. Fleck 9 Looking Back: The Westminster Psalter, the Added Drawings, and the Idea of "Retrospective Crusade" 157 Debra Higgs Strickland 10 The Visual Vernacular: Illustrating Jean de Vignay's "Crusade" Translations 185 Maureen Quigley 11 Crusading Responses to the Turkish Threat in Visual Culture, 1453-1519 201 Norman Housley 12 Reframing the Crusade in the Piccolomini Library: Pinturicchio's "Standing Turk" in Siena Cathedral, 1502-1508 223 Nora S. Lambert Select Bibliography of Secondary Literature 241 Index 249 List of Illustrations 1 The Prankish Icon: Art and Devotion 2 The Role and Meanings of the Image in the Latin Kingdom of Jerusalem of St. Peter in the Crusader Sculpture of Nazareth: A New Reading 1.1 Icon with Saints Theodore and Demetrios, 23.7 * 16.1 cm, Latin 2.1 Church of the Annunciation, Kingdom of Jerusalem, c. 1250 Nazareth, Capital of St. Peter, mid- to (Monastery of St. Catherine, Sinai, App. late-twelfth century, courtesy of the No. 40/386). Courtesy of the Michigan- Studium Biblicum Franciscanum. Princeton-Alexandria Expeditions to Courtesy of G. Fishhof. Mount Sinai. 2.2 Church of the Annunciation, Nazareth, Trumeau statue of St. Peter 1.2 Icon with Saints Paul, James holding the keys and the model of the the Greater, and Stephen (top) and church, mid- to late twelfth century, Lawrence, Martin, and Leonard courtesy of the Studium Biblicum (bottom), 33.3 x 23.7 cm, Latin Kingdom Franciscanum. Courtesy of G. Fishhof. of Jerusalem, before 1187 (Monastery of St. Catherine, Sinai, App. No. 39/383). 2.3 Church of Notre-Dame, Avenas, Courtesy of the Michigan-Princeton- southern face of altar, King Louis the Alexandria Expeditions to Mount Sinai. Pious presenting a model of the church to St. Vincent, late eleventh or early 1.3 Map of Frankish Jerusalem, 1170 twelfth century. Courtesy of G. Fishhof. (The Hague, Koninklijke Bibliotheek, MS 76 F5). The Hague, Koninklijke 2.4 St-Nazaire at Autun, pilaster Bibliotheek. probably representing St. Peter holding the model of the church, circa 1140-60, 1.4 Column painting of the Virgin now in the Musee Rolin, Autun (M.L. Glykophilousa (with donors), Church 1291), courtesy of the Musee Rolin. of the Nativity, Bethlehem, 1130. After Courtesy of S. Prost. Gustav Kuhnel, Wall Painting in the Latin Kingdom of Jerusalem (Berlin: Gebr. Mann 3 The Vision of the Cross and the Verlag, 1988), pi. 1II/4. Crusades in England before 1189 1.5 Column painting of St. Fusca, 3.1 Tympanum above the south door of Church of the Nativity, Bethlehem, St. George's Church, Fordington, Dorset, twelfth century. After Kuhnel, Wall early twelfth century. Courtesy of E. Painting, pi. XXX/50. Lapina. viii THE CRUSADES AND VISUAL CULTURE 3.2 Stone cross in the sanctuary of St. 6.2 Saint George, Templars' chapel, Helen's Church, Church Kelloe, County Cressac-St-Genis, murals on the reverse Durham, late twelfth century. Courtesy of the west facade, 1170-80. Courtesy of of J. Munns. E. Dehoux. 6.3 Saint George, Notre-Dame 4 A Constellation of Crusade: The cathedral, Clermond-Ferrand, murals Resafa Heraldry Cup and the Aspirations of the St. George chapel, end of the of Raoul I, Lord of Coucy thirteenth century. Courtesy of E. Dehoux. 4.1 The Resafa Heraldry Cup (facsimile), original housed in the 6.4 Martyrdom of Saint George, Notre- Syria National Museum, Damascus Dame cathedral, Paris, rose window of (Inv. Nr.29313/14). Bonn, Rheinisches the west fagade, 1250-75. Courtesy of Landesmuseum fiir Archaologie, Kunst- F. Perrot. und Kulturgeschichte. 4.2 The Resafa Heraldry Cup (facsimile), 7 The Crusaders' Holy Land in Maps view of basin. Bonn, Rheinisches Landesmuseum fiir Archaologie, Kunst- 7.1 Oxford map of Palestine by und Kulturgeschichte. Matthew Paris, Oxford, Corpus Christi College, MS 2*, fols lv, 2r, mid-thirteenth 5 Pictorial and Sculptural century; the heavylines that dominate Commemoration of Returning or the map belong to the pictures on the Departing Crusaders back of the parchment. Corpus Christi College, University of Oxford. 5.1 Two crusaders, mural cycle, upper chapel, Church of St-Chef, Dauphine, 7.2 Grid map of Palestine, Oxford, France, late eleventh or early twelfth Bodleian Library, MS Tanner 190, fols. century. Courtesy of Nurith Keenan- 205v-206r, circa 1320. Bodleian Library, Kedar. University of Oxford. 5.2 Pilgrim, mural cycle, crypt, Church 8 The Crusader Loss of Jerusalem in of St. Nicholas, Tavant, France, twelfth century. Courtesy of Zodiaque. the Eyes of a Thirteenth-Century Virtual Pilgrim 5.3 Plaster cast of the Retour du Croise, Belval Chapel, late twelfth-century original 8.1 Chrisf s Descent into and Rising now at the Musee Historique Lorrain, from Hell and the Women at the Tomb, Nancy, France. Courtesy of B.Z. Kedar. The Riccardiana Psalter, Riccardiana Library, MS 323, fol. 90v, ca. 1225-35, 5.4 Mahaut de Courtenay and serfs, colors on parchment. Biblioteca sculpted fagade, Church of St-Adrien, Riccardiana. Mailly-le-Chateau, France, thirteenth century. Courtesy of Eric Monnier- 8.2 Chrisf s Entry into Jerusalem, The Couedor. Riccardiana Psalter, Riccardiana Library, MS 323, fol. 62r, ca. 1225-35, colors on 6 "If I forget you, O Jerusalem .. parchment. Biblioteca Riccardiana. King Philip the Fair, Saint George, and Crusade 8.3 Christ's Descent into and Rising from Hell and The Three Women at the 6.1 Saint George, Paris, Bibliotheque Tomb, The Melisende Psalter, British nationale de France, MS latin 1023, folio Library, MS Egerton 1139, fol. 9v-10r, 319v, 1290-95. Bibliotheque nationale de ca. 1130s, colors on parchment. © British France. Library Board, MS Egerton 1139. LIST OF ILLUSTRATIONS ix 8.4 Christ's Entry into Jerusalem, The 11 Crusading Responses to the Turkish Melisende Psalter, British Library, MS Threat in Visual Culture, 1453-1519 Egerton 1139, fol. 5v, ca. 1130s, colors on parchment. © British Library Board, MS 11.1 Felice Feliciano's depiction of Egerton 1139. the Turkish dragon and the European powers, Harvard University, Houghton 8.5 South Portal and Tower of the Church of the Holy Sepulcher, mid- Library, MS Typ 157, fol. 96v, 1471-72. twelfth century. Courtesy of Cathleen Courtesy of Harvard University. A. Fleck, 2010. 11.2 Benedetto da Maiano's pulpit, Santa Croce, Florence, early 1480s. 9 Looking Back: The Westminster Courtesy of Alinari. Psalter, the Added Drawings, and the Idea of "Retrospective Crusade" 11.3 The siege of Belgrade depicted on the choir wall of the Observant church 9.1 King, Westminster Psalter. at Olomouc, 1468. Courtesy of Michal Westminster, c. 1250. London, British Manas. Library, MS Royal 2 A. xxii, fol. 219v. © British Library Board. 11.4 The chivalric hero Theuerdank leads his knights on crusade, Theuerdank, 9.2 Knight, Westminster Psalter, fol. 220. Bayerische Staatsbibliothek Miinchen, © British Library Board. Rar. 325, ill. 117,1517. Courtesy of 9.3 St. Christopher, Westminster Psalter, Bayerische Staatsbibliothek Miinchen. fol. 220v. © British Library Board. 12 Reframing the Crusade in the 9.4 Archbishop, Westminster Psalter, fol. 221. © British Library Board. Piccolomini Library: Pinturicchio's "Standing Turk" in Siena Cathedral, 9.5 Head of Christ (vernicle), 1502-1508 Westminster Psalter, fol. 221v. 3 1 British Library Board. 12.1 Pinturicchio, Pope Pius II Presides over the Diet of Mantua, fresco, 10 The Visual Vernacular: Illustrating Piccolomini Library, Siena Cathedral, Jean de Vignay's "Crusade" Translations 1502-1508. Gianni Dagli Orti/The Art Archive at Art Resource, NY. 10.1 The City of Cairo, London, British Library; Royal 19 D I, fol. 1. © British 12.2 Pinturicchio, The Arrival of Pope Library Board. Pius II at Ancona, fresco, Piccolomini Library, Siena Cathedral, 1502-1508. 10.2 Nicholas and Maffeo Polo Depart Gianni Dagli Orti/The Art Archive at Art for the East, London, British Library, Resource, NY. Royal 19 D I, fol. 58. © British Library Board. 12.3 Pinturicchio, The Disputation of St. Catherine of Alexandria, fresco, 10.3 Jean de Vignay presents his Appartamento Borgia, Vatican Palace, translation to Philip VI and friars depart Vatican State, 1492-94. Scala/Art for the East, London, British Library, Resource, NY. Royal 19 D I, fol. 136. © British Library Board. 12.4 Copy after Gentile Bellini, Standing 10.4 Jean de Vignay presents his Turk, pen and brown ink, 30.1 * 20.4 translation to Philip VI, London, British cm, Musee du Louvre, Paris, France. Library, Royal 19 D I, fol. 165v. © British Courtesy of Michele Bellot (RMN-Grand Library Board.
Load more

Recommended publications
  • Download Chapter (PDF)
    ILLUSTRATIONS, FIGURES AND MAPS illustrations 1. Kneeling crusader with his horse behind him, from the Westminster Psalter, c. 1250. xxii © British Library Board. All Rights Reserved / Bridgeman Images. 2. Eichstätt model of the Edicule, twelfth century. Bildarchiv Monheim GmbH / xxiv Alamy Stock Photo. 3. Aerial view of the Church of the Holy Sepulchre, Jerusalem. Photo © Zev Radovan / xxv Bridgeman Images. 4. Croix de chevalier from the First Crusade. Photo Josse / Scala, Florence. 4 5. Giving the cross, from J. Riley-Smith (ed.), The Oxford Illustraded History of 7 the Crusades (Oxford 1995). 6. Women at a siege, from Histoire ancienne jusqu’à César, late thirteenth century. 11 © The British Library Board (MS 15268, fol. 101v). 7. Stone carving of Roland (right) on the exterior of the royal palace at Navarre, 13 twelfth century. Granger / Bridgeman Images. 8. ‘The Rider on the white horse and his followers’, from Apocalypse (‘The Queen 16 Mary Apocalypse’), early fourteenth century. © The British Library Board (Royal 19 B. XV, fol. 37r). All rights reserved / Bridgeman Images. 9. Godfrey of Bouillon and his train setting out on horseback, from William of Tyre, 22 Histoire d’Outremer, 1232–61. © British Library Board. All Rights Reserved / Bridgeman Images. 10. Richard I jousts with Saladin during the crusade of 1191. Encaustic tiles from 29 Chertsey Abbey, c. 1250. Universal History Archive/UIG / Bridgeman Images. 11. The Dome of the Rock, Jerusalem. Lori Epstein / National Geographic 32 Image Collection / Bridgeman Images. 12. Ivory casket with figural and ornamental decoration including hunting scenes, southern 33 Italy or Sicily, eleventh–twelfth centuries.
    [Show full text]
  • British Library Ancient, Medieval and Early Modern Manuscripts Digitisation Master List
    British Library Ancient, Medieval and Early Modern Manuscripts Digitisation Master List 07/01/2016 Shelfmark Title Hyperlink Add Ch 54148 Bull of Pope Alexander III relating to Kilham, http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Add_Ch_54148&index=0 Yorkshire Add Ch 76659 Confirmations by the Patriarch of Constantinople of http://www.bl.uk/manuscripts/FullDisplay.aspx?index=0&ref=Add_Ch_76659 the stavropegiacal rights of the Monastery of Theotokos Chrysopodariotissa near Kalanos, in the province of Patras in the Peloponnese Add Ch 76660 Confirmations by the Patriarch of Constantinople of http://www.bl.uk/manuscripts/FullDisplay.aspx?index=0&ref=Add_Ch_76660 the stavropegiacal rights of the Monastery of Theotokos Chrysopodariotissa near Kalanos, in the province of Patras in the Peloponnese Add MS 10014 Works of Macarius Alexandrinus, John Chrysostom http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Add_MS_10014 and others Add MS 10016 Pseudo-Nonnus; Maximus the Peloponnesian; http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Add_MS_10016 Hilarion Kigalas Add MS 10017 History of Roman Jurisprudence during the Middle http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Add_MS_10017 Ages, translated into Modern Greek Add MS 10022 Procopius of Gaza, Commentary on Genesis http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Add_MS_10022 Add MS 10023 Procopius of Gaza, Commentary on the Octateuch http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Add_MS_10023 Add MS 10024 Vikentios Damodos, On Metaphysics http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Add_MS_10024
    [Show full text]
  • Art in the Ancient World
    Art in the Ancient World A U G U S T I N E C O L L E G E Byzantine Manuscript illumination Carolingian | David playing the Lyre The Good Samaritan Rossano Gospels perhaps made in Constantinople | 6th C The body of St. Catherine transported to Mt. Sinai Belles Heures of Jean, duc de Berry, 15th C Psalter | Psalm 11 1180–1200 | ENGLISH Book of Kells late 8th or early 9th century Codex Aureus Laurensius Gospels 778 to 820 Opening of the Gospel of Luke 1020 BYZANTINE The Gospel of Mark The Evangelist Mark Seated at His Desk 1025-50 BYZANTINE The Creation detail Moralized Bible, 1220 FRENCH Christ in Majesty 1200 Westminster Psalter The Crucifixion and the Deposition of Christ with Ecclesia and Synagoga 1235 Psalter of Blanche of Castile Missal Italy | 1250 The Belleville Breviary 14th C | Jean PUCELLE The Belleville Breviary 14th C | FRENCH Altar-hanging of the Crucifixion painted in grisaille for the Church of St. Just, Narbonne 1364-78 Louvre Ecclesia Synagoga Altar-hanging made for Church of St. Just, Narbonne 1364-78 | Louvre The Wilton Diptych Richard II Presented to the Virgin and Child by his Patron Saint John the Baptist and Saints Edward and Edmund 1395 The Wilton Diptych back 1395 Arms and helmet of Richard II Emblem of Richard II The Wilton Diptych back 1395 The Wilton Diptych Richard II Presented to the Virgin and Child by his Patron Saint John the Baptist and Saints Edward and Edmund 1395 The Wilton Diptych The Virgin and Child 1395 The Wilton Diptych detail St.
    [Show full text]
  • Jeremy Montagu Some Mss. in the British Library with Instruments Page 1 of 2
    Jeremy Montagu Some Mss. In the British Library with Instruments Page 1 of 2 Some Manuscripts in the British Library with Illustrations of Musical Instruments and a few other sources that I have found FoMRHIQ 2, January 1976,Comm. 8 Arundel 83. Conflation of two English Psalters, East Anglia, c.1310. The second half is known as the de Lisle Psalter. Good source. Includes: long trumpets, harps, citole, bagpipe, bells, fiddle, portative, psaltery, duct flute, pipe & tabor. Cotton, Tib.C.vi. Psalter, mid 11th c. f.30 is well-known; the rest is the usual Boethius improbabilities of the period. Egerton 1139. Queen Melissander’s Psalter, Latin Kingdom of Jerusalem, c.1140. The only instrument is a good harp, available asa postcard. The ivory cover is well known: King David playing what might be a dulcimer. Harley 2804. German Bible, 1148. f.3 has a not very good David and musicians. Harley 4425. La Roman de la Rose, pre-1500. 2 folios with music parties. Royal 2.A.xvi. Psalter time of Henry VIII, with annotations by him. Harp, pipe& tabor, short trumpet, dulcimer. Interesting that Henry is one of the musicians (and his fool shuts his ears to avoid his playing). Royal 2.A.xxii. The Westminster Psalter, late 12th c. David with harp and bells (postcard available), another harp. Interesting in that Westminster Abbey has a very similar hemi- spherical bell in the Undercroft exhibition room. Royal 2.B.vii. The Queen Mary Psalter, English early 14th c. well known source with a lot of material, but none quite as good and clear as in other East Anglian psalters (e.g.
    [Show full text]
  • THE AMESBURY PSALTER MADONNA and CHILD By
    THE AMESBURY PSALTER MADONNA AND CHILD by DOREEN NALOS B.A., University of British Columbia, 1973 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in the Department of . Fine Arts We accept this thesis as conforming to the required standard: THE UNIVERSITY OF BRITISH COLUMBIA September, 1976 © Doreen Nalos, 1976 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Doreen Na1os Department of FINE ARTS The University of British Columbia 2075 Wesbrook Place Vancouver, Canada V6T 1W5 Date September U . 1 976 ii ABSTRACT The decoration of the Amesbury Psalter, c.1250, is of immediate appeal because of its skilled execu• tion and the richness of its decoration. It is, moreover, interesting iconographically; the Madonna and Child page, which presents Mary as the Virgo lactans, appears to be the earliest representation of this type of Madonna which is of English proven• ance. Although the Virgo lactans is the oldest image of Mary known to us, it has never been the popular im• age of the Virgin as has been, for example, the re• presentation of the seated Hodegetria. This essay traces the history of the Virgo lactans to the cult of Isis in Egypt, explores the image of Mary expressed in theological writings through the centuries, and examines popular concepts of the Virgin portrayed in vernacular literature, and the various ways in which the Madonna and Child theme has been visually presented.
    [Show full text]
  • The Influence Ofmedieval Illuminated Manuscripts on the Pre-Raphaelites and the Early Poetry Ofwilliam Morris Michaela Braesel
    The Influence ofMedieval Illuminated Manuscripts on the Pre-Raphaelites and the Early Poetry ofWilliam Morris Michaela Braesel When considering the influence ofmedieval book illumination on the work of Pre-Raphaelite arrists stress is generally laid upon examples from the thirreemh and fourreemh cemuries. These are the book illu­ minations recommended by John Ruskin, which 'in their bold rejec­ tion ofall principles ofperspective, light and shade, and drawing ... are infinitely more ornamental to the page owi ng to the vivid opposition of their brightcolours and quaintlines, than ifthey had been drawn by Da Vinci himself'. I He also considered that they demonstrated the basic principles ofart: 'clearness ofoutline and simplicity, without the intro­ duction oflightand shade'.1 Ruskin's emhusiasm for the aestheticqual­ ities ofilluminated manuscripts from the fourteenth cemury is evidenr from a statemem he made about the decoration ofa bookofhours in his owncollection which he described as 'notofrefined work, butextreme­ Iy rich, groresque, and full ofpure colour. The new worlds which every leafofthis book opened to me, and the joy I had, couming their letters, and unravelling theirarabesques asifrhey hadall been ofbeaten gold... cannot be told'..1 Comrary to the view ofcontemporaries such as Gus­ tav Friedtich Waagen or Henry Noel Humphreys, Ruskin considered that the most striking example ofthe demise ofmedieval book illumi­ nation was to be seen in the works ofGiulio Clovio (1498-1578), who had umil then been held in high esteem due to Giorgio Vasari's com­ parison ofhim with Michelangelo (1475-1564).4 It is miniatures from the thirreenth and fourteenth centuries, high­ ly valued by Ruskin because ofthe brilliance oftheir colours, which Dante Gabriel Rossetti used as a starring poinr for his watercolours from the second halfofthe 1850s, several ofwhich Morris acquired.
    [Show full text]
  • Water As Medieval Intellectual Entity
    Water as Medieval Intellectual Entity Case Studies in Twelfth-Century Western Monasticism James L. Smith 10406629 BA(Hons) W.Aust (2008), GCRC QUT (2010) This thesis is presented for the degree of Doctor of Philosophy in History of The University of Western Australia School of Humanities Discipline of History 2013 ii ABSTRACT In this thesis, the imagery of water serves as a point of focus for an inquiry into the composition of medieval abstract space. As a ubiquitous element of human life with distinct properties and connotations across time, water touches, and has ever touched upon, both what is historically and culturally unique and what is ongoing within environmental imagination. This study examines the significance and the deployment of environmental imagery in the composition, narration, and recollection of organised thought in the Middle Ages. I argue that images of environment in systematic ecological arrangement perform a key role in revealing medieval spaces of thought. The intellectual and imaginative uses of water in medieval thought merge mind and environment, and bind intellection and phenomenon within the spaces of the inner world. This thesis suggests that the medieval logic of these patterned spaces links us intimately to the internal structures of sense-making in a distinct intellectual milieu—that of monastic, twelfth-century, Northern European Christendom—and to the understanding of environment that it implied, be it cultural, religious, or quotidian. In this thesis, I analyse the imagery and the rhetoric of water in various texts as a means to explore the potential meanings of water as an abstract entity in medieval thought.
    [Show full text]
  • Europe's Confused Transmutation: The
    Europe’s Confused Transmutation: The Realignment of Moral Cartography in Juan de la Cosa’s Mappa Mundi (1500) James L. Smith **Published in European Review of History—Revue européenne d'histoire, 2014, Vol. 21, No. 6, 799–816, http://dx.doi.org/10.1080/13507486.2014.960813. This is a final pre-press version of the article without articles. For the final publishers‟ text and images, please follow the doi link above. Abstract Following the voyages of Christopher Columbus, John Cabot, Alonso de Ojeda and Amerigo Vespucci in the last decade of the fifteenth century, the New World of the Americas entered the cartographic and moral consciousness of Europe. In the 1500 mappa mundi of Juan de la Cosa, navigator and map-maker, we see Europe as a hybrid moral entity, a transitional blend of the medieval and the modern at the crossroads between two mappings of Europe. This paper argues that the Juan De la Cosa map represents a blurred transition between map- making traditions and a mixed moral rhetoric of European identity. The De la Cosa map operates across two sets of imagined axes: held horizontally, the map is set to a Ptolemaic grid with Europe straddling the prime meridian, and yet when held vertically it presents a medieval moral continuum in which the Americas occupy an ascendant position, a verdant new Jerusalem in contrast to the Babylon of the old world. Europe is both drawn to the centre of a new world order, and also pushed to the moral margins in an echo of the medieval mappa mundi still imperfectly resolved.
    [Show full text]
  • A Lesson in Holy Kingship: the Thirteenth-Century La Estoire De Seint a Edward Ie Rei (Cambridge University Library, MS Ee
    A lesson in holy kingship: the thirteenth-century La estoire de Seint A edward Ie Rei (Cambridge University Library, MS Ee. iii.59). Dr Judith Collard, Art History and Theory, University of Otago, Box 56 Dunedin, New Zealand. email: [email protected] Abstract century illustrated vitae which were written in In this article a manuscript from the Latin and frequently kept in the monastery Cambridge University Library, viz.: La estoire de which housed the saint's relics, or which took Sainte Aedward Ie Rei is discussed with particular their place as part of larger hagiographical reference to its authorship and its possible date of collections, the vernacular text of the Estoire manufacture as well as highlighting its special manuscript clearly indicated it was intended insights into the nature of medieval kingship. for a lay audience. 1 This is confirmed by its dedication to Queen Eleanor of Provence. The lavishly illustrated life of St Wormald considered the text to be closer to a Edward the Confessor (1042-1066), La romance than to a monastic libel/us, which estoire de Sainte Aedward Ie Rei could include the saint's life and miracles, (Cambridge, University Library MS Ee. iii. prayers and even music for the Office. The 59), is one of the more celebrated function of the Estoire text was significantly manuscripts from the mid-thirteenth different from these earlier works, being century. The Life explores such topical written to entertain and inbrm. themes as good government, legitimacy One of the intriguing aspects of the and the grandeur of the king's ancestry.
    [Show full text]
  • Sunday Bulletin
    THINKING FAITH When his daughter Tamar is deflowered by her own half-brother, David feebly fails to take action. When his son Absalom rebels against him and SB is killed in battle, David’s grief is so torrential that the whole army slinks SUNDAY BULLETIN home as if defeated. How can we admire this man? Admittedly he is a charismatic leader, for whose praise men – and women too – would willingly risk their lives. When daredevil young officers break through the enemy lines to fetch DAVID SBSBThe God him his favourite Bethlehem water, he praises their valour but forbids What is so special about David? J.L.SB them ever to do the same again. McKenzie, author of the famous one- who speaks volume Dictionary of the Bible, once DEVOTION AND REPENTANCE described David as “an oversexed The point of David is, then, that he is the icon of passionate devotion to the Lord, the bandit”. The picture of David icon of repentance and return to the Lord; that is his real importance for us. After David’s changes as time goes on. The adultery with Bathsheba the prophet Nathan comes to him with the parable of the poor later books of Chronicles regard man’s one treasured lamb. David responds unreservedly and prostrates himself in fasting David as the founder of the Temple and penance. When the child of that union sickens, David passionately begs forgiveness. liturgy, and paint a picture of him When the child dies, his officers fear that David will lose all control, but he obediently as a plaster-cast saint.
    [Show full text]
  • Ms Shelfmark Ms Title Ms Dm Link Add Ch 19788 Grant of King Wulfhere of the Mercians (D. 675) to His Kinsman Beorhtferth
    ms_shelfmark ms_title ms_dm_link Add Ch 19788 Grant of King Wulfhere of the Mercians (d. http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Add_Ch_19788 675) to his kinsman Beorhtferth Add Ch 19789 Grant of Eanberht (fl. 757–759), Uhtred (fl. http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Add_Ch_19789 757–777) and Ealdred (fl. 757–777), brothers and under-kings of the Hwicce, to Headda, Add Ch 19790 Grant of King Offa of the Mercians (r. 757-796) http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Add_Ch_19790 to Æthelmund, minister Add Ch 19791 Grant of Bishop Werferth (d. 907×915), with http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Add_Ch_19791 the Worcester community, to Wulfsige, his Add Ch 19792 Grant of Bishop Oswald (d. 992) to his kinsman http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Add_Ch_19792 Osulf, the cniht Add Ch 19793 Grant of King Edgar of England (r. 959–975) to http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Add_Ch_19793 Ælfwold, minister Add Ch 19794 Grant of Archbishop Oswald (d. 992) to http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Add_Ch_19794 Cynelm, minister Add Ch 19795 Grant of Archbishop Wulfstan (d. 1023) to http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Add_Ch_19795 Add Ch 19796 Grant of Abbot Ælfweard of Evesham (d. http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Add_Ch_19796 1044), and the community at Evesham, to Add Ch 19797 Grant of Bishop Brihtheah of Worcester (r. http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Add_Ch_19797 1033–38) to Wulfmær, cniht Add Ch 19798 Grant of Bishop Lyfing of Worcester (d.
    [Show full text]
  • 62 Warriors “Hedgehogged” in Arrows: Crusaders, Samurai, And
    Warriors “Hedgehogged” in Arrows: Crusaders, Samurai, and Wolverine in Medieval ChroniCles and Popular Culture1 Scott Manning Independent Scholar For over four decades, comic book writers and filmmakers have found creative ways to torture Marvel Comics’ Wolverine. One method that has evolved since Frank Miller tackled the character in 1982 is filling his body with arrows. The mutant’s metallic skeleton coupled with his quick-healing superpower make him the ideal pincushion for these ancient projectiles in comic books and film. However, the image of a living human covered in arrows is medieval. Furthermore, the image of a living warrior covered in arrows is an image almost entirely relegated to Muslim and Christian chronicles of the Crusades, in which the writers typically associated the spectacle with a hedgehog. This paper examines medieval accounts of armored warriors likened to hedgehogs covered in arrows throughout the Crusades and how Wolverine has been the bridge for such a spectacle in popular culture, extracting it out of obscure medieval chronicles and proliferating it through comic books, film, television, and beer commercials. Medieval Images of Humans Covered in Arrows The image of a person covered in arrows is a distinctly medieval image. St. Sebastian survived an attempted martyrdom in the third century and throughout the Middle Ages was depicted with arrows miraculously protruding from his living body, or as the Golden Legend labeled him—a “hedgehog.”2 The image of St. Sebastian is still common today and it has been satirized as recently as 2015 via DC Comics’ Joker, who poses with suction-cupped arrows over his near naked body (Figure 1).3 Another famous medieval hedgehog figure is that of Edmund the Martyr (ninth century), but, unlike St.
    [Show full text]