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Josephine Mary Alexander Phd Thesis THE THEME OF THE WISE AND FOOLISH VIRGINS AS PART OF THE LAST JUDGEMENT ICONOGRAPHY IN FLANDERS AND ITALY IN THE LATE 15TH AND THE 16TH CENTURIES Josephine Mary Alexander A Thesis Submitted for the Degree of MPhil at the University of St Andrews 1981 Full metadata for this item is available in St Andrews Research Repository at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/15249 This item is protected by original copyright ABSTRACT The parable of the Wise and Foolish Virgins is told in Matthew's Gospel, Ch.25, v1-13, as an allegory of the Last Judgement. This thesis sets out to examine firstly, how closely the parable is related to the iconography of the Last Judgement in the art of the 15th and 16th centuries; secondly to demonstrate how its inter­ pretation came to be broadened by association with other biblical themes, themselves part of the Last Judgement iconography. Part I traces the origins and develop­ ment of the theme from early Christian times to the 15th century. In these early sources the artistic tradition of linking the parable to the Last Judgement was first established; the Wise and Foolish Virgins were also linked with Ecclesia and Synagogue and with the Virtues and Vices; and the typological tradition of biblical illustration broadened the theme further by pairing it with other biblical feasts. Appendix I is a handlist of the Wise and Foolish Virgins up till the late 15th century and it illustrates how popular the theme had become by the Middle Ages. Part IX treats the parable in the late 15th and the 16th centuries. Chapter I looks at examples of Wise and Foolish Virgins in prints and drawings in the early years of the 16th century, and demonstrates how the virgins were treated individually, how the theme was secularised and tended to degenerate, sometimes into mere costume studies of contemporary, fashionably-dressed maidens; sometimes into rather sensual nudes. Chapter II shows the theme restored to its original biblical context by Netherlandish artists; while Chapter V ProQuest Number: 10167220 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest. ProQuest 10167220 Published by ProQuest LLC(2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 Ill examines how later Northern artists, greatly influenced by contem­ porary drama and philosophy, bestowed upon the theme certain wider interpretations and depicted it with strong moral and didactic overtones. Chapter IV examines the contributions of Hans Eworth, Marten de Vos, and Crispin de Passe the Elder to the theme, and shows how the ideas of both the Renaissance and Reformation influenced these artists in their portrayals of the Wise and Foolish Virgins. Chapter V treats the theme as it appeared in Italian art - notably in renderings by Parmigianino and Tintoretto. Chapter VI draws conclusions and sees the theme essentially as a mirror reflecting the social, philosophical and religious climate in 16th century Europe. Finally, a handlist of the Wise and Foolish Virgins in the late 15th and the 16th centuries’concludes the study. THE THEME OF THE WISE AND FOOLISH VIRGINS AS PART OF THE LAST JUDGEMENT ICONOGRAPHY IN FLANDERS AND ITALY IN THE LATE 15th AND THE 16th CENTURIES. NAME: Josephine Mary Alexander A thesis submitted for the degree of Master of Philosophy, University of St. Andrews, 1981. CERTIFICATION I certify that Mrs. J. M. Alexander has completed three terms of research work in the University of St. Andrews, that she has fulfilled the conditions of the Resolution and Regulations of the University Court, and that she is qualified to submit the accompanying thesis in application for the degree of Master of Philosophy. PROFESSOR J. R. STEER. SUPERVISOR. DECLARATION. I hereby declare that the following is a record of the research work carried out by me, that the thesis is my own composition, and that it has not been accepted in any previous application for a higher degree in the University of 5t. Andrews or elsewhere. signed St. Andrews, April, 1981. ACKNOWLEDGEMENTS This study was begun in 1977, and has occupied my waking thoughts for most of the time since then. Many people have been helpful and thoughtful and have made useful suggestions. My supervisor, Professor John Steer, has at times inspired me, at other times kept my feet firmly on the ground, and throughout has lent a sympathetic ear and a guiding hand. Other members of the Fine Arts Department of the University of St. Andrews have helped in answering specific questions - my thanks go especially to Dr. Peter Humfrey, Dr. John Frew, Mr. Robin Spencer and Dr. Jim Lawson. I am also indebted to P. Terlingen of the Kunsthistorisch Institute of the Rijksuniversiteit of Utrecht, for his painstaking help in providing information from the Index of Christian Art ; and to Mr. Reginald Williams, of the Department of Prints and Drawings of the British Museum, for his personal assist­ ance in obtaining photographs ; and to my friend Josefa Bertels of Antwerp for kindly undertaking the laborious task of translating the texts of various Old Flemish manuscripts for me. The following Museums, Art Galleries and Print Rooms have also been helpful in providing photographs ii the Osterreichischen Nationalbibliothek, Vienna ; the Kupferstich- kabinett, Dresden ; the Mus^e Jeanne d'Aboville, La Fere ; the Warburg Institute, London ; the Fitzwilliam Museum, Cambridge ; the Johnson Collection, Philadelphia ; the Boymans-Van-Beuningen Museum, Rotterdam the University Museum, Stockholm ; the Narodne Museum, Warsaw ; and the State Museum, Copenhagen. My special thanks are also due to the members of the Photographic Unit of the University of St. Andrews, who who were always willing to make prints in a hurry, and without whose assistance the photographic content of this thesis could not have been completed ; and to Mrs. Dorothy Hutton whose care and accuracy in typing has produced the final manuscript. My greatest personal thanks, however, goes to my husband, to whom I dedicate this thesis. Without his continued support, inspiration, patience and unerring faith in my ability, this study would never have reached its final state. To Richard, who has learned to play quietly while his mother studied, I offer my apologies and gratitude. To all the people and institutions mentioned, and to any unwittingly omitted, I owe my deepest appreciation. TABLE OF CONTENTS LIST OF ILLUSTRATIONS.------------------------------------------------------------------------p.i REFERENCE AND CONTEXT.------------------------------------------------------------------------p.xi PART I. 1. INTRODUCTION.--------------------------------------------------------------------------- p.2 2. SOURCES : a) Sculptural Cycles.-----------------------------------------------------------p.3 b) Dura-Europos Fresco.-------- -----------------------------------------------p.8. c) Catacombs.-----------------------------------------------------------------------p. 13 d) Typology.------------------------------------------------------------------------ p.13 3. APPENDIX I ; PRELIMINARY HANDLIST OF THE WISE AND FOOLISH VIRGINS IN THE PERIOD UP TILL THE 15th CENT­ URY.--------------------------------------------------------------------- p.28 PART II : THE WISE AND FOOLISH VIRGINS IN THE LATE 15t,h & THE 16 th CENTURIES. CHAPTER 1. The 'Secularisation’ of the theme.---------------------------------------------p.37 CHAPTER 2, Return, in a Netherlandish Altarpiece, to a biblical inter­ pretation of the parable.----------------------------- ------------------------------- p.52 CHAPTER 3. Didactic purposes in Northern depictions of the parable.------ p.59 CHAPTER 4. The Wise and Foolish Virgins - A Reformation theme ? ------------p.77 CHAPTER 5. The Italian problem.-------------------------------------------------------------------- p.105 CHAPTER 6. Conclusions. ---------------------------------------------------------------------------------p.121 APPENDIX II : PRELIMINARY HANDLIST OF THE WISE AND FOOLISH VIR­ GINS IN THE LATE 15th & THE 16th CENTURIES.---- p.123 FOOTNOTES.---------------------------------------------------------------------------------------- p.127 BIBLIOGRAPHY.----------------------------------------------------------------- .----------------- p .155 ILLUSTRATIONS LIST OF ILLUSTRATIONS. 1. St. Denis, Abbey Church. West portal, centre doorway - Wise and Foolish Virgins on doorposts. (c1140) 2. Paris, Nfitre-Dame. West portal, centre doorway - Wise and Foolish Virgins on doorposts, (before 1230) 3. Amiens Cathedral. West portal, centre doorway - Wise and Foolish Virgins on doorposts. (1225-35) 4. Foolish Virgin. Detail of plate 3. 5. Sens Cathedral. West portal, centre doorway - Wise and Foolish Virgins on doorposts, (after 1168) 6. Chartres Cathedral. North transept, left doorway - Wise and Foolish Virgins on archivolt. (c1220) 7. St. Thibault-en-Auxois, Priory Church. North transept, portal - Wise and Foolish Virgins on archivolt. (c1240-50) 8. Wise Virgins with Apostles and
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