Cambridge University Press 978-1-107-03222-4 - Vision, Devotion, and Self-Representation in Late Medieval Art Alexa Sand Frontmatter More information VISION, DEVOTION, AND SELFREPRESENTATION IN LATE MEDIEVAL ART This book investigates the “owner portrait” in the context of late medieval devo- tional books primarily from France and England. These mirror-like pictures of praying book owners respond to and help develop a growing concern with visibility and self-scrutiny that characterized the religious life of the laity after the Fourth Lateran Council in 1215. The image of the praying book owner translated preexist- ing representational strategies concerned with the authority and spiritual effi cacy of pictures and books, such as the Holy Face and the donor image, into a more inti- mate and refl exive mode of address in Psalters and Books of Hours created for lay users. Alexa Sand demonstrates how this transformation had profound implications for devotional practices and for the performance of gender and class identity in the striving, aristocratic world of late medieval France and England. Alexa Sand is associate professor of art history at Caine College of the Arts, Utah State University. She has published articles in The Art Bulletin , Gesta , Yale French Studies , Word and Image , the Huntington Library Quarterly , Studies in Iconography , and a number of edited essay collections. She is the recipient of the ACLS Charles Ryskamp Fellowship and the AAUW American Fellowship for Publication. She was recently the Gilbert and Ursula Farfel Fellow at the Huntington Library in San Marino, California. © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-03222-4 - Vision, Devotion, and Self-Representation in Late Medieval Art Alexa Sand Frontmatter More information © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-03222-4 - Vision, Devotion, and Self-Representation in Late Medieval Art Alexa Sand Frontmatter More information VISION, DEVOTION, AND SELFREPRESENTATION IN LATE MEDIEVAL ART Alexa Sand Utah State University, Logan © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-03222-4 - Vision, Devotion, and Self-Representation in Late Medieval Art Alexa Sand Frontmatter More information 32 Avenue of the Americas, New York, NY 10013-2473, USA Cambridge University Press is part of the University of Cambridge. It furthers the University’s mission by disseminating knowledge in the pursuit of education, learning, and research at the highest international levels of excellence. www.cambridge.org Information on this title: www.cambridge.org/9781107032224 © Alexa Sand 2014 This publication is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2014 Printed in the United States of America A catalog record for this publication is available from the British Library. Library of Congress Cataloging in Publication data Sand, Alexa Kristen. Vision, devotion, and self-representation in late medieval art / Alexa Sand. pages cm Includes bibliographical references and index. ISBN 978-1-107-03222-4 (hardback) 1. Portraits, Medieval – England. 2. Portraits, Medieval – France. 3. Women – England – Portraits. 4. Women – France – Portraits. 5. Illumination of books and manuscripts, Medieval – England. 6. Illumination of books and manuscripts, Medieval – France. 7. Prayer books – England. 8. Prayer books – France. I. Title. ND3337.S26 2014 745.6′7094–dc23 2013027299 ISBN 978-1-107-03222-4 Hardback Cambridge University Press has no responsibility for the persistence or accuracy of URLs for external or third-party Internet Web sites referred to in this publication and does not guarantee that any content on such Web sites is, or will remain, accurate or appropriate. © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-03222-4 - Vision, Devotion, and Self-Representation in Late Medieval Art Alexa Sand Frontmatter More information CONTENTS List of Illustrations page vii Acknowledgments xiii INTRODUCTION SELFREFLECTION, DEVOTION, AND VISION IN THE IMAGE OF THE BOOK OWNER AT PRAYER 1 SAVING FACE: THE VERONICA AND THE VISIO DEI 27 FROM MEMORIA TO VISIO : REVISING THE DONOR 84 FRAMING VISION: THE IMAGE OF THE BOOK OWNER AND THE REFLEXIVE MODE OF SEEING 149 DOMESTICATING DEVOTION: BODY, SPACE, AND SELF 211 CONCLUSION POWER AND THE PORTRAIT: NEGOTIATING GENDER 265 Notes 293 Bibliography 359 Index 399 v © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-03222-4 - Vision, Devotion, and Self-Representation in Late Medieval Art Alexa Sand Frontmatter More information © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-03222-4 - Vision, Devotion, and Self-Representation in Late Medieval Art Alexa Sand Frontmatter More information LIST OF ILLUSTRATIONS Color Plates I Portrait of the book owner at prayer, matins of the Virgin, Psalter- Hours of Yolande of Soissons, Amiens, ca. 1280–1290 II Holy Face, Psalter and Hours of Yolande of Soissons, France, Amiens, ca. 1280–1290 III Second Cross of Abbess Mathilda of Essen, Rhineland, ca. 1010. Donor portrait with Virgin and Child, detail IV Marie and other pilgrims with Saint James, Madame Marie Picture Book, northern France, ca. 1280–1290 V Jeanne of Guî nes and Eu with the Virgin and Child, pictorial preface to Fr è re Laurent, Somme le Roi , written by Lambert le Petit, 1311, northern France VI Followers of Jean Pucelle, Suffrage to Saint Anthony Abbot, Savoy Hours, Paris, 1335–1340 VII Followers of Jean Pucelle, Suffrage to Saint Agnes, Savoy Hours, Paris, 1335–1340 Color plates follow page xvi. Figures 1 Initial D with Virgin in majesty, matins of the Virgin, Psalter- Hours of Yolande of Soissons, Amiens, ca. 1280–1290 page 3 2 Philip III of France and Isabella of Aragon kneel to the Virgin, relief panel from the tomb of Isabella, Cosenza (Calabria), Duomo, after 1271 9 3 Sainte Face , icon of the Holy Face, late twelfth century, Serbian (Laon, Cathedral Treasury) 35 4 Attributed to Matthew Paris, Veronica, England, ca. 1240 39 5 Matthew Paris, Veronica, from the Chronica Majora , England, ca. 1250 43 vii © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-03222-4 - Vision, Devotion, and Self-Representation in Late Medieval Art Alexa Sand Frontmatter More information viii LIST OF ILLUSTRATIONS 6 Matthew Paris, self-portrait with enthroned Virgin and Child, Historia Anglorum , England, 1250s 48 7 Holy Face, Psalter, England (Norwich), 1270–1280 51 8 Holy Face, Bonmont Psalter, Upper Rhine, ca. 1260 52 9 Holy Face, Hours of the Use of Ch â lons-sur-Marne, fi rst quarter of fourteenth century 56 10 The Wheel of the Twelve Attributes of Human Existence , De Lisle Psalter, England (London?), 1310–1320 61 11 The Lover Offers His Heart, mirror case, ivory, France, fi rst quarter of fourteenth century 63 12 Wheel of the Ten Ages of Man , De Lisle Psalter, England (London?), 1310–1320 66 13 Twelve Articles of the Faith , De Lisle Psalter, England (London?), 1310–1320 69 14 Tree of Virtues , De Lisle Psalter, England (London?), 1310–1320 70 15 Tree of Vices , De Lisle Psalter, England (London?), 1310–1320 71 16 Attributed to Jean and Bourgot le Noir, leaf from the Hours of Yolande of Flanders, Paris, ca. 1353 76 17 Lauds of the Hours of the Virgin, The Hours of Yolande of Flanders, Paris, ca. 1353 78 18 Second Cross of Abbess Mathilda of Essen, Rhineland, ca. 1010 87 19 Detail of Abbess Mathilda, enamel, Second Cross of Abbess Mathilda of Essen, Rhineland, ca. 1010 88 20 Dedication frontispiece to the Uta Codex, Regensburg, ca. 1102–1125 93 21 Dedication page, Pontifi cal of Mainz, Rhineland, 1249–1251 97 22 Colophon page, Pontifi cal of Mainz, Rhineland, 1249–1251 97 23 Henry II presents the book to the Virgin, Gospels of Henry II, Reichenau, 1007–1012 98 24 Dedication page, Toledo-Morgan Moralized Bible, Paris, 1226–1234 101 25 Marie de Champagne, initial from the prologue to Le Chevalier de la Charette of Chr é tien de Troyes, Paris, 1230–1240 106 26 Anselm presents his prayers to Mathilda of Canossa, dedication miniature, Anselm of Canterbury, Prayers and Meditations , Upper Austria, ca. 1160 111 27 Anselm presents his prayers to his monks, Anselm of Canterbury, Prayers and Meditations , Upper Austria, ca. 1160 113 28 The Conversion of Saint Paul, Anselm of Canterbury, Prayers and Meditations , Upper Austria, ca. 1160 115 29 Christ adored by Anselm and Mathilda, Anselm of Canterbury, Prayers and Meditations , Upper Austria, ca. 1160 117 30 Virgin in majesty with female supplicant, initial for Anselm’s third prayer to the Virgin, Devotional Miscellany with Anselm of Canterbury, Prayers and Meditations , England, middle of the twelfth century 119 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-03222-4 - Vision, Devotion, and Self-Representation in Late Medieval Art Alexa Sand Frontmatter More information LIST OF ILLUSTRATIONS ix 31 Virgin with female supplicant, initial for “Singularis Meriti,” Devotional Miscellany with Anselm of Canterbury, Prayers and Meditations , England, middle of the twelfth century 120 32 Mary Magdalene anoints