Spiritual Seeing: Picturing God's Invisibility in Medieval Art (The Middle Ages Series)

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taposes a scene of Adam Naming the Animals lquite like the Ferenti1lo fresco} 10 episodes from the life of St. Paul to make manifcst human capacityfo rspirituaJeJevation."Thismnceitmayel(plainthegriffindepictedprominentJyinthe painting in San Pietro and again, on a smaller scale, in the border above. Copied from the end of the same sarcophagus that served as the modd for Adam, the griffin-with the body of a lion and eaglc's wings and head - symholized dual nature. \\fhik Adam in Paradise (an still look directly at God, albe it from afar, his progeny cannot. As two ccntral scenes in the New Tes tament narratives make dear, to activate a spiritual ascent while avoiding carnal worship, humans need icons. In the two scenes positioned directly below the Christ in Majesty-ooth involving themes of venerationthe frescoes in San Pil"tro incorporate iconsasa provocation and caution. The Adorationofthe Magi fe.lturespagan kings honoring the Child (Fig. I. 12); Christ's Entry into Jerusalem shows the citizms of Jerusalem hailing the Messiah (Fig. 1.23), Crowds of people carpeted the road with their cloaks, and some cut branches from the trtts to spread in his path. The n the crowd went ahead and others that cam~ behind raised the shout: "Hosanna to the Son of David! Blessings on him who comes in the nameofth~ Lord! Hmanna in thehcawos!·· (Mt.lt.8- 9) In thi~way, two muments from Christ's life on earth involving veneration arc presented as type~ of th~ perpetual adoratiun the Lord ~njoy5 in heaven, a hierarchical typology underscored by the ladder of thrones on which Christ sits: the humble ass at the lowest levcl,theVirgin Mother above. and the gem-cncrusted ce!estial sea I. The ascent is carefully mediated in San Pidro by lhe incorporatio n of two icons into the pictured Il;Sjorille, indeed, hyth~vcr)"two iconsfeJtured in the San Gregorio fresco (Fig. 1.12). The Virgin M'IT)" of th~ Adoration is readi ly recognized as the Madonna-Advoeata. her face turned out toward the viewer, the left eyebrow arch~d, the face framed by a gold-embroidered maphorion, and the left hand ext endedacrussher chest (here tu hold the Childl. And Christ in the Entry is of the Late ranllcheropi/lltype: full-face, bearded, hair parted at the eenterand fallingovcr the shoulders, and large halo adorned with a g!;'mmed cross. A Christian (Uun t!;'rpart to the turned heads in the Sacrifice of Isaac in the Dura synagogue (Fig. t.2), the intcrpola ted icons remind the ~'iewers that the veneration accorded the Incarnate God in life must not be confused with worship of images of him in the present. The reminder seems to have been necessary. Carolingian annals report how, already in the ninth century, the act of veneration depicted within a fresco of the Adoration of the Magi introduced sacral qualities 10 the objccts pictured. in the ChUTCh of St. John the Baptist in Como, an image of the blessed Mary holding in her lar the

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shone for two days with such a brillianc. that thosc who S;IW it w.'r~ altogether carriro away by thebeautyofit.,antiquityand had no mind forthcsplendorofa ncwp icturc.Butthissplendor absolutely did not aff~ct the imagc~ of th~ magi, btlt unl)" the gifts that they wer~ off~ring.'"

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Figure J.1). FatM,illo. SaM Pierroa Valk, EM'" illlo Jl'TlNlkm (ICCD)

At the Sdme time, the two icons- like the ele\'~ting fe.ltures of Adam in the Naming scene-assert that the vestige uf spiritual sense enables hunmns to rise above the material wurid and glimpse God. I\S the fresmes in San Pietro confirm. the very elision of artistic genres in medieval art embodies csscntial claims of Chris tian belief. It manifests faith in Gud's role in the unfolding c\'ents of saned history, while demonstrating that l,islOriae, properly under~ stood, teach of spi rit ual things; .llld il promutes t he aspiration tu sec God with spiritual \' ision. even wh ile reinforcing hu man ity's fundamental limitation to carnal seeing. I n so duing, Ih<' inm in the narrative affirms the very purpose nfChrislian art '"tu shuw Ihe invisi ble by means of the visible.""

•

CIlapter 2 "THOU SHALT PAINT THE LIK E NESS Of CHRIST HIMSELF"

Tile Mosaic Proili/Jitiofl as Provocatiml for Christial/ll11ages

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The title of this chapter sum, up succinctly the altitude toward St'cum\ COlllma ndm ~n t tha t emerged in BYl..ami u m following a m ill~ nni um -I (lng strugg le with thequt'stion of aft is tic representa tion. A parap hrascofa glt) SS b)"the twdfth.centur)' canon lawyer Alexios Aris ten os, "T hu u Sbalt Paint the Li ke ness of Christ Himsdf" prndaims that the bib lical prohibition of images was inoperative, even more, that it had been tralvmlll ted into its own co n\"~rst:. 1\laking li kenesses was a Christian im perati ve; thelJuestion is, how did this ha ppe n? Ch ristia ns had at fi rst reta in ed th e Ten Commandment, as consonant with nat ura l law, unlike the l.ev itical regulation s, whkh they rejected ilsl,,'rI.Ichia l.' lnh isVccalogl/c o[Mosc5,for instance, Gregory of Nyssa si mpl)" paraphrased the I' rccept s nUl ing only that wh ile "God ha d prev iously chiselled the ten laws on stone tab let s, Chri.lt had engraved the m in th e hearf';' writing withi n a sti ll-p agan wn text, Gregory's reluctance to embrace even Moses' tablets retlectsan urge to sa feguard Chr ist iani ty'sfundamental spirituality. C!cmentofAlcxandria up hdd Moses' injun ctio n aga inst material r~p rese n­ tation s for the rdi!t ~d reason thai Ihe y promoted th~ ' \l~grading pract ise"' of "wor· ~h i p l pil1g ] gods made by human hands <Ju t ufwllod and st u ne, gods th at can nei the r seennrhear.ncith<'reatnorsmell"andhence "directatten tion to se nsible objects lawar fmm] that whi ch is pe rce ptible to the mind.'" Although from an ~'l rl ydatc the proh ibi. tion was taken to apply only to idols or to be concer ned sold)" with worshi p, it remained available to Christians opposed to figural representation s."' The Ol d Testaml'nt prohibitilln was repeatedly evo ked bycighth -centu ry Ico nlldasts; f<Jrinstanc~,il underli es the poem written during the reign of L~o JII and Cl.lmt'lIlt ine V to celebrate the feplace . m~n t of an an thropomorphic image by a sim ple CTOSS,

Christia n s fa vora ble to images could counter th<' argumClltthat God had forbidde n imagc,~ hccause of their "degrading" materiality, even wi thout transg ressing the Book of Exodus. Exodus itsdf describes venerahle cult objects made by i\·!osc>, mus t notably the t.lhern.lCk, the Ark of the cove nant, and the tablet ;; of law themselves;'

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moreover, these induded images, the ch erubim uver the mt'rq' seat inside the Holy of Holies. As early as the sixth century, Hypa tius of Ep hesus addu ced these to support Ch ristian images in hi s famous lette r to luli an, bishop of Atramytium, "Even the hol y pr iest /l,lo<;es, who issued these laws on God's prompting, Sl'ts up, in the Holiest of Ho li es, golde n i ma ges of the cheruh i nl in heaten work.'" La rgely in th e context of sixthand sewnth-ccnlUr), [ewish- Christian deba tes, dt'fenders "r im ages sunn added other venerable o bjects described in Script ure , among o thers, Nuah\ ark, [aeab's sta ff, and Aaro n's rod .' T he Trap/lies D
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ou r images, lhey ar~ th~ same as you haw placeJ inside you r Ark. Aaron's rod and th.· j"r uf ll1<mna, in recollect ion of liod's ocncfac tions. thus we also make images in memory of what Christ hal done for u.<, or even hi ~ sai nts; when we .<e~ these Icp r~sentatio n ~, we imitate their works. And as you honor Gou by adorinl( th.· boo k of his wurds , 1'1.' ce lebr~ t~ Christ when we honur h is (foss in hi, mt"!1lO ry.'

And the late seven th-cen tury Ar menian tract by Vrt'ancs K'e rt'ogh gocs so far as to iod uue Snip ture itself, wr itten in in k on parchment, snme t im~s in go ld ~nu ~ilver on purp le \'Cllum and bound between cowrs o f ivo ry. In \Vhen, in the eigh th ce ntu ry, Iconoclasts invo ked the m ater ialist argumcnt, then, iconodules cou ld confront the m with well-rehearsed rehuttals. !ohn of Dama scus, for example, in troduced the Jewish res Saml,. to defend icons against the attack of materi ality; " an d the mid -eigh th -cent ur y Arimorritioll vftll!' Olrl MIIII CO ll rernjng tile Holy Images, the Noutilcsill Geron/os, points out that just as someone who ven erates Scripture docs not worship the parchment, those \.,.ho adore pictures do lIOt honor the pigments a nd ma terials. " And the tabern acle utellsil s were add uced agai nst the Mo saic prohibi tion a t the Seco nd Co un cil of Nic~ea cO IlVt"ncd in 7~7 to res tort" icons. " The claim that the nu merous venerated objects mentioned in the Old Testa ment proved that the Second Co mm and ment needed to be in ter preted re mai ned current after Iconoclasm ended. For the philosophicalP
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luhn ",.. 'h< rc. In '0"""" I,..;"h t:,~ki<1 woo h..! only in .. ~i "d It<ard GOO', yoi" on Mt. Ho"b, ,o" I." of ,h. proph"'. , nd p''''{f"''' ' ~ h.. J ""uoJly secn Ch ,i.1. "'" Kon in ](j,",' from .lOIJnd ,1,< ,im< of th< COUrK il p ic'un~ him "'~din~.n inKl il>«l >< lnll.nLl l'-'in' ing to. ,i"," I" KOO of I"", (Fig. , ._1;·" in tho uP?'" rlgb, I, . "","h l n~ Kon of M"y, lurt ber "id<<><" of I"u,' hum," ",,'Uf<. ~«o"figulru .. the [)ctsi. in I"el Brz>n'i"< .rt. fo, i"". n,e, on , thirt«n,h·,,'ntufY Cr .... J<""", ,I>< prim< whKk of ... itll<" .. ><1 In"IC• .,"'n;'" th'y.l<mon,,,,,,01 th. t, .. Iohn proph . « i,d. Chfist will "d"m hum.n 'in. In ,h i, , .. mpl• . MOl<> ;, ><, th<' 1'".lkI 'u loh" to" Ilavrl" , .... only 'Il< )1 "-'1'1"" hoIil • "",II '" h'. kf' h.nol ~'hik !""n'in~ Chr ist ",' i,)' hi, ,1gb" but It< "'.f« ,b... in'" ,Jt.",,:r<, proffer> i, from Exodu, 24, "Co"" up to m.' on the mou",.in. ,1,<", . nJ 1« m< g;'" )'uu tho .. 1>1«. of "UTIC', ,I>< I,w >nJ 'Il< ,00>1n."0m."ts • ..-b i,h I h, ... wr i... n l"i!t, "'hu {",d >«">1 Ch,i" wi,h hi, <>wn M,-,,<> un ly l"'in1> " pw"J IO~'",J Ch,;',. ,ho, f 011,1I.",,,t <>f hi, I. w ,,><'".> in tho thi,t«nth-<,","IY p.l>t in< P", I,,, IV>!K.". Bihliotox, AI"'.t<>li< •• C'.>l~ ' 7"" - 17". fi~~ ,--So '.~ I " I' """" • of ,I>< id" th .. O" i>1 ilKQ'po,.,ed ,I>< I,w si",.d _no. in '"

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made flesh . The contrast is explicit in a late twelfth-century Gospe! book in Florence (Bibliolew Laurenziana. Cod. Plul. VI J2. fols. 7V and Sr) where a picture of Moses on Sinai receiving the laws is se t opposite a portrait of Christ in Glory (Figs. 2.10, 2.11).'· The caption reads: "The I.aw was given through Moses, grace and truth came through Jesus Christ." By substituting "ancient symbols and shadows, signs and anticipatory tracings~

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S o m.ny from th, All<' >Cem to be "pli of otll<" •• ither k!lO~'n '" d<>trO)',d, th., ><00/", co ntin ... to d,'b." th,' <,,,"nt to which 'ny one of ,I",,, ;, oth ing n",'eri>l >100< ",Idom fr« .11<01",11'« compl,"ly fr"m ph.ntom proWtyl"'" I,,"n lowden i•• good <""mpi<, In hi, !Cer nt monogr>ph on ili"",;"."d 8y,,.,\1;"< o"'."u"h>. • g'oup "f d""dr ...... ,,"" ",Ji«, '"ml"i,; n~ th< fir>t ' ight book.! of xriptuf<, h... pl k i~y ,ny at"m)>! O(tu"II)' ,,,,,n,truon ic.il philo/o. ~i", u,", k> ""'n" ;'u,< ,h, p;ns """~",,,' ch""",. in" ..J, to 'mph"'iz< the contribu.iom of -." ;,,," .n" ,,, ,h<;, dkt.lbijj,y,' Xon" 0., wnduJ<> .h." the ,urvi,'jn~ ,)l..lnu>cr;p<> ".pp.r«"lpkri",J from . common mod.l, prob.>l>Iy ,0., prototyp< of "",h boob, prooLKed in Con,,"ntinopk .fter Iwnocl .. m. perh.p. c. IU"'~" {.oJ .hatl th< p,otot)'!", ", m, to be,n Cf<.t.il.bk." How",,,, os l.d i., B'UNk, "n" 0uo ~">t, ;n",,,d. ",mma, Jl.ho!1 hi. oi"u,';on ( 0« di"gr,m l," m<, lov.'Jen', <",,,,Iu,;"n, .I"'"t 'h< rd.ri"n,hip of ,0., "~'''"t (kootou(h, to on, ,noth", in f",,', do diverg< r.,Ji<.lIy (,om 'h"", ,,'.. h,d h.lf . 'l ""thoo l-" "u"" " , .1,].>1<"",.' C'1';« j>mtul.. < m;gi".I" Virtw l'y ,my on, of th< hunJ"d, of (k".coch minL"u", di>c/o"" the probkm. Th< ",,J,,,ins "I ~l""" O,d. ;n'ns A,,,,n', Son' in to., an" library (e.:..!. g'. f,~. F;g. 4.') ill Myl" I,,,",.,, ,,~"', ."'{ J<.. iJ , of (",tum,' .nd >t"r", oro do><[, !h, j.."r m,"u«ript i, ""t, : in tllc 1"'",;1>10 from tho out",.,J of th< .. copi<; >«urtl)' tu r<,,,r.bl,,h ,10" "" ...1.1'1"""'''< "f ,I",,., l"otu'W", wheth«

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68

Chapter 4

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It was precisely within the space opened up between schemata and realized works that the theory of icons played ou!.'· As early as the eighth cemury, the author of the Life of StepiJen the Younger compared the materialization of a delineation engraved in the matrix of a seal (it, ItEPIYpa
And three centuries later, the author of the Vita S. Niconi$ Matalloiere embedded the distinction between copying and finishing in a narrative; the Vita reports how a painter, frustrated in his attempt to depict the saint, was aided by a phantasm that impressed the

Configurillg Ihi II/yisible by Copyillg Ilrt Holy Face

Figure~.~.

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portrait miraculously onto his tablet. This provided only the under-drawing, however, "the paioteraddcd the remaioingcolors to the outlined resemb lance and brought the icontocomplction."u Du ring the Iconoclastic period, the Patri3Tch Nicephoros embedded the disti nction firmly in me defense of images, identifyi ng the icon's JlOP'llr. with its OX~Jllltll in contrast to its dOo,;lx~CltCl.u The defenders of images also invoked the processes of art to explain how invisiblearchctypes could generatccopies free 0 fthephysicalmaller of which they were mad e, that is, independent of the superficial element of pigments. Intaglio stamps, especially, provided them with a perfcct metap hor bee ausctheyal-

69

;0

Clwptt'r4

lowed the §;Ime image to be impre.s~ in va rious materials." Calli ng the icon a "seal 3nd impressioll." l' Theodore of Stoudios thus provided the classic statement, e'~n allachinglhe process of creating imagt'S to th,' lncarnat ion itsclf. A S<'al i~ one thing. nnd ils imprim i~ ~outher, Newrthclcss. c\~o !>efnre the imp res-oioo i~ mJde, the imprint i~ in th~ f,C"I, There could nul [", an ctTeCliw se-dl which w;u nol impre,se<\ io some material. Therefore Ch rist also, unlCM Ht, appt'J'" in an art ificial im~g(, is in this respect idle ~nd ineff(.'(:tiv("" Ifh., who look.. 3t the sea l and il~ imprint sed. ~imil. r ~ nd ulKhaogcd form in both, Ihen the imprinl rxislS in the seal .."(n !>efor,' th( iml't l.'S5ion is made, The seal shoWl ilS dl'Sire for honor whcn it makes itself a<'ailahk for impn:ssion in many different maim. In Ihe same "'ar, ~h hough _ bcliC'o'e Ihal Chrisl's OWl1 imag<' is in Him as He has human form, oC'o·... tllekM when we 5tt His im.g~ mJtaiatlr depictcd in differenl ways. _ praiS(' Hi sgreJl1H'S5 more magnifi ce ntly. For the failure to go forth inlO ~ mareri~1 imprint eliminates His existence in human form.'"

The distinction octween the dr3wn modd and its physical real ization inevitably entered the const ruction of H}'l!antium's originary icon, the Hol y Fact' ofEdessa, which accordi ng to legend was made direclly from the Archet}'pt himsclU7As the story gOC$, Ki ng Abgar $('I1t Ana nias., a scribefpainler. to the Hol y land to summon Christ 10 Edes.~; but Christ offered hi m a portrait to take back instead, Although in the very earliest account, the Doctritta A/idai, Ananias simpl)' ~pa int5 a portrait of Jesus in ~hoiCt' paints,"l' by the early eighth century, the Holy Face of Edessa had come to oc understnod as Mt dXftPOl'lofl1to\', that is, as having been made. not by 3n artist. but created miraculously when Christ pressed his face into a cloth, Yo According to this

Configuring tile Invisible by Copying the Holy Fau

version of the legend, passed down in many texts induding the authoritative tenthcentu ry Narratio de imaghre &Jesse/la, Ananias was unable In draw Jesus' features because of the brilliance radiating from the divine visage; and.\.O,"the Savior washed his face in water, wiped off the moisture that was left on the towel that was given him, and in .\.Orne divine and inexpressible manner had his own likeness impressed on il."'" The term, £;uu:qElov, used widely between the eighth and tenth centu ries to designate the Holy Face of Edessa, captures this indeterminacy, Plato had deployed the word to mean both a likeness and its impression;)' and Philo Judaeus extended the usage to describe physical images of immaterial beings, Adam as an image of God, for instance. Moses calls the first the "image of God," the second, the copy (t XIlOY£IOV) of that image. For God, he says, made man not "the image of God" but "after the image."'1 AI the turn of the sixth century, Ammonius of Alexandria introduced it in his catena on John's Gospel to describe Christ's relationship to God, "the Son is the £X)layr.iov and aq'lpuyi<; (image and impression) of the Father."" Applied to the Edessa portrait, apparently for the first time by Andrew of Crete, £XJ.!(ly£lov thus signaled the intermediacy of the impression of Christ's corporal physiognomy.'"' The actual asped of the Holy Face of Edessa remains un certain. Judging from versions in the church of San Bartolomeodegli Armeni in Genoa (Fig. 4.6)'Sand in the Cappella della Matilda in the Vatican (Fig. 4.7),'" it consisted of a frontally disposed face, with dearly outlined brows, eyes, nose, and mouth. In this, it dosely resemb led Egyptian funerary portraits painted between the first lind fourth centuries, al.\.O on separate pieces of linen, such as one in Paris of a ma n from Antinoopolis (Musee du Louvre, A.F. 6482, Fig. 4.8).'7 Inserted into sarcophagi or shrouds, these are slightly smaller than life size and figured in front view; considered to be true records of the deceased's appearance, they have been suitable paradigms for the portrait of Christ.JII The Egyptian portraits had also enjoyed an afterlife. A large painting in Moscow (Pus hkin Museum. inv. 5749),)' for instance, was renewed after some time; and there is considerable evidence that certain of the portraits functioned in cult rituals."'l lt may not De mere coincidence, then, that the carliest references to a portrait of Chris! on cloth, a "palium lineum, in quo est effigies sal vatoris,~ locates it in Memphis; that is, precisely where the mummy portraits were produced." Moreover, as early sources note, the Edessa Face was notablydark'<' a distinctive cha racteristic it shared wit hthe Egyptian portraits; although in its thin app lication of color, it differed from the heavily paintedmummypaintings,O) NeithertheGenoanortheVaticanHolyFaceislike1ytheoriginalEdessarelic.ln its present state, the former is the result of centuries of rcworkings; the latter, it would seem, is a copy of it." Both are probably facsim iles of the relic-icon of the .\.Ort reported in a number of sources, induding the twelfth-century ChroniC/" of Michael the Syrian, which reports how the Edessans had offered their divinely created image to a nobleman named Athanasius bar Gumaye as collateral for a loan to pay their taxeS and how Athanasiusthentriedtotrickthem,

71

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.\ [.xing ' "f"" imil<" with "mon', m,,,,ub'" iro"ic.illy ' "f f"" ,u ,< .. ,J '0 ...wk, grooOO. ;"".,J, w;,h;" Wh,,i«tch •• """l'~i". litmlly•• >h;nJ.,w pi" u"." Th< d"k f,,,ur,, "" ,I,., , ~"h , '" f"m..,.J ;",,, fa< .... unly <",-",,,oIlr, by ",...:" .. Df "uI><' ;"'po>«l ",.,,,1 ,.,,, . Th. Holy f ><. of £d<"" h, d . ntmJ l.goOO ., • for An':lOi", in,uifK i. n' d .. wing of Ch.i,,', "dLan, " i"'g<; ond '0 iudg" from ,h .. Cen". ,nJ V" icon cor k, it Jiff,,,,d fund.m -'<ml'''''' mi,,,,i, , onJ < ;'Y . nJ ,m";f,,, <,iJI')' "f th, ",,« " f ,olu,:'" !nJ«J. Aoo",w"fC"'t< d.""'I..,.J ;t . , "unl;k< ,h, ." of P""';"g w;,h "'.... ,., .. . od ,0., .'1" "0' ;" fl of ,h<,

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no. ."".... "IO'.,,1t "".... ,0<..", I"r<";n J "n , ,,,h wh," I>< , ",,,,d kc,,,,,, ~ Ind«d ... l>rn Ni«phoms ukd 'l>r word -""oi">;l" - '0 o.r w• • implyin5 11 .. ' il not o nly "P""'"'cJ Ch,i,, ', ex«,,,,1 fMu,e •. II>< <»< ",;"1 «"""my ,,/ hi, j",.,n,,"''''' Thr in""""" of , .. mi,,,,ul,,,,, but in .. s, in oI',ho IInnu",;",,,," <>p,......,J 'l>r >0"" ,iKulo.V (.f. fip. '.11. '.~ l.'J. '.'~. ,r>< mi, .. w..- YI<\kIi"8"r >!'i.i, .n ~ Ik>h in Chri" ;,, ini. Son. I" !hi• .... y. tho Ed ..... ;m .... ,,,.hI •• ,10"",:< .~I>
""';....! .,:<,'"

76

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Fjs"rr4.8.p",j"Mu,&JuwUl'rr, A.F6.j8~,pajmed,h"",J.

icons. As ea rl y as the beginning of the eighth century, Andrl'w of Crete headed the roster he devised to justify icons with this image imprinted on a doth directly from Christ's face;"' and his contemporary, John of Damar.cus, deploycd it alongside early textual testimoni es to defend images against the 1conoclastic assault. M Pope Hadrian invo ked it at the end of the cen tUTy for the same purpose;"" and Nicep horos cited the HoI)' Face of Edessa as proof that images go back to the apostolic age, indeed to Christ himself,arguing further that , if Chris t S('11lthl' impression of his divine fea lures imprinl l"
COllfiguring Ihe Im'isible by Copyillg Ille Holy Fllee

Once a feasl was dedicated to its translation, the Holy Face of Edessa became unassailable as the archetypal icon. In the comprehensive Pllin/er's Manllal compiled in the eighteenth century albeit from earlier sources, Dionysius of Fouma still invoked it as the source ofaH sacred art." For all its importance as the bridge between Christ and images of him, the doth was nevertheless an unsuitable icon. While the subtle merging of face and doth confirmed its mysterious unmanufaClured aspect, the image's nascent cha raCIer created a potentially problematic confusion of image and physical substance, particularly after the start of Iconoclasm, when John of Damascus and Theodore of Stoudios sought to rescue holy icons from the charge that they precipitated the worship of physical matler.· ' From the time the famous image was brought into Constantinople, the issue of differentiation became inescapable, as the story of Constantine VII already attests and as a late eleventh-century episode involving Leo, the Bishop of Chalcedon, dearly witnesses." Leo hadattackcd Emperor AlexiosI for mehing down decorated church V\'Ssels, asserting that images embossed on them imparted at least relat ivesanClitytothe materials through which they appear. To support his heretical argument, he adduced a trope sung during the feast honoring the Holy Face, which contained a line he interpreted to mean that the image within the doth was itself sacred: "Those to whom you have granted thesanClificd character of your flesh (in the relic ) pay homage to you."'" In response, the emperor convened a council in \095 which confirmed the Orthodox position that icons were "the likenesses appearing in the material," not the mailer itself; and after Leo recanted his earlier argument, the qUOted trope was dropped from the liturgy. Image and object had to be separate. To avoid transgressing orthodox image theory, the Cloth ofEdessa was encased in a gold box and hidden away in the Pharos Chapel, the imperial sallCla stmcrorum. Unlike other icons, it was hardly ever displayed in public or paraded openly through the city's streets. A tenth-century liturgical tract emphasized thai "no one was allowed to draw near or touch the holy likeness with his lips or eyes," adding that "the result of this was that diyine fear increased faith and made the reverence paid to the revered object palpably more fearful and awe_inspiring."' " Moreover, the term t;Qlo:~iov fell from favor as a designation for the renowned impression of Christ's face. When Andrew of Crete first introduced iI, hehad indicated the f:X.I..lO:Yfiov'sdistinctness from thec\oth (N!C~) that bore it;" and th e same distinction persists in the patriarchal leller of 836, which refers to the Abgar relic 3$ "1:0 r;(lHJ:YElOV tfi<; aYl(X(; Ilop<+lfi<; O:UtoU fV oO\JoopilJl."71 Nevertheless, immediately after Iconoclasm, perhaps because it implied an unacceptable intermediacy, the expression gave way. Gregory, archdeacon of Hagia Sophia at the time of the Holy Face's translation, still used tX).lo:y(lOV in his homily, but now only to mean "napkin," that is, to refer to the object rather than the image in it." And, in general, it was replaced by a designation derived from Mandil, the Arabic word for towel, which was entirely free of metaphoric connotations." The Theophanes (ontill1l11l1/$, written a short time later, marks the transition by deploying ~'(IOV tXIlO:YEIOV in one place and t Xllex,((IOV !ltOI]lClYOTlAiov in another." Mandylio ncallsattentionto

77

7H

Cliapter~

F(~urr

4.9. Atl. Sinai. 51. Cm)'~,inf'

MOII/ulery.ieo"

the material object; and by alluding to the Face's eastern past in its etymology, it emphasizes the clotb'SSIalUsasa relic, that is,a5aspex;ialobjcctwith its own particularhistory. The image on the cloth, howe ver, was now considered to be olllologically discreet; and the job of demonstrat ing that belief fell exclusively to copies, which began to appear at the very moment the relic was transferred to Constantinopk Not surpris ing, th e oldest surviving example on knlh -century paired panels in 51. Catherine's rnonasteryon MI. Sinai (Fig. 4.9) is directlyconnccted with the relic's translation.'" Apparently wings ofa triptycb that originally featured a third co unterfeit oftbe relic itself, the panels show Ananias conveying the clolh to Abgar, portrayed in the guise of

COIlfiSllriliS ri,e illvisibie by CopyiliS Ihe Hoi}' Fila

Fig"r(~ , "'. Mo"'Qw.Hi!tQri(,,1

M"i<'"m.Coti,j8l.[ol.19lv.

Constantine VII. In distinct contrast to thl.' monochrome facsimiles. the copied Mandylion hdd in thl.' rukr's hands consists of a portrait of Christ floating over a fringed whitl.' tntilc. Unaft"l.'cted by the wrinkllXl surface and overlapping the cloth·s upper comour. the facl.' is indl.'pendl.'nt of its physical matrix and hencemak estheessential point that it is not part of the material. Introducing the archetypal image, perhaps originally juxtaposlXl to it in the center panel, into the world of time and place, the explicitly man -made flanking copy would have dramatized theinapprehensibilityof theprototype," Andlransforming thedark,indistinctfaceinto avividpaintedportrait of Christ, il would have reenacted the process whereby a drawing occomes a finished work. Thl· eft"l·ct is still preserved in the frame around the Genoa Mandylion; the extravagant thirteenth -century artifact renders the sacred relic visible to human eyes whill.',at the saml.' timl.', kaving it unscrn (F ig. 4.6). A Io.knologion in Moscow (Historical Museum, Cod. j8z, fol. 19ZV, Fig. 4.10), dall.'dtothl.'Yl.'ar 1063," makesasimilardisti nCiion between the imageintheo.XflpGl{n Oll1tllV pictured in lhc scene al the lower left, and the "(l1\'owva Ananias delivers 10 Abgar in the upper right. The former represents Christ's face without a neck and (mo re or less ) frnmal,suggestingthat the visage is aClually in the doth; thela!ter, by contrast. presents a bust of Christ inside a golden clipeus floating on a white textile decora ted with a border, in other words, as an icon A simple variant of thl' form found on the Sinai pand, made by extending the nimbus to include the entirl.' bust portrait, the form of the Maodylion pictured in the

79

80

Cllllpr<:r4

scrond r.cene in thl' /I.'lenologion blxanw the convention form ofrepre:;entation.'" It was cntircly a pictorial construct,havingvirtuallynothingtodo with the Edcssa rclic it:;elf."" The dipeate portrait, a dcvice used since antiquity for rep resenting protagonists not visible to the actors in an imagined drama," was well known in the decades following Iconoclasm. [n the Chludov Psalter (Moscow, Historical Museum, Cod. 11.9, fol. 13V, Fig..pI),forinstance, the dipeatc face of Christ stan ds for the truc icon; the great !conodu[e Nicephoros is pictured holding it in the upper picture while, in the lower scene, Iconoclasts efface it with whitewash at the bidding of the Council of 815. All that was needed to transform this originary icon into an image of the Holy

~

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82

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dispersing it abroad; distinguished from it by material and scale, however, they also aHowed the origi nary icon to remain invisible. !t is certainly no coincidence that the /irst copies appeared during the century following Iconoclasm, when theory demanded that image and matter be separable. Christ's radiant face set off against the patterned doth in the invented Mandylion cou!d hardly be less like the dark face merged with the doth, described in the texts and preserved in the Genoa and Vatican facsimiles. That is as it should be, for the copied I-hndylion was meant to be an impression made from the origina!, not a replica. An aUusion to coins struck from a matri x may actually have been intended; for the dipeate image looks ever so much like depictions on current coinage. Referring to just such a representation, the fourteenth-century typikon of Manuel Palaeologos 11 on Mt. Athos alludes to the VOj.llOl.Hl j.lEttl J.mvoul.,(ou." It may also not be mere coincidence that Slories of mechanically made replicas entered legends of the Holy Face ofEde~sa about the same time. Unlike the counterfeits described by Michael the Syrian and others thaI are explicitly said to be the work of painters, these are always produced miraculously by means of contact. Of the copies, the most important was Keramion of Hieropolis. According to the story first mentioned c. 900 in the LelTerofAbgar 8' and incorporated into the oflicial Narraliohalfa century later, the Keramion was created when Ananias stopped at Hieropo lis on the wayhomeandhid"the sacredpieceofcloth"forsafekeepinginapileoftiles;whenhe went to recover it, he discovered

to

another copy (in""wl":X) ofth~ likeness orlhe divine face. Unexpc(!edly and incomprehensibly th~ divine image had been transferred to the til~ from the doth without being drawn." By generating what the Nllrrlltio calls a "likeness of a likeness," the Mandylion embraced the claims of rival images already in existence, in this case, an in dependent icon revered in a town nOI far from Edessa.· .. Om:e in the capital, it duplica ted itself again, creating a second Keramion."" According 10 yet another account, Abgar gathered together the dOlh and both of these tiles, hiding them in a well, and then - while removing two to Edessa- Ieft the third behind to instill curative powers in the water. The miraculous offsets in clay at once established the Mandy!ion's preeminence and role as a surrogate for Christ, the Archetype of all icons. Transforming image theory into narrative, the acco unts of its origin assimilate the very process bywhkh sketches wer~ completed in painting, or more precisely, by which intaglio seals were realized in physical matter; the Mandylion impresses itself on an earthen tile. Most important, the legends of the Keramion emphasize the insignificance of the image's material support, setting up a copy in an entirely different medium in absolute parallel with the holy doth of Edessa by referring to it as the "unpainted cop yoftheunpainted face."01 This equaling of copy and original peaked some thirty years after the Mandylion was brought to Constantinople, when the Keramion was also transferred from Edessa and installed in the Pharos Chapel alongside the sacred cloth. In fact, around 1200.

Configuring tht invi5ible by Copying thl' Holy Filet

Anthony of Novgorod rqlOrted having s«n the Mandylion and two Keramides during a visit to the Byuntinecapital.9 ' A miniature in an early twelfth-century copy of John Climaws's HrQl'('ufy Llllldrr (Vatican, Cod. ROSS.l51. fo!. !lV, Plate [Vb)") rcpre~nting the would-beorigina! alongside its replica, demonstrates the concept. The backgrounds are reversed; in the one. a terra-cotta lo'tenge pattern en li vens th e white ground. in the other a white pattern decorates a terra-cotta tile. And the faces mirror each other,estahlishing the essential relationship of Mandylion and Keramion as seal and imprint. By representing the two icons as equal to one another in scale and importance. however. and by keeping the actual, rather dark. painting of the portrait heads fret of the positive. negative effect governing cloth and clay, the miniature demonstrates that the image escapes confi nement in the pa rticu lar material. \\lhether on cloth or breakahle tile, whether imprin ted or engraved, the holy face of Christ. not its particular man ifesta tion. is shown to be unchanging. Paimed just after the controversy involving Alexios and Leo ofChalcedon, the Vatican miniature thus reaffirms the image's independence from iconic mailer and the Holy Face's essential ineffability." Beneath the blue wash symbolizing heaven, barely discernib le between the two painted icons. moreover, the miniature actually evokes the invisibl ... archdy~ in an outline drawing. A composite of the two heads, sligh tly larger and somewhat elevated, the ghost-like portrait is literally a (JI(laypa(llia. a preliminary sketch that is realiud in the two, slightly different copies.") Thus, the painted icons not only call to mind the prototypes in Consta nti nople, they also imagine the perfect original that lies behi nd them and indeW all icons. The painted Mandylion and Keramion make visible Ni cephoros's argumen t that icons establish the cha ractcr ofthe archetype just as ~ a seal ill wax could not correspo nd to a different impreS5ion.- They functioned as all ma terial copies did, invoking the divine prototype. of whkh th ey were but imperfect realiza tions, and in turn, the ultimate Archetype. As th e thirteenth-c ... ntury sacristan of the Pharos Chapel, Nicho las Mesarites. expressed when he contemplat... d the actual relics mounted side by side, IThe Lawgiver himselfl is he~ before your eyes, a5 ifin tht prototyp<'. his impression imprinted in tht tOWtI .tId engr~ved into the fragile ,!;iy Itil cl by some graphic art not wrouglu by hand,"" Ind«d, whenn'er the Mandylion and iu mi racu lous replica were pict ured together, they conjured up with sp«ial force the divine image that lay behi nd them. AI lagoudhera. for instance, a copy of the Keramion (Fig. 4.13 ). facing the Mandylion across the central domed space. establishes that the original and offset are equalrepresentations of the archetype because the image exists not in them but through them. The contemporary church of Hagios Jannakis al Episcopi in the Pelopponesos carries the argument still further, subsuming a third ico n and (originally) possibly a fourt hinto the same argument." It presents not only the Mandylion and its I... gendary offset opposite one another at the threshold of the presbyterion but, beneath the Keramion

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The general format of the image may have b,-en influrnnod by a Last Judgment; but the miniaturefocusesonthereccptionoftheblesscdimoheavcnatthcinstanccofthc Second Coming.' The perfcct symmetry of the figun:s rcinforces this point, as docs the duplication of the same inscription at left and right, in placcof thc traditional counterpart: "Depart from me you curscd. intocwriasting firc preparcd for thcdcvil and his angels,~ Set out cleJTlyin his second prologuc. Constantine's intention in thetirth book of the CilristilUl Topogmp/1Y was to describe and depict the universe in a manner comis-

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tcn t wi th &ri pture, not only its physical topography but also its temporal aSp«ts, the presen t wo rld and the world after the Second Coming. For Constantine, Ihf' migration o f the righ tf'OUS into hea"en was thc Ilrf'Ordained purpose of creation and thf' cu lmination of history; and so he concluded the prologue by quoting Mallhew lS, J4, and, severn! times toward the f'nd of Book V itself. he repeated Christ's invitation for thf' faithful to leave earth and enkr heaven.' Moreover, in chaptf'r 247, which tf'rm inates wilh the miniatur .... Constantinf' inlf'grated the Second Corning inlo hi s concludingargumenl, ExCCl'tinthcSt'condcondilion.n~ithcrthcan gelsnormenenlerhea''l:11.

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illuminated by the sun. Separated from it by the firmament and differentiated by a patterned ground, the vaulh.'d upper chamber is occupied by Christ, portrayed in a dipeus to indicat" that he is the Pantocrator "risen from the dead." " An ancient convcntion used to depict a protagonist not I'isiblewithin thefictiv"pictorial space, the circular medallion suggests that Christ is an actiw agent in the world, C\"en though he is not obscrl'ed below. Constructed from the sa me materials,'J the ParOl,sia miniature takes its place as the final permutation of the tabernade scheme. It is the successor of the "real world," the future moment when, in Constantine's words, "the righteous shaH ascend." Flattened and removed by itsabstracl ordering, it wnjuresup the lewish tabernade (Fig. 3.2) more forcefully than does the topographical rendering. At the same time, it figures the diagram's inscriptions. Th~ carth is shown "in which the angels and men now ar~, hencl,thl'pres<'ntwndition";andheavcn"thesccondlabernade,IheHolyofHolies, the kingdom of the heavens,thcfUlureworld,thesecond condition, the pJace of!he

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rightoou s" is occupiNl by Ch ri s!. not .he clipea.e bus. that distances God, bUI a fully formed,hencepresent.ligure. The em hronNl Christ was laken from one oflhe Ilrophcry pictures accom panying Book V, mrutlikelr Ezekid's Vision (fol. 7"r, Fig. 5-5), which Coll5lanline considered to be the ~ foreshadowing of the great founder and ru ler of our second stale. Likewise, .he angels and groups of men were copied from another of Constantine's illustrat io n, th is one preserved only in th,'clcn'n th.centurym,muscript in Florence (lIihlioteca lau· renziana. Cod. Plul. IX 18, fol. 128v, Fig. 5.6)," The iconography, in fact, presents one of H

94

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699.fol,Nr,

Constantine's most peculiar theological wndusions, namely that the angels abide with m ... n on ... arth (V, 245-47). The manuscripts of the Christial! Topography all p... rpetuate this heresy, despite the fact that Photios had attacked Constantine specifically on this point. " The imml."d.iate stimulus for the Florence miniature may have lx-en the acwm panying text, '·how is it poS5ible to wnceive [in a sph ... rical] wnfiguration that th ... re can be a resurr ...ction ofth... dead,and that men can ascend into heJv... n, and reign in heaven, that is, in the second Tabernade" (VII, 94}." But the picture also reverts to Book II, 107, which identifies the three classes of earthly beings as OYPANIA. EnlrEIA. and KATAX90NIA. Here, Constantine introduced into the Second Coming an ac-

Gazing a/ Ihe Fmure: The Parousia Miniawre

damation from Phili pp ians 2,1 0 tha i refers to these three classes and employs the very term s found also in the miniature's caption s. '· A miniature in the destroyed Smyrna miscellany (Evangelical School, Cod. II 8, p. 180, Fig. 5.7) " seems 10 stand between the cosmological miniature (Fig. 5A) and the PQrQusia in the Vatican manuscript, and hence to represent an intermediary sta ge between the Flore nce terrestrial hierarchy and the Vatican Second Com ing. Labeled H BACIAEIA TON OYPANON, it too piclurestheuniverse panerned after th etaberna de, albeit badl y garbl ed in transcription. A bust portrait of Chri st is set again st the diapered ground of th(' heavenly realm, and the earth below is show n illuminated by th e sun and dominated by a central mo untain. As in the Parollsia, angels and mcn occupy

95

96

Chapters

theterrcslrial region; bUl lheyare simply inhabitants, not yetc albl totheSewnd Coming. Th,· Smyrna manuscript contains onl)' selections from the Chris/iall Topogra pilY treatise and so it is not surprising its '·Kingdom of Heaven" miniature is a compusitc of at least two oth.·r d.·pictions from the original cycle. The double-arch sky of the lower realm, what Constan tin.· calls the '·visible firmament." is illustrated in similar fashion together with the inhabitable earth at the beginning of Book IV in ooth eleventh-century copies of the treatiSt· (Flo rence, fol. 90V and Sin ai, 51. Catherine's, Cod. 1186,fol.6sr j." Drawing on separate miniatures in the model, the Vatican Parol/sia transforms the essentially topographic depiction into a vision nf the imminent Second Coming by

GazingattheFuturc:TheParousiaMiltiatflre

showing the angels and men gazing upward and the dead revived. l " What results is the perfect pictorial counterpart to the plea of the righteous in chapterZ47: while Christ alone has entered the inner tabernade and future co ndition, those who obey his rule will follow at the Second Coming. Christ returns to our world as a judge sitting on the mercy seat where atonement formerly was made inside the san(fa snnctorullJ. And he appears "to those watching for him." beckoning them to "enter and possess the kingdom that has been ready since the world was made." Whether the illustrator of the Vatican codex constructed the miniature ad hoc or followed a more or less complete earlier Second Coming is difficult to determine. The subject is not depicted in the Sinai, Florence, or Smyrna manuscripts; but a marginal inscription at the cnd orthe text of chapter 244 in the Sinai Codex (fol. IHV ) dirC{:ts the reader to "examine the Kingdom of Heaven at the end of the book."2\! Sinai 1186 never had a such miniature; Book VI follows on folio 139V with only an ornamental headpiece separating the two parts of the text. Presumably, then. the note was picked up from the model which, like the Vatican codex, must have included an explicit miniature. AI· though min iatu res of the "Kingdom of Heaven" in the Christian Topography manu· scripts are devoid of specific references to the Second Co ming (d. Plate IVa and Fig. 5.4),theadjacent text suggests that the lost miniature W3S though tofasaParollSia, at th e r<'Velation of our lord 1esusChrist,throughtheprayersofall the holy palriarchs, prophets, apostles. martyrs, wnfeuors, and teachers, to be numbered along with those on the right hand. and to hear with them that surpassing and blessed utterance: "Come, yc blessed to my Falher. inherit the kingdom prepared for you from the foundation of the world .~ (V. 1«) An unusual piece of evidence supports the hypothesis that the prototype of the Chris/inn Topography manuscripts did include an illustration of the Parol/sill, a depiction of the subject in a seven teent h-century Russian manuscript containing excerpts from the Christian Topography (Fig. 5.8).11 Like the Vatican miniature. the Russian illustration is composed in four superimposed tiers with the enthroned Christ at the top, holding a book on one knee and blessing with his right hand. Eight angels stand beneath him, arranged in symmetrical pairs: in the third rank are pa ired dusters of men: and al the bottom are eight dead so uls beneath the earthY The illuminator has cOTrC{:ted Constantine's heresy by including the angrls in Ch rist's heavenly domain, confirming their status by adding a seraph. Otherwise. the Russian miniature might be taken as a late translation of the Vatican picture itself, with minor adjustments bringing it up to date. Three details, however, connC{:t the Moscow Pllrol/sia to the Florence Codex rather than to the Vatican manuscript: and these raise the possibility of a common model rather than lineal descent. They arc the staffs held by the two inner angels, the encascment of the dead in mummy-like shrouds,lJ and the V-shaped disposition of the corpses in the lower register. Moreover, the men are portrayed at various ages, 3S they are in the Smyrna miniature. Either the Russia n illuminator re\'Crted to a lost

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"'0...1«1. lo< jl, ~ b<,w, IQ Clod .. in h,,,,,n .fIIl <)II " " " .rod "fll, ""'1'''''''"''''' On h.."'n .........."iI ...... ""'"', Wh
'n«

~

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Tn< ")'1'<' 1"''' "I Ih< V.,i.:.n min;'tu« ""TV<' Ihi' pU'r<»< <id,

the f,.,n" , t the top of the' P'S". disru pt the hi"",hiul """m .nd ",.,ir"d nW;',nl"n, '" , mph>1i"Uy ,,,,hli,h,cl hy ,he tw" p"t hm< .nol "nk< "f f'gu,", i" ,10" I"w. TIl< ri"" wo,ld" may h,ar the ,"mmon, "<)'Und, Th< blurring. or ,il< '<><,"',iY< m,"morphosi' of g!;"" uf 1"" ,nd p"",nl''''W through th, 1>1><,n. · d< and the " nk.! of Ch,ist"'" f,;thful , iiY< in this world, tho icon i, im_g' dr."" ,il< """',,I>< S«und Co ming. Th< < num.'~u. p"Y'" CoOn".nt;n. in","
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ill< ony fm il" m''' pho" IOC comp"ison of .. l><" In I kb ,<w, . Old «>nl""nt .. i<. un ,h, ,:)">11, , i" 11k d< r<1 .. i,,",hip "f 'h, )<wi,," ,..... ",,,,1, in I<,u..k", I" ,h. ubiquitou, holy im_1!" of Ch,;"i,nit), provok.d con,ide,.Ilion of God ', mlu l< ,nd hi, «ht;onsh ip to lh< ~'orld induding the ,h.,,,tcr of th..- ", ,,d. of God ', hi"oric.1 bonds wilh hi, Chosen p.:opl<. of 'h< rol< of S"iptuf<. 110< ""u,, of ,hood , ,nd in!tTum of .. Iv.,ion. "f P" r<', .nd. ;",,,,,,d. "I ,I>< gic. 1 Tho 1toIr """ w., Iii< n1O
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"1<1.p-OO,',

I"',f."

Chapter 6 REAL ABSENCE

Emir Medie,wl Art ami tile MetamorpllOsis oj Vision

I n. . , . Sub1><J petioo lot " ti ,...J...s to"",d int.lg", Accord ing ' 0 brown, it "'". only., 'h, ,nd of 'ho >i"h "n'ury•• 00 no' oarlier, """, 'he pow" ,nh",n' in pi"ure> to ,,'ok< jj, ins pre",n". df,,,,ydy n.~i",d by ,W<' ""'n ' .... ,h,""" , On< ...., ,1>< d,im lik< "",J" i ,,,.~ "p'~u< .nJ h.J '" ;,. ".d, 'he 0",," ,h .. ,;"y dH:l "'" ,ep"",n' ,hi. w.,rld. < or ,I>< in>'i,ibk ~'0,1J "00' th<,e,- In 0,1><, _d •• ,I>< >'orr ,«Iity .nd ..,,,.ibi li,y th" m.d, ,I><m ><> ' PI",. ling .nd. '0 Ch,i>l "n" o..n~""u" W,", '''u,,, .... <J tI,,, rn<'u,<, ~'", n,,' d,,,in""'n,. hu' b,idg... s.p."lning"'" g.p be".,,,n ill ile'>!, .nd lit",,,< . nd tn •• h.,m ;",,,'«n hu" m.""nd th, inyisibl, Goo. l;"w.,J ,I.: <"J "f hi' .,,,,. B~'wn ; n.-;t" ." hi, t,,, i"" '0 '" n,;J." ,h< ; "'pii< • . ,ion. of hi. Ji!tir><,ion b<1w<'< of 'h< '1";'''' SI'H"n,;k,.

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from . 'I"',ilC",. II ~ Lot< .n'iqu< "1"',M>d .," "10 .... ,h.. wiU b<m",jy.. """,un<J . W, ,nd w i, h • w i,n 1<", , I< .. "wi,kIo. .. ," "" IU. ".",1-." wo,lU.>l "1"''''''" AnoJ ~' i"""", look on 10 •

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""ut< .. MI ,Ii< •• im.1 ~",IJ. ,~ pte"'"" k,,~ '""); into ,he bo< ' g,",,,MI. V""di><, to. "~"Jm of "" I ~ nl>," now u\.r, =on ,of the "nun r"" , , . , n.. " n..J he""", • Iittk ""''' l'O"ibI< for l h ti" i. no tn ' "'" ,h""",, , . , ph>cW In'. ""P "n" of ~'<>rlJ, 1>e1J ... "~""', from ", .. , uI"",Id, in n. bi",) by ,I>< huI, 01,,01. m...k ~""'" t. "" "'th. by 'M '"" nt f oc<s ,on ,I>< "',... "'" Or tho: ~""" , , h.o",aJ B"'ut<S of ><""" W,.t...1J bt " "fill "o'!o "I"'" ,hi, p."~oI.o, ,.." ~Wi'y;,, ",lin «n'"' .... ofCh,," .... rty. ~.. ..Ji ", ~' .. "

M", "'" .,

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Thi. '""pI<, "'pond, to Prof.. "" Brown', invi t"""n in "..-~ W"Y>' ""'. by ;uld i ~~ ",me ,i.u.1 evid""" to hi. "sumen" .bou , "",. ",",fmm.tion ofim.ge>"' 'h, !h «n'u,y .nd. ,h." , h, f,~~,,, i n~ ,h. ," ,,'«.m '0 "'hOT "'",,>h.d.!, wh ipOn>< b11«1 A, hoomh.m

f."",,

Early Medi""111 Art mId tile Metamorpilosis 0/\' 151011

105

FigUfr6.J.I'Ilris./Jib.N",.. Ms."",mucq. /"'.<JJ4.{O/· 50r.dfllli/.

Pentatellch (I'aris, Bib. naL,Ms. nouv.acq.1aL Z334,foi.50r, Pia teVandFig.6.t )l and the repres.entation of the Burial of Gregory the Great in a manuscript at Eton College containing the ninth -century ,·ita of th~ Pope writkn in Rome by John the Deaco n (Cod. U4, fol. Ulr, Fig. 6.z)! Although the Ashburnham Pentateuch is neither dated nor localizl.""d precisely, it was cl.""rtainly produced about the time of Brown's turning point in the late sixth or early s.e\"enth century. Made at Farfa probably during the last quarter ofth<" ekventh century. th," Eton Colleg<" Vila GregoriirepreSl.""nts a mature moment of the early MiddkAges.

106

Chapler6

So,,,,

fn lluw;"g vill"" tt<s illu",.,i"g I""" »I,.. i,,~ nL< the ,i'ln '""tu,y ",i"i. · ''''l'''''t tn .. hi, !On. ,etu,,, hi, body to ture de"ku ,I>< [ul[,l1m'''t of'"< I,,"i.mh Con,.n ,nd "'tomb it in the CO'" of .Il.><cu,:tOO l.<:th w.re .I'ccomp.n i,cllo>< OOl\Om "r ,I", p.~<, ,'<" ,,. f,om ,I>< hu,i.J 1'1", ",'n<<< ,I>< '" n' I"", "n .. 1>«>1>', erni>.Jm,d body i, em;.,.] into ,h< ""', kl."tili«! in th, ,i,ulu, .. ,h. "",onumw tho km', KiJ ,on V.lley ", me ,hi", kilom.!",!o the nOllh of T<mpl, Moon' i" I,eob', ~' i .1 pI><e I Fig. •. J); Ihe il l"m in"o, m_y h,"e i,,'ended '0 '''0,,1 'he ..:,u. 1 loe,,, "''',''", 1I<),,"d the ,,,", "".J is< i. derk«d. ,I>< pi>c, '0 wn;eh 1.",li, "",I will jou'''''y. «oooral :IS. ~Iden ~,d,n filial with ")iized pin<~ om, . nd ql''''''''~ " i, , ".n.formed much Iii« ,h... in th. d.w,.tio" of .. ,,,,,I '0"'"",, .och ., th< <"Iy fuuTlh·«n,u,y hYl"'gMUm in Ni"". who« the bod i« of tn, d«d "'r< ,u,,,,und," by . b,,,,,, .nJ ,h,ub. i"h.bi,eJ by bifd, ,,,,I I'<"ocb. 'h< ".Ji· tiona! bi,d. of ".,.Ji", (fiK, 'q),' Tho illum i,"'t", d~.. ly to h.", J .. ~'o "n ,h" "alia of La .. Antiqu, bu,"I" . n~s in ~ th, vi,"",'d• • t.. nt;"n through 'he i,,<" h" ,hov.'n , ,I>< ind",ion of P".Ji« in the ~u,ia! of lomb d .."" on H,'b",,,, Iq:,no.i< 'hat idmti fied the potrimha! tomb" M.. hp< . it<" whkh Ad.m·, ond unw,rup,,'d bodi", ~' «< in,wed ,nd, h th>t Schul>< ..Jd,d the z"1",, R"'k. which rcpoll> th" wh< ""'000 I>p«wl, p< ."i· 1lU1•• oo «1\',nU that ""d, d '0 tl>< phy,;"l """,f,, of );KOO" body oOg.o'U''', i''"' Ir, where ,h. bod;", ""up;.,.] ,h. I""." level•• "i"on ofth, ",,1 P.,";i", < l ife·~i"i,,* "ro,,;" _ .k<">' A , im; l" ,,,,, II,,, I><,w«" body .od !Otil. gr.." . 00 "",,t,,1 "nderl i" ,h.

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108

Chllptt'r6

F;gllrr6.j. /em",I,,,,. >o-calledTom)'ofAb",/"", (.wt/oo.)

miniature in the Farfa Vita manuscript. The mundane world is represented in the right foregroundbythc mcn who, following a legend recorded in thc.Kcom panyingtext,sct about to burn Gregory's writings but are stayed by the Deacon Peter.' The ceremonial stratuillisconstructedat the left,wherc th,' p,"Opic of ROllle are pictured conveyin g th,' Pope's body into the st rigilla ted sarcophagus at the south side ofS!. Peter's portico and mourning him. '" And the ultimate destination of Gregor y's soul is pictured above. not the '"garden ofdcligh ts" of th e Ashburnham Penta1cuch, but heaven itsclfwhere the twenty-four elders and four beasts perpetually sing hymns to the Lamh of God. Of the earthly Eden, onl y th e peacocks remain, th ... natural world hae literally su nk into the background As in th,' Ashburn ham P... ntateuch, explicit refe rence is made in the Farfa manu script to th ... locIISSrIIICtus. Ever since the fifth century, a mosaic oflh ... Adoration of the Twent)'- Four Elders actually d... corat,·d the faFde of SI. Peter"s; indeed, from th," time Hartmann Grisar first publi.h ... d it nearly a centur y ago, the ele"CIlth-century

Early Medicl'IIl Art mul tlw Metamorphosis of Vis;oll

miniamrefrom Farfa has bccn used to reconstruct the original facade decoration of the Early Christian church. known ot herwise only in the state after its remodelling by Pop~ Gregory IX (1227-4t) (d. th~ drawing by Domenico Tasselli. Vatican, Bib Apos., Cod. A 64 tn. fol. 10. Fig. 6.5)." Moreover, bronze peacocks, still pre,;erved in the Vatican Museum. once adorned the atrium where Pope Gregory was, in fact, buried. " Onl)' the hilllb has troubled scholars concerned with the earliest appearance of the mosaic A depiction of the sam,,. basic subject on the triumphal arch ofSt. Pau]'s Outside the Walls in Rome, like the fa~ade mosaic of5t. Peter's composo.·d during the papacy of Lro the Great. featured a portrait of Christ himself. as is dear from a seventeernh -centur)' watercolor copy in the Vat ican (Bib. Ap05., Cod. Barb. !a1. 4406, fols. lJ7V-t38r, Fig. 6.6). " lndl'ed. the mosaic in 51. Paul's showed Christ as the new Sol ;'II';(/IIS, his h~ad radiating light into the cosmos (Fig. 6.7) and his body emerging from the douds. The sewnth-n'ntury mosaic in the apse of the Venantius chapd at the Lateran provides a cicar imprC5sion of how the depiction of Christ in 51. Paul's must ha\'c seemed actually to Ix· hovering within the spacc of the cimT ch(Fig.6.8)."

t09

lIO

Clwpter6

Figure 6.5_Vati(m" Rib_Apos_,Cod,A 6.,

'~r,fol.1Q.

Grisar proposed that the lamb on the fa<;ade OfSL Peter's was a replacement for a human portrait of the same sort, introduced at the end ofthest'venth centurybyPope Sergius as a protest against the Quinisext Council, which had prohibited such symbolic T<'prest'ntallons, the Lamb. Christ our God , who removes the sins of the world, should henceforth be set up in human form on images also, in the place of the ancient lamh, inasmuch as we comprehend thereby the sublimit yofthe humiliation of God's Word, and are guided to the recollection of His life in the flesh, His Passion and His salutary Death, and the redemption which has lhence accrued to the world. "

Be th at as it may, the Eton College min iature does seem to record the fifth -century mosaic on thefacadeofSL l'eter"sasit appeared in the eleventh cen tury.'" Beginning in the fourth century, Latin exegetes interpreted the several passages in the Book of Revelation that describe beasts and elders adoring Christ as references to

Early MedieVilI Art alld tlie Mrtm'lOrpllOsis ofVisioll

III

Figurr 6.6. \:'lIic"" , IM.Apo$. ,Co
th ... Church of the saints that will descend from h... av... n at the ... nd of tim ... and replace th ... terrestrial Church." That idea, for instance, underlies the harmony frontispiece pre<:edingJerome's Plures[uisseprologuein the early ninth -century the SoissonsGospels {Paris, Bib. Nal., Ms. !at. 8850. fol. IV, Fig. 6.9)." In accord with Revelation 4 and 5, the miniature pictures the twenty-four men, at either side ofa kind of apse, singing prais ...s to th ... Lamb of God within a dipeus; directly below, separated from them by the "sea of glass," the four lJ.eastssing "Sanctus, Sanctus, Sanctus;" an d below the beasts is th ... heav... nly krusalem, visibl ... through four columns draped with a doth. A similar concept is rendered intheAliSaintspictureina Sacramentarywritte nand illustrated ca. 975 at Fulda, most likely from a Carolingian exemplar {Udine, Archivio capitolare, Ms. I, fol. 66v, Fig. 6.10 ).'· Standing on the Mount ofSion, carrying a banner and chalice, a personification of Ecc/esil1 trjump/mlls reaches up toward the Agllus Dei in a golden dipeus. On both sides, ranks of angels, prophets, apostles, martyrs, doctors, and virgins float on banks of clouds. And on a narrow strip of earth bdow, Ecc/esia's counterpart looks toward this celestial vision, surely a personification oflhe earthly Church leading two groups of people to direct their gazes upward 100. The latter must be th ... faithful hoping to be admitt...d to this cternal beatitud ...; in fact,th ... man and woman who wipe tears from their ey...s sugg... st that a spe<:ific moment is envisioned,2(1 the end of the Age of the Church described in Revelation 21,

Cllaptrr6

Figun> 6-l- OI,ISI_P,IUI'! (remmlrliClian )

Then I S.IW a new hcawn and a m'w .·arth, for the first hcawn and the first earth had '-ani,hed. and there waS no longer any st'a. I SOlw th~ holy city, new krusalem, coming down oul of heaven from God , mad., rfady likt- a bride adorne<.! for her husband. I h~ard a loud "oiee proclaiming from the throne: "Now at lasl God has his dwelling among m~n! He will wip<: every tear from Iheirey'''' Ihere willlKan end tod~alh. and 10 Illourningandcryingand pain: for the old order I sawnol~lllple in Iheeil}': for ilS leml'ie wa.lhe ';Overcign Lord God and has passed a"",)·I" Ihe Llmb." ( 1-4. 21 )

As Hdrlle Toubert has recently argued, morrowr, the iconography (as found in the sister manuscript in GOtlingen, Universitatsbibliothek, Cod. Thl."Ol. l3J) had a special significance for the church al Fulda, which was consecrated on AIlSai ntsday.:' In fact, wh.-reverth.-apocalyp ticadoration wasrepresented,on the facade of 0 ld:;t.Peter'sfor instance, it establishctl a rdationshipbetw.-en Ih.-actual church and itscdestial pro· totype!: in Brown's formulation, making the uworld inhabited by the holy dead. present on earth." Thus. the comparison of the Ashhurnham Pentateuch with the Elon College I'i/(I

Fig""" 6.11.

Rc"'~, \'~"anri,,, chard

(Mmri I'mirani,forclrra)

Gre.~()rii sus tains Brown's b'1Sic point. A late Antique image of th e terrestrial ParadiK, of the world transformed, cedes to a depiction of the unsccn world "out there," More importa nt than thi s iconogrdphic transformation, h(}\
place or e.. en as a gateway toa place, but rathcrasa pirwreofthat place, asa flat, abstract composition against a golden ground, much like the contemporary mosaic in $;Int' Apollinai re in ClaSS(' ou tside Ra ....-nn a (Fig. 6,1I),!' and enclosed in a ,'crmilion fra me." The effect is 10 transmut,' the narrati ..... and shift the mind to another level of consciousness. St. Ambrose's tract, filcob mitt Ilu' HI/ppy Life. offcrs a textual ana logue that aids the reading o(the depiction. It rcrounts that. bccausc the patria rch had 100 a shameless life, his beautiful so ul did "not knuw 3 withering 3wayn and that, Ul1dJlIl1l~J

by age, Il acob i could. whrn hr wishd, gu OUI from this howl ofth<' body and enter

intothrrcalmsofp;aradisrthJtar(abo,·ewith,·igorofrnind.rrjoi(inginspiri!;l.'lh('ga,·~!h~last

114

ClwPlrf6

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Ms./",sssG·foi., v.

instruction for his burial. Hedid not suppo'" that he would bt>shut ullin anearthlytornh.but that he would bt> receiw:d in a dwcllin g ul' abovc." Like the verbal representations of works of art in written narratives," the painted ekpllrasis in the Ashb urnh am Pentateuch activates the viewer's mind to contemplate something heyond the story. The pictured Eden sta nds for the imagin edParadiseto which the spirit goes whe n it leaves the body, visible now only in the imaginati on, in Ambrose's words, "corporeo isto exire gurgustio, ct
Enrly Me/tiel·tli Ar' /11111 lire MettlllJorplws;s of\';J;oU

liS

Figwrf6. 'o. UJjQ~.",,("jriompir"'..,r. Ms. '. fi". 66v.

painted, knew the de."vjce of a pictoria l image used to evoke." such a spiritual vision. He e){plaint"c-fore)'Ou. [)r~wacityol1 it,lhecityof)crusalcm: la)·sicgctoit,cr....:t watch-towers against it, raise a siege-r~mp, put manldcl5 in position, and bring baltering-ra ms against it ali round. (Ez .... I)

n.. pI"I'''"';' ..... /'YI .• M.. (, l "-"'" &ol. If. Fl. . ... I. prod""..! """,nJ Iht mUlmnium "",!upl (till:< II>< FuId.o s.a. ......... tyJ (rom ,C.""i~si.n modiq;< ...... UCh. 1iI,.--1 inlerl''''''' ...... Gc<1"'T in...,......! Eukid·. >kckh .u.p.ric.u,.

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E/lrlf Medin'lIl Arr mul r/u' IHdamorp/wsis o[Vi,iml

Fig""'6.u. Pari5.Bib.MI..

M5."".IlJo~· f"I.,,·

Fiv~ hundred years later, the illustrator of the Faria Vi'li Gregorii deplored a similar device for the same purpoS{". He used the mosaic on the fa~ade oflhe Valic;lIl basilica not only to situate Gregory's burial in its actual spot bUl also 10 evoke lhe celestial realm to which the Pope's soul has asccnded.'"' The h~;wenly world is scparakd from the burial ground by th e prominenl roof, thaI is, by an architcctural dement that divides sky from ,'arlh. "'!orl' important, it is rendered by means of a work of an. Thus, inthe EtonCollegcminiature,iOo, thcimagcry establishesa parallel between a saintly sojou rn in this world, Gregory's life as pope, and the afterlife in heawn, the Pope's place among lhe saints that prrpdually praisc God. The titulus reinforces the poinl by

comp"ing Grfgor{, tIlin,-"n-yc" reign on ,i>< ,hron, ofS,. I'< J""" Jepu,)'<J ,n ,i>< A;bbu,nh.n, P to <~«, , ,hift ,~. >pi,i,u,1 pl,no. 'i>< I"~I>I,"" 'h, ",,' O I" .. p.in,m: oOOw,ng God', colei,;,1 "',;d,,,,,<,, in ,0. h,f. V"a m.nu",ip' did. Thi, ... " n<>l b«.u« tho ·· ..'-'fld inh.bi"d by d.., h"ly Je.d" "'" 'm,",,« i. 1 ,nJ net"" i"v i,;bk" LIt< A''''qLl< ",i", h>«.u", the v<'y f..,u lt >· fo, "iewing th" wo,ld "." understood to b< fund.mc"t"l~ differen t from til" < I..,,, '«Jui«d onl~ 'Q'ro".1 ' i!;h" tho ,~f><" do",.nd,d.n 01<""d ,-i,ion fur "'hi,1I 'IKh ' ;!;ht ; n.J,~"," ,,,d whkh wou ld b< ~,.n"d only 'u 01,., bl",,"," " II,., <"d of Th i, i, ,.,.h" Au ~ "'" "< " II ,d • i,udk
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"v;,ibl<" only ,n ,0. m;oo, th<~ wor< pron. to f.1I in'o "ol.tty. TO. ,«10 of tho learin til,' POTi, H.timt:> m.nu,uipt illu",.". just th" d.ng tow;ng to "",'u" p,;o';n~' .. "",u,1 p""'"'''''' .'~"in~ ,f><,m.,~, ,",I ,,-on ""F"""ling "" ...11>' (ful. IV. fig. O.'l)" Vktur ing ,f><, dglnh ';:"'1"" "f I'-"kih""'ing ,he idol of L~". ",,-< figure> of "'ptii<.. b.: ..", ond ""min <.rveJ on ,he .... 11, of th,· wo",.,,, w.'I',,~ ror T.n"",u, (h«e Mu"" wi,h h'. g,,,i,.I. ",,,,, .. dl • • "d 'he tW'"'y-ti,-< men wo"hip;nt tho ,un. their Ncj.., tu,n.;:d to'.. fd ,0. Holy of HoUr> with ,h< ,I .. , of <'p i.,;"'n ,oJ 'h< Ark of '"' o,",",n ' 'Qn" i nin~ tile 1< ,hey rud til< word, or Scriptu", lite",)jr. '" too. ,her . 1< ,",,"'n Iox>kin~ .. in"I"" onl~ wi,h ,,,n.1 li.n ,'' 'Y ,no,,,,,,,, ~Io"" ,<,-,oIos"" I",i,,,.d out,,, Sin.i. hi, propl' "h ip«! til< II,.,,",, Sn. thoy w<", I",,,,, ;tt"" Qnly tho '''',,-,nk v,, ~ • ...,-m,

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Early Medieval Art {!lui tllf Metamorphosis a/Vision

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affe't and 1""e. that we have for God and hi, ,ainU. and we retain imag"'l. as we do Holy Scriptll,,'. asasignof'·clH.'ration.-' Appealing to the eycs, images, especially images of Christ, spar k passion; but that passion. and not the images themselves, leads the mind to the invisible Deity. As he sums it up the S}'lIodiw. "[Christia ns] honor the images and picturesasasign ofa piouscompunction."7s SeedsplantedbyGregoryinthclalesixlhcenlurysprouteJattheendoftheeighlh and bore fruit in the ninth. For Hadrian, as for the author of the Secundinus inlerpolation,'" art was essentially malerial and,hcnce, not directiy implicat cd in spiritual seeing_ But its appeal to the corporeal se nses was important because thaI is what engaged Ihe mind, which, once activated, clev~ted the spirit. Later Carolingian defenders of images developed Iheseide;ls in diverse ways. Writing only a drcade after Hadrian, Angilbrrtof St.RiquierMticulatedtheess<'ntialpoinl,writingof m.rblebuildingsandtherestofthedrcoratiollschurchelilhatishine forth for human eyes, so al", they grow more d~.rly in thl-pr.i ..", of God, in various dod.ine, and in ,pi ritual sons" in ou.own and future limes. in Iheslrengthening increaS<'offailh. Godhelping.lodayandunlo eternal.",l..ation -And in the84os. Walafrid Slraho summed IIpa century of struggle with this question in the eighth chapter of hi s Libel/liS ill' Exort/ii5 ..I jllcremel1lis Ijmlnllldmll i'l obsrfmliollibIlSfCc/l'5inslirtlsrt'nllII. And Wl' sec how the .impk people and illitcr;ue, who h;l\"c difficulty with dl'seril'tions in words. call be led to the fa ilh.lllu"ed bya picture "fth<' "a" ion of the lurd and of hi, Illirade~. so lhal they rewal, though thl"ir tl>ars, th;ll thl·,'i,ihlcfigurl-s arl';IIlI'TCSSC dli ked'lUb,onlheirhearls." Under lying thes~ claims was till" bdicf that visible thillg5 wac better than words in el'oking feelings. as lon3s of Orleans put iI, "it is hunmn nalure to be toucht'd less by hearing than byset'ing."'· This is not an anagogical theofyofart; Strabo explicitly WlIrns against t he idea of passing directiyfmm the materia l images to the invisible.'" Indt' ed,artcouldfunction in Christian worship on ly if the feelings aroused by the material image are distin guished from any action such a n image was intended to initiate."' That is what differt'l1ti ated Western image th eory absolutel y from Ilyzantine notions that the icon was transpart'l1t, a window onto the higher rea lity.': How was it supposed to work? The eighth-ce ntury interpolation in Gregory's It'uer provides tht'hest indication, likening Secundinlls's desire foran icon of Chris I to the passion of a man who arde nt ly deoires to....., annthcror wishcs. occauseoflo\·c.lo....., his fiancec; ifil happens ,hilt th e person that he i~ seeki ng to sec goc~ into a bath or church, he i, prepa red \11 followinordcrtowithdrawh,tpl'yfrontlhat,·isioll."

Eorl,. Medin'al Art and tile Metamorphosis o/Visian

Looki ng at a picture evokes feelings for the person depicted in it; 3t the same time, becauscit is unablet osatisfythoscfcelings, it sets th eviewe rinsearch o( th e true objcrt of longi ng. Implicitl y. at least, Hadrian made the same distinction in his two lellers. Paircd Jatf'.ninth·centl,lryivories picture such a spiritua] vision ,onf'repn:senling the heavenly Christ and the other, as Rosalie Green convincingly demonstrated some fifty ytars ago, Joh n the Raptist (Darmsladt. Hessischts La ndesm usrnm, Fig. 6.... ).... The very ma terial used for them, the lavish ly carved ivory. would have had a sprcial appea l dur ing the Carolingian pe riod, when the aulic to n nota tions nfivory and atan· thus had been tra nsfer red toecdesiastic utensils, indudingchalices. pyxidcs,combs,

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.no book <0"''','' SlKh .ppc" "'" th, purro>< but .1>0 the J",,~«, !I.,,,, "'h,', l,t.,b,l~r , u""u ",kJ "'ip",lIy by • ~'m ' '''nU>l<, wouhl ,he ~'o,>h;I"r: bu, ;, al", ,h".t<""d '0 i"i'i,,, ,he f<J'«,I ' ~ '''n"",d . pi..1 in 'p i, itu .. ity, 50 '0 . ig",,1 til< ,",,"«I im..g.' inhe"", i".dic".oo 'h, im,gin,d, ( h,i". ,he ".n~di" "mOOl,. 'he pcnoni.ntion of th. ,w,.,,.i .. ""rid, . nd the . nt!ic.1 .ision. lOOn "i"" hi, 'ir,ht h."d """ hi, '" in. ""'" .." inJi, .. in~ \h" he 100... bu, dO<~ oot ",c: ,nd hi, di,"'><e from God,. di". n« ,hot "'p_",,,.11 "'n't.I I><'n~~ i' wovey.J by d'picting him "or' pl.. fo rm .bo,·" I" r,,:milK.,ion of .\\",11<, £.l" I" M",,,,,,',,. wh., 'h< .n~d , ",how· him i. not tOC face ofCh,;" , IS th, Quinoot ('..ou",11 01«1.,," n<.,<,,",y, "'" ,,', n l.omO, ",hic h " ..... 10 bc:cn .n .ppror"'" ,)'mbol of til< P,,,u,,,,,," but ,II< h.lnd , th, ,ig" ofC".!". (i",i" bk) ""i«. Th .. lohn. who h.d Ji,wed th. pt'opk to hehold ,II< ~b.. i. h, "" h'", ..,lf roo kon~<' ...., Ch"" wi,h «"po«.1'ir,h' b...,,,u,,, the !.ord i" hea,."n, i, <:.,in~ 'h< ,""n.!, ,1,pipOns< of th. fint oo« 'h< 1"""" of GOO ,' W,i'i"S • few d hefo" th;" i",,)' w" ,.,>'«l, Am. J.,iu, of ~"" h..! in", p,<'o:J th" p,,,,i,,,ly'" cI,im .bout "" ing God,

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Early Medieval Arr QII/I rhe Meramorphosis o/Vision

Christ is no longer in the nesh on earth; as the eternal Ddty in heaven,heisvisibleonly in th e mind. Amalarius's com mentary cOntinues, Therc {ollows: Et ,,/'bulll'" torll'" tn-TIl", ttgfflr~",. i.c., I s« thc darkn= of ignoranu COYl'ring Ihc worldly hurts of the kWJ. who do not m:ognizr God as pr~nt in Ihc human Christ. This ~ 'fIOnst rralls Ihc divine nalure o(Chrisl. John sa)'$, ~Mili siraighllhe way oflhe lord.~ This SI. Gregory npounds as follows: ~The way of the Lord Iuds to Ihe hearl, whcn thc word oflnuh is heard with humility~; thus, according to Gregory; Whcn the ....·ord of truth goes to the hnr!. Christ enten the mind of a man: when the same word is heard with humility. th e heart of man mens Christ."

Just as, for Amalarius, the mponses imroduce the two nalU~ of Chri5t. so too, the opposition of an image of Christ enthroned in heaven wit h the Baptist unable to sec him from earlh. constructs the: divine and human Christ for ~thosc: who are: of the e:arth." By assuming flesh, Christ became: visible: and he:nce can be represented in aTt; but images t;een with oorporeal eyes depict only this human naturc:and the rcforc:risk the danger, symbolized by the le:ws who encountered th e living Christ himself with mundane senses. of not disclosing Christ's divine nature. Pictures might serve to estab· lish the proper humility in the mind of the viewt:r; but God is "visibl e~ only "when the word oftrUlh goes tot he heart [and hel enters the mind ofa man in the heart." Here: it must be remembered that the Darmstadt ivories were almost <:e rlainly made as covers for an anti phonal or similar liturgical manuscript; although thc:y formed the front and back covers. they would havt been seen together when the book ..... as opened during the service. According to Arnalarius, Ihe earthly congregation joins the celesl i31 commu nity ofs3in15 at the singing of the Sanctus during the Mass.'" To temper art's power to evoke God and hi s saints as living prcsc:nces, Western image-makers developed systems for demonstrating this fundamental limitation to corporeal seeing. As on the Darmstadt ivory, Ihis was particularly im portant in ('5. cha tological contutsc:speciatly. because. to use Augustine's terms. God will speak to the worthy at the en d of time "not of the face of the body but of that of the mind ."'" A surprising number ofrepret;entat ionsdistinguish art from its invis iblearche· type directly by me:ans of inscriptions. The twelfth·century mosaic icon picturing the Enthroned Christ in th e arch .separating the main presbytery from Chapel of St. aem· ent in Venicc (Fig. 1.8). for instance. bears the versc:s. The image teachH of God. bUI 1$ not il$rlfGod. You mind Him whom you 'KOgnilC in il.'"

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but worship with your

And the same condensation of Western image theory appears in various forms and on other works as well.· ) Of these. on(' oflhe most important is also the earliest, a tilll/us of ca. ttoo for a Crucifixion in the Inscriptiommr chrisrillnllrrml/ibcilusascribcd to Hilde· bert ofLavardin, which implicates the image with Christ's two natures."

127

Chnprer6

But more subtle ways were developed, as well, to make clear that what the faith ful saw on th~ waUs o f chu rches were images perceived with hum an eyes and not the divine presences that could be apprehended through the spirit alone. For ins!ance, in a recen! article on the ~disa ppearing Ch ri st," Rohert Des hm an shows how AnglO-Saxon illumina tors invented an ingenious conven tion for distinguishing between Ch rist's visible huma n form and invisihkdivine nature." And recent stud ies hy Ern51 Ki lz in ger, Hans Belting, William Tronzo, Ge rhard Wolf, Werner Telesco, and Valentino Pace have revea led that depictions of Christ and Mary in the apses of ma ny Iwelfl h- and thirteentheenluryehurehesarerecognizablcreplieasofkonsorrcliqu ar ies that makeexplk il Ihe artifice interve ningbelween pic tllrea nd God.'" In Rome, the del'clopment ca n be traced back to the Carol ingia n period. It is discernible, for insta nce, in alterations made to Early Christian imagery revived during the reign of f'ope Hadrian's successor, leo III , in the Hall of Couches at the Lateran, lkst known as the 5<1//1 dd COllri/io, the ceremon ia l banqueting hall is retrievahle only from written descriptions and a p.tthetic, almos t comic sket ch, made by Pompeo Ugon io just hefore it was destroyed at the end of the sixteent h centur y for the con strUdio n of the Palace of Six\Us V (Va tican , Bib. Apos., Cod. Barb. la t. 2160, fo t. 157", Fig.6.15).·' Th e~aresllfficient, howl·ver,toprovid l'areaso nablycertainreco n st ruc­

tion,"" A mosaic in the mai n apse d('picted Christ charging Peter and I'mll with power to carry his word to the world, a theme continuC"d in the ten late ral apses, whl're the mission \0 the other apostles was representC"d, By impl ication, God's charge extended to thC" living pope, as well, enthronC"d like Christ at the Last Su pper at a tab le directly below, the "memfl C/lriMi." Above the arch, the celestial C hurch was picturC"d by means of the ico nography developed during the iifth c<'!ltur)', namely, in a r... p re~ ntat ion of the Adorat ion of the Twenty-four Eldcrs, based not on thl' facade of 51. Petl'r's (Fig. 6.2), however, noro n the latC"r mos.1icon thl'a psidal arch ofSts. Cos m3S and Damian,'" both of which featured the symbolic l amb of God at the apC"x, hu t rather on triumphal arch in 51. Paul's (Figs. 6.6, 6.7).'00 In other words, the mos.1ic commissioned by leo III arou nd the turn of the nint h centu ry copied the very depiction that Hadrian had described in so me detail. And although one motiva tion was certai nly th e model 's assoc iation wi th Leo's na mesake, Leo the Great, it most likely was also dete rmined by the fact tha t the mosaic in 51. Paul's included an actual portrait of Christ. Furthermore, an insc ription along the lower border of the apse tied the imagery to the setting b)' appealing to God to protect thoSt., who approached to honor the apos tle who "li ves and ru les with God the Father in unit y with God the Holy SpiTi!.""" Thus, just as in the miniature in the Eton College manuscrip t, a scaled ascent was effected from the Chuf(h.embodied in the (liv in gl pope, \0 itsceiestial prototype,re ndered in a picture. IfUgonio's sketch can be trusted, however, God ruling in hl'aven was not pictured as the Sol illVictlls of thl' fifth-century model, bus t-length and among the clouds, '''' but as an imago clipI'll/II, the anciell! device u.>ed to represent figu res not visible to the protagonistsinascene,in fu nerarymollumentstodepictsaintsinheaVCllaboveand,in man y Early Ch ristian wor ks. to represent Chris t in heawn (d. Fig. 6.]] ),'''J Thus, even

EI"/Y Akilirl'iI/ Art IIllIltile MrllIHlOrpllOsis of Visimi

129

Fig,,,,,6. 15.l'
1. 
   when copy in g a venerable I'rutotYl'e, the eighth-ccnturymosaicist s,:emsto haveb,:en unwilling to allow the Savior to Si.>~m actually to be present in the church (d. Figs. 6.6, 6.7). And th~ same reluctance is evident in another copy ofSt. Paul's, commissioned by PopeCregory IV (827- 431 for the church of San !>'Iarco in Rome (Fig. 6.16 ).''''' Although the apsidal arch even reproduces the figures OfSL Paul and St. Peter, it encloses Christ and the fOllr cdesti,lI ere,ltlires within clipei. Likc Hadrian's modification ofCr,>gory's text about prophets and apostles, the insertion of the imago c/ipeillll in the Carolingian copicsofSt.l'aul's was a minoralteratioll that reflected an important new ide,l, remind ing vi,:weTS that, b..>caus~ Christ has left t h~ world, he is visibkonly in their minds.
   
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   i"'" uu, 'p"'' ' ' ' i"w ,1.,,-<, ,,'hm God ', div;ni'1 i. '1mlx>li,«I by . h."d. II "P l>ry br,,"un ,brm 'ymboliu. u,/t,;.. Lik< John 'h< l!.op';" 00 'h, U.. ",,, .. d, ;\"O'Y. ,",,, "",, 00 , ...,ool.ll: herr, ho..-<>«. lh< (oo"tooI i> not . Uppor ,N by, r<, ,,,"ifK" ,ion of ,,,,h bu, m.k" 'h< s.unr PO;"' by iilu,Ooo;1I;..l1y odiN ;n ~I.'Y i•• hown •• 'hr briJs< I>r'",,< n 'hi> "orld ,00 ,he he,,,,,,,ly " . Im. Th, ''''', pr"un'f,c";,,n. uf £,d"w in ,hI L'd;", s..:" ""n,,'Y If ig_ ~.'O) ,""w'! the .. ,," ;J,>: .nJ in I... " ;;"1,, d.!1 eo",ili". 'hr ITW"'''' of 'hr ",;",j" n ", 'n, ",,,,,.,1,, in 'n, , 00 ,n. P<1\< h,.,srlf:01 ... "",d, ,I", , ,,nn«, ;,, "_ Th, f. ;,hf,,1 can 'PI""..h lh< ;m.!\< ofth, « I""i.u world onl]' wi,hi". ~ .. d ."",,'urf ,h .. ind ud,d the mi"c""n" of Ch .. ,, '..."bli.n, d 0,<1<, and 'h, divi", li,urgy. Th, ~1.driJ F.v' "S,ji".'Y "'0' prod"",d in F.. f•• , ho" tim' I>rf"", th , E'GO
   
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   picturesthemsckesthusacknowledgethelimitsofcorporeall·jsiotland,in so doing, makecklrth;lt God's divinity is;lpprl'hensible only through th <'eyesofthl'mind. Whik in the miniatur<\ the illiago dipmta and the contingencies of Ihe Ascension establish dearly that Christ is no longer visible directly. depictions based on the Book of Revelation in churches risked eliding the distinction between thesacrl'd space and th,' celestial protot),pe (kpicted within it. In his po<'m, Hraba!lus had marked this differ,'nce with th<' words, "(uius imago super pieta colore micat"; and, al about the s,1me tinw. painters in lial),begantotreatportraitsofChrist toemphas ize their maleriality in a similar wa)'. This is witnessed, for instance. in a medallion portrait ofehrist in a niche in the right aislcofthelowerchuTchofSanClementein Rome (Figs ,6.17,6.18) , paintcd on top of earlier frcs.coes of the Virgin and Child flanked by saints, mostlikdy during the papacy of Leo IV (847-55) .'''' In contrast to the other figures on this la)'er, the medallion was rendered in heavy mortar that slandsout from thcfab ricofthe rest of the fresco, The r~pain t ing se~ms to haH' b,'en undertah'll together with the introduction of <'schatologica! seeneson the flanking walls; thehlesscd arepiCWTcd;11 the left
   
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   tr~dilions where it was used to signal, at on~: time. both the ,Hlthenticil)' of the likeness and th<' d~puture of th e person from this world."" In the fourth- or fifth-century cllbiculu1l1 of Oceanus in the Callixtus (;ltacomb (Fig. 6.19), for inslance, a l~rgr rectangle was lefl in Ihe fresco, which then was filled with a portrait of the de(eased altachedbyn'lils(el'idenceofninenailsstillremains). ""' From thelate eighth century, moreoH"r.th<'>cparatcnessofsuch pOrlraits was indicated. el'Cn in cases wherr they were integral with the rest of th,' fresco, by means of a border Ihat created the illusion of adistinct pand,as in the ninth-century tomb portrait o(S1. Cyril in the lower churchof San Clemente in Rome Ll oand the portrait of/ohn Xlll (t972) formerlyabol'ethe pope's burial place in SI. Paul's (Va tican, Bihlioteca Apostolica, Cod. Barb. La1. 4406, p. 139, Fig. 6.20).' 11 Framed in Ihis way, the portraits were dearly understood as allusions to illUlgesofthcdcccascd. Ina much-discussed passage in theninth·cenlll TyVill1Gregorii, John the Deacon described a portrait in which Gregory bore, not a circular halo (wrona). but a "likencssofa pic\ure-panel,which is the symbol ofa lil'ing pcrson."l ':
   
   TIl< comb\"'tion <>f p.od.nd dip in the d. 01"" 'hal the pop< - . .., ionS'" o.«rth. Around th< middI. of the twdfth ".tury. NichoW Mrn;..utiu.. pplitd the if. ron"il of. depon..! !om! 0 ... l<J tho im. g< of 0"",. Iikrnin5 tit< Lola,. <>f ,he 4:<0.>«1;'" KW,ding to hi> _ n t . the .pootln ~ commission«! St. Luk< to painl o.ri,,', portrait'" th,,', Ii.. ",non romfontd in pidinm d< paoI, b~t tha, it .....,..jJ 01", fllifill .n .motional ....d. pro"o'idi", 5010<. '0 th< .. in ... .. if 0.,;', ....,.. "",WIlly prnCItion of ,It< "'poo,1a' Kdinp <>f Iongin8 fo' o.ri", in """"I .... """'. on.1>< 1«< ...... , ''1uinllha, ,It< "",row.o>
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   ......1>< "r<>S'1eo <>p"u", fro'" .".h _ . nrc.....,. if.h< fkoh with hu .... n.".. had bcm .n imp«in.!.' i.. I><","n bodily . nd in,dl«!u.oI, . , pram,«I in hi, D< Gmai oJ /i...... ", •• ...t.rn W< .hink ofbodin p"""",">lr ~ bu, J\oW . born,.·'" M.nioc.'i .... ''''''''pI«I todi,,;"gui'" Chr ... ·• phyoicol form from ,he v':'ion ofh':' divini'y in th< La'I< divini'y: Luk had b«n.ided by. divin< hond, "'hil< 10 juds< w ........... , ............. I nyth ins in ......... in i' '" 'Uggcollhe di'; ... In, """k from <0.]00 ,hal':' unlikely...• AI ,he.nd of'he
   
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   Early Medieval Art alld the Metamorphosis o[Visioli
   
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   Figu.-r 6.28. F~rfl!lillo, Sa" Pinro a Valle. rrillmph,,1 arch (ICeD ).
   
   image on 3 rigid support, and hence, easily discernible 3S a separate image (Fig. 6.30). ''''' Immed iately below the clipe us, the invisible God is symboli zed hy a Hand inside another dipeus painted on the intrados of the arch (Fig. 6.3t). As on the Dar mst adt ivory and in the Madrid miniature, therefore, the frescoes at FerentiJlo would have" assert ed that those on ea rth ca n not see" God directly, only in images, and that these images, in turn, suggest to corporeal sight what will be" seen imelle"ctually by the hlesS<'d on Judgme nt Day.'" By the early thirtee"nth ce"ntury when Gregory IX restored the facade ofSt. Peter's
   
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   (Fi&- 6.J). tl>< n«d to ma,k tl>< distinction of a"i>! in tl>< im,sund Christ in no longer __ i>«do,ing Christ. ,he P<'P" __ """"n """'lin,>I ,he fOOl of til< < 'hi""'nth ("""'ry. albci1 in ,I>< >p«. laropo T<>< 00.. tlfId.'" In i. ,....,..)d 0I'< filC1 ,),;" .1>< foc. __ ,rndcml ... leJ'I"bl< <1<"""" rdi", thi. "''''\IfCSS;''''. Soill ...... 111 dist in",iohat>lc".n in .... ';.", "ntil'h< _i< __ .. MUd< ...1>< ,nd of,1>< ni""'",n.h """'"'1 (Fig_6_»). ,I>< port ..;, ,... aIo<> id< foct 'hot wl.:n Torri.i i1!fKd ,I>< rom!""i';"" in ' .... '. I>< pfd'< p,««Ii .... mosai< .),;" hod bot ... "'i .......,..
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   li>< "I«... , ..I I"<>. I" .... Ii>< P....Ji>< pictum:l i. ,I>< Mhbu",h.rn Per"""",," dHl, and ,he: 1><.",.ly I;, .... y d< """'".... .. "'IN ...., .ttrKting ,I>< fai,hful with 'Mi. ooIon.nd ma'rriaI>, Ii>< im"5<" .too ,rmin&.! ,It< .i<wem ""Iytor ,I>< r<>k>sy < bit. righ,h «",ury. Iftl>< ooct«i imag< in tl>< W"" woo a b'idg<, 'hrn it ...... a d.. wbtidlJ< d .. wn up. if a window. 'hrn ""I)' wi,h a ~ pulled I, nu,k< .. i!.'<'IK< ."",.Id ou' '"",r," bu, it .1.., uwn i""Wity '0 t.. ru.port thr f.ilhful in'o llul world, The rmpluli< di;lin<1io. bn...-rn physical and spiti'tUI ;mages had brgun 10 diuntew.1< around ,I>< middk of ,I>< ,~fth «nl".-y, in ,.., ..pr< I"«li in".tled tor Sug< n<W ,boil uf St.· Dm" in tl>< ""'" (Pia.. vnll.'" N Con,itd Rt>< i..", <>I ,"'hrthrt o. not ,n app<>l'o ,II< rorpo.< .neirn' ,it, of ,I>< """'" >«tion <>Ia .,.",,1 ~ with MI."'''' Iota"", 'h
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   do so with spiritual ones." '·" In his view, such things serve only the senses; they delight but do nut sus ta in theviewers.'J.I< Suger's respo nse came in his De admil1istflltionl' (where he dwelt on the materiality and workmanship of the church's ornaments) and in the choir windows." One of the medallions of the so-called "anagogical window" presents an iconography more complicated but not essentially different from the sort of images featured in the Roman churches and on the Darmstadt ivory; the so-called Chariot of Aminadab shows God surrounded by the four evangelist symbols holding their gospels (Fig. 8.1). What is striking is the fact that 5uger's composition includes a depiction of Christ explicitly in theformofanimage;thefigurehangingonacrossrepresents,nottheCrucifixion,but a Crucifix, green in color and worked with vine ornament. OJ. Furthermo re, it is separated from th e figure of God by a veil symbolizing Christ's human nature through which heaven has bee n opened to the faithful, as the Ep istle to the Hebrews announces, "the blood of Jesus makes us free to enter boldly in to the sanctuary by the new, livi ng way which he hasope nrd to us through the curtain. the wayofhis tlesh" (10 .19- 20).' ''' Although the biblical refere nce was important for the iconograp hy, the fact that the image of the sufferi'lg Christ would arouso: com punction was even more significant. Only the feeling of compassion could penetrate the veil of the corporeal world and approach God on the other side. Just as his contempo raries in the south did, then, Sugercarefully distinguished the terrestrial world. containing instruments that ap-
   
   146
   
   Chapter 6
   
   Figur~6.JJ.
   
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   ...... ,.. ,. pealed to the senses, from the realm of the spirit to whic h these instrume nts gave access through affect. But Sugcr went much farther. By choosing to frame the tradit ional Maje5tas Domilli with in the story of Aminadab, in the first place, he appropr iated centur ies of image theo logy that equated the Jewish temple and its utensils actually ordained by God with Christian images. '41 This answers the picture in the Paris Ha imo ma nuscript of Jews slipping in to idolatry (F ig. 6.13 ): Christ has replaced the temp le and its vasa sacra with his very person, making images possible as in termediaries between ma n and God
   
   ODd ..... ..........,. irulnun<1lU of <",,"lion. Th ... ,he CruciIir ..... from "'" Ark, ......... wd wIoh d.... nI< rin«aWl ODd (orir;inalIy) rocI.nd the . - . oI'tht Lew, Mot... ' ''. the
   
   . •~~ Ioofi"" of Iht onoterioI lnslfUH'Irn" io rri"r..":",, by thc ...... oi .... 01 .... a-wt{Mo · "tond ......... p : jL<.. in~~ .......... ............no ~.' .. Su ." • "',,..... 10 "'" "po.." ...., 01 Npp/Ift. drar bIw .. "'" --,' "ii' "" _ _ _ _ M--.Iod so,..; ond from which !'>okicI ...... d bo)orod thla wurid,'" Ib" ~ bIu. JLuo iuoIf _ ......." to be on denti.. inauu ......1. _lop .. 10 "'" 8<"" "" .... Eocti. de o..nm,.r.. thaI d ,.,ibtdln.f......... p..., S·. 7
   
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   to 'm' .r'T "", I.
   
   liWr, ·/i11cJ _Id '" Suwtf', .mbublut}' ;. '0 , ;.. I. It.. pl" ••• I. ,h. «>< God wi.h on dod dffint:nis 1'<1", polo m<'te"> 1.0« An.i'll>< I"nicip"'ion in • mUM'" ' .....funnuwn; u( ''',u'''', through wh"h d... bI<M< ....t of .""., ..... , it ;, .dJo Irish« ,hon , .... ""I'O,cal worM wltidl imosc< It.., P"""'m...ty t...n ",n"n«0 <x>wd ".'" 'i>< "hoveI of Iti, body" ....,. i> a n. lOr • ""'''''n' .. Iusl, "with of,lt. mind. 1""",,n,1 mlt'r ,b< .... Im. of ~ .....w. 00..."
   
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   " FACIES BIBLlOTHECAE REVELATA"
   
   Carolingilln An as Spirihwl Seeing
   
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   d~.in8 the..
   to isnit< ful l·suI< ironoda<m in C>roIingim Goul
   
   did Gt.-g. Off. 1m""'" P"""l". ,Iwn ,..., cen' torr ' 0 illi' .... '" ·~int...! Ii .......... ['~I mad< fur tlw inilruland th< "on... and .., learn ,.1>.1, had "",,md."' F....:q>< f", .",h ;"'nod.." .. o.ooi", afTu. in. ""n ,h.ooc 5<"<1>111 hostil< to imap «d<-d to ,h. (hu"h • ",I'o<»-i,y.' Th«>J«.>1. ' .. ,.....! on wlwtlwr ric'u", ~"ki . ~,...! in tlw -rm. in ~"irulol. on...twrlwr ,....,. to world! bcr<>nd .hi> 0.... 1'0"", Grhip.' Bu, tho qo.o<S1i.un remaio>...t ............ pktu.......... to be .... ri< •...! ad ..ivdy '0 dno< T~to how ""r< <MsmY', pr«hI. ,,, "'" .n.1pp~ of o."",n","i", h ... .,.,.'. und
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   oill><m Itol ,.. bn ro .. ,i« Ih"" in. book. . . . From Ih;" ....
   
   ............ ,Iu, ... '''''"'''I'ili' ~ oi"", {';'b {runt Script." .... "",.-..,.. poetw
   To """'''''pLtl< a.r;". ""'" it "" r-o .... wildom of ,,,01. "" to < pt~ """" 1>< .. 01, '"'l'ak "" "';1 r-n tbot I mq _ "" fTIUY<'b tItltl orriot from lIrIio ...·"
   
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   of "";ng n«dcd '0 """t""'I>Io" God.; It", rKt ..... "'.... only '0 .... ,," .ru,t '" C"\1"~ rio< obcw< pIt)"lkal " Latu Otroli"l!ia.. mad< ,h. sam. ""int. usu.olly only implidtlr bu. O<>m«in ... J;",,"y. Fu, ;""'''''''. wril;", .round &'5. AgOt>.>rd of Lyom .... in .. incd b«;oUI< .11 i""l'" ." ",.d< of phyoiul ,pp<.1 i, rnlirdy .... p
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   Holy wr~ rid'" ink<prcl. tion whrn tl>< it>di.id ...1 boob of til. Sibl< ar< I'<> ... ,h ""..totion i> pootibl< in pi tl>< """k of holy mrn ;"",it<'." id ot ml"t
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   "''ho" P.uJinu~ 11«1<, and ",ho:" 1ik< Ih<m od""""" on w< nl1on M~ 0.1>0 B VI), Wr in>l.o>d"", O«'M<S m...... 'inS vin ... lly ""<"'Y ph, ... of ' ho oe<;<>m· P;O")""& l<>.', but""-'" "ru(1 u...u pn:wid< • Ch....... ~ """""II, Qr,ho: 00 To .....-"'t ..ory .nd illdudt'd nu m o..;,.ti&n t<>ding 1"-,.." ." fur ;rut.!>C<. th< c..ilO, idrn,;ficd .. a.,;" by . ,,,,,,·nimb ... nd .... (fo/, .II, Fis].1), .ppn .. ""I, i,l lho: op..,i"! .ft..- 1110 £>:r uJ...,,, INm Eden, i. ,.. ,.-.,.;1 by. hand to .ignaI ...." •• ><"I"",;on (rom God', rr-nu. Li~. ' '''' Itiumpt..I.rm< (Fip. ~.lKd w;th._it
   
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   Fig",e7_" 1~"'''Q''. If,ir, /.i/,. C",r"" .\ts.OtJ.v/lV/,[Q/.J'.
   
   during the tirst half of thl' fifth cent ury, presented a vision of th,· world to come. drawing on R,·"riation4and 5 to picture the twent y-four ddns "enerating him "who is coming with the douds" at the end of time. And. in accord with the commentary of VictorillllS ofPetlau," it identifies the e1d.:rs as prophdS and apostles; the men at right with col'ered heads are lews. thebarcheaded men at thekft. Christ ians.Bypro"idinga typological reading of John's r,·"riation of!he end oftirne. the mosaic tethers the narrati"e cycles painted on the nal'e's lateral walls to one another, r.cenes from Genesis and Exodus on !he right and episodes fTOm Paul'slifeontheleft;apic turedemonstrates !heesscntial harmon)' of sacred hislory, wh ich will be rel'ea\ed in the final days. Heirs both 10 wrilings that proposcd an e1e"ated ambition for art and toi nterpre-
   
   Cnro/'''g,n" Arl '" Sp","'n/ Su'''g
   
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   im'!I'~ Ih<""" I",~, w"in of Ih, Cl rd i n~i'" .~, pwmo,cd 'pi,ilu.1 I'u '1"*' fm )'K' u ",_ Chid. """'g 01",,,, ",.I. hy ,;" u" or h i. "., U; "" '1"(:>' ion, "f bil h til< moil w""'l uon I i.1. "'.. 1'01'" Hro ri.n I. U..J,i,,, "" do", n hi, po,i' .,,' i n [1>"0 l<1tm, tho ,,-,-.. ll>«l t~ the Bp.ntioc ,ulm Con".nt'n, .00 Irene .nd , upl"'ning ,he; , intentKln to rein", .. im,!... ;n the Ea", and hi, «'1'''"''' '" the [ ,h, <" ,0/,,,,, "";,,,n b ,h,n. J,:,,,,k I,,,·, in wh;,h h< , iJed wi,h the G",k p".ilio" ..1<1"ed " ,he s.co"d C" ""dl '" ).;;.,..,," ""p,d.J ly ;n II", I", ... lh< Pope ,died h,.vily on G,,~,y til< G">1 : ;00,«1, he ""',nt so fa! " to tty '0 "1,,,.1< Ch""'n"s,,., fmm 'h, ",,,,,, ,'xtt,'n>" ,0n,l<",n",o", of im'~,~ in tIK- /'i/", ,"ro/,"i, .1t
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   The 1'''1'< .1", , i ,,,,I i ""or",<' "fth, "'1'<' n""" I J"'WC' of i m,s<>. I k q"",' h til< ,""count in the Am of _"/""" '"p""ing .... w pic,u, .. or p,,,, ,nJ P.ul hmu~h' before [h, .il in~ ComtJnline h,d confi,m«i the <mp<'o,', .1"'01 of lh< 'wo apos,b, .OJ h, .I",,. (rom ,hi, ,i>< ""ne lu'Kln ,h .. pi"u,," Of< pm icul"ly "",fu l in k.din~ p.g. ". '''''Y fro,,, 'hei , """._ Thi, "... i n '"'I"" '" '0 tho /_,bn
   ,',", h,.. ;,,~ 1.uJ ,,;.J. '"" , .. in> of 1"II'" i"", ICo",""' i,,,,] ~'" U", toIe '" J i" ,," thoou.'" tho ""oJ', '1' ."""'~ 'l'i,I, ",I ~"r-.k". "'" 0,. "f 'h< c"'f'".1 i",,!!<, ,of thom h, w" "yl, . ,k 00 d;"j"fU i' DhiJ.k" ,h;"~, "
   
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   Pop< fl.d, i.",< ""'" exl''''';'''' view of i""go> i""11'."" i"", C.,,~i"gi .n , "i,ud.. b,· 'h, ""ond qu,,,", of the ninth <enlu,,- At the Cou",,1 '" P"i, in ~'\' for
   
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   of Co p1 w .... _ ..ad buI ___ ..., qouIifyina IDtI'rJ'"'0' from PoWin ...·!ma' ~IO "trud. from idIt ........... ..... pomr ... of thr _ of thr I.ofd.. .. ADd ..... Iht ...... ti ..... WoWrid Sorabo. while ~ Gr .... t thr Grnr', rlicrurn, .1>0 rikd thr k8',>4 olConoworirl< .. on .....",pIt ol_ rO
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   ..,. &r thaD thr .,......... 1> 0)( d~""''''' bo~ . .... woo thr I'"in'",' ..:,-..1 ..;..orion 0)( ,be lim .."",,, ufimqtt 10 who, hod bftI\ ....... nd h.tn\'I<> Siblt 0)( co. 8]0 (110"". Monaotuy of S.n Paolo n-; k _ 1Iibk ... pMac<.
   
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   !Iu •• " ..:,u>1l, ......... iI. " ' nlin• •ht ' ol ....'I .1It Old 1,,'.,11<11' oocrilKn .nd >UOd~ Tht (",,,,i.p«<'. · ' piri' ual ItofChorln ,bot Bald in V.ru (BibiiorlWqut N,r......., .\.11101. , )" and .......... thr --,icaI 1m1f"1' .......W d ..,. donn. Tht T"""",1Mr picrurcs. ito tuM. Wft<.oo
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   pop« obou, thr F'. . 8ibI0. ,t.. pKllIKS ill ohio vea' book lrO'rill rhr 01 God', ..t.oI< ........ ,;.,.,;., and ~ ~~ .... h20 ~intd .t.. "'"" in whidr mwicoJ ....... ' In, _
   
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   Fis. 7.j). ro. in>tan«. DovinOt."" the lewioh monarch is ponroj'«l .. til< .uthor of Old T.... omrn, >WXI .... , prdiBU" Christ. At d... >am< 'im<. I>< be.,. ,I>< f.a.J r...u=.nd Crown ofCharle. til< e..ld (fot. ilJr. FiJ. ].Sl. rrinfomns. poin' IUd< also in til< dtdiatory ............ Wt tl>< C.roling;.n king ;,. ....... o._iosrn Prop\t.M And ht i, ohown dan.cinsnaUd •• n nhona,;"" to the In the PKt«r frontispi
   Y"""lI monorm tohumbl< JriJruiow.. and .. r"'" p;ctorial dt:vicco 10 tie tilt ..,.. .... pM« of Script"'" '0 0"" onothott of aU lCtiptunl ..,i«o, III< lurmony lIu, the "",do .Ion. do not _0<1. a-II< ... foIIowinB up -.....ooru by A. A. Schmid • .o.rd>tr 5t. Oair. and D. vid Wriplt. [""'" alO<> .!about«! Ihi> ..",mrnllh","sh'" onmllll,ion of the fronti>p;..:. to ,II< Paulin< EpiJlleo (101. ""0. fis- 7.6 J." In thi> rag< • • nnr idrntity offacia[ l'atures--baId,ns b...:I with widow·, peak and roundrd b<ard_ atobIisheo a parilld ~ Paul p~ arn.t., on< law th< 8
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   dbern..:i< 11'01..1". FiS- M). M.rl«d by c........ d'" Old "" ,",.", lenl of mtlian Ch~rP'ooio""ry >C'ivi' ...... In thi.chapt< • .runG""","", Bibk in London. il< w-ry < abNcy of fr
   a1..,.,., """oJ, \o'U"
   
   cornpkt«i • dcniud by fuII, pos< minia,uns." Ofi" four pkturn th< Grn..u rrontispi
   '0
   
   or God In'roduci"3 E... to Adam in tho oany Grtrl rod<. ( F~_ 7.') C(J
   160
   
   Clwptt'rJ
   
   to the right, where originally Adam was shown standing. It is doubtful that the actual .sourceexplicillyidentifi<·dtheCTI.. atorasChristbymeansoflh~CTOSS nimbus and staff, but th~ point was not missed; the caption accompanying this miniature r.:fers to the CT~atoT as "Christus" and "redemptor." That Christ was the agent of Creation is an old and widely hdd article of faith, traceable in the first chaplcr oflohn's Gospel and reiterated at the end of John's BookofRcvclation ().1.6 j; a cross nanh·d by an alpha and omega at the head of the titulus rcminds the readcr/vi"werofthis bdi.:f."' The caplion incorporatesot hcrtypological references,aswell,callingthc man "prim liS Adam" and the woman "primus EVJ." I I And these figurative readings, tOO, aT,' reinforced pictori-
   
   C(!ro/ingilm Art liS 5piritlill/Srrilig
   
   Fig"'<'7.K1~)",lon.l!rjl.
   
   Li/, .. Add. Ms.
   
   "'5~6.fol. 5)·
   
   ally. In the final scene Eve nurses a child beneath the bower and Adam works a fidd irrigated by four rivers. The former motive may well have been drrivcJ from the Nouv. acq.1at.J.334.fol. AshbllrnhamPentah:uch (Paris. Bibliotheque Nationak 6r,Fig.7.9),asixth-or St'venth -centurymanuscriptthJl.liketheV:lticanVergil,seems to have bel'n availabk in ninth -century Tours." If so. th e motive's transfer
   "'h
   
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   d ... ng«! from ........ 'i .. ol a pr< M'i<>'" Domini. wh;ch i, rif. with ....om><eo '" ,I>< ri"f$ of lif<." 1M fou'.p"n II ....... <m .lIude '0 11>< G..ndval "',"u>< lif. of Adam.nd ["" or< through ,I>< caption .nd pic,orial in, .. poI.a'ion, in,o ..idtn« ofGo.!·, uni,.....1 pl,n.
   
   ".,..fonn.d
   
   Caroli"gi"" Art iIS Spiriltw/Seeillg
   
   163
   
   Fig''''' 7.10. Lond"". Brit. Lib.. ~,f,1. Ms. 105-/6./01. JP"
   
   If the Genesis page reveals Christ at the begin ni ng of history. the Gospels fro ntispiece (fol. 352V, Fig. 7.10) presents him as the fu lfillm ent of prophecy and agent in present times.,J Enthroned in heaven, Christ is not only the source of the four gospels that communicate his new law to humanity, he is also the realization of the wo rds of Isaiah, Ezekiel, Daniel, and leremiah. The titulus underscores the theme of biblical un ity, The heayenly ki ng gleams worthily. and the prophets lalso shine l He re, and the fou r evangel ical herald ~."
   
   ChriJI. hi ...... f h..... n in roy>ttry. ".,. p«d<>t ...... .,.",..,_, p«d<>, ...... ond ~ in ,t.. L.>. and .... p1Upl>. lb... ~ "b\' ,h.I'""f'bd' ....... <;all<.! --.... (.;.koleo, . hoc
   
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   p'¥. "",,ked .. II>< ttrmo,W world
   
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   , .... bluf pard"".",. in f"". ,.... folioo iudf kft L1npoint< 10K1Ig< ;. the mo .. ri.ol On ..to"h ,h. Biblc is w,illm In<.,........ /'I.al", ' .... , dncrii>< ...... 'imu bo,";'" t"', k«p> th.m r~ from ,I>< d;'in. pm<4irp'ic .ioiQo '" G<>(11U.0c< of . U ScriptU1< was I n onc;"", p rKli«. IS the triumphoJ . rdo in Son Paolo .""'''~' but ,I>< immNi>t< >our« of the
   
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   Gnnd>-.lllibic I«m. '0 h,,-. hem • 1,1'"' ul"G< un. ,"', ~.I>< w.;Ogol1 .... ('''''1'"'1~ prodOKC"d" To"" f.... )..... u ri;', (S'U11S'''.
   
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   fun 8 iM. by onnnJ of pi<1o';"l in1<rpob. ion> in ,h. form of >l.ndin~ proph<1 ,h ..... uIt i•• pcrfC<1 <:nmpl. of th.e kind of opiri'u;d oceIn8 I"",,,,. described. o./wwi",.1>< Dible', ..-.odor tl>< 'rue m •• ning of proph<1;" words.. whid>. I>cl'or•• only ,h.
   
   ·""'n'..... """"-I ,.,....
   
   Tho .... of ric'u ..... o 1«.11 "thingo t"', ..... h.opp< ...... ,im •• '0 in1<rpr<1 ,t.o.. . hing>. i< ~ mol< "'phi"i<"ed in ,h. ,...., "' ...... G.. "",""I Bibl. mini.otLlfU. Th. fi ... of,h.,.. (fol. '1_. FiS- 7.<1). p ~ bdu", d •• IIook ,,r f.u>d .... r."."..n" tw<) n",n ... n" doKril>«l in tl>< 1'rn"1< Uwon Si""i .. 1001"'0 Ioob on (Eo: . .... _.1 ) and Moocs ,..ding tl>< law to Aaron. 0\..0"",,', son>, and tho l.lOdit ... ""in in J.,.h ...... pm<"'" ( Ex. ....,~ff. • nd 01. J":uJf.). A lit
   10k .he ",in;","« in .1>< ""rly .k>~,,(h· "".urf Adfric r ... ph ..... (London. BritW> Ubr. ry. CoMo. M .. Cloud; .. B IV. foI. '''Iv. Fis- 7.~)." W\olt diLIi"'ui....... the Gr. "",..1 Bibl. P'¥ i> th< .pi,~ .... reo<
   >0 .....10;",
   
   rri<'''IO''
   
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   ... mt."
   
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   10 \ "H.r\ol.c..llla
   
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   In thi, iMlan<'<, it;'. word_ the n ...... )osII.. bfidgn hi"oricaI d<>piri".,1 ,igniJinnu. In ,he k>w<, S«"n<, whi Go.f. 1lI...r< labftl< ti,ulo" id< Yn><S from Dnrtcronomy inxrib<w 1:1..." "'riot idrntifi< o>IJ Lo .... "1<» ... " ~inS b..do 11>< """oin reaiLo ,he P~Km
   "'ri"
   
   ,ha,.
   
   ClI
   Fis "rr }./J. /.o""",,./lril. LilJ..A.MM5. 'OH6.P,i. >j '·.
   
   Th~
   
   blood uf I,·sm mak,·s us free In enter hnldly il11() the '~nctuary hy the new, living way which hch asnpcncdf()/()sthroughthi'curt"in.thcway ofhisflrsh.
   
   And as Schmid and S1. Clair have noted, the portrait of'·Moys[esj" is distinctly that of thl' Apustle- Paul! ' readily recognized (rom a well -estahlished trad it ion that includes, for example, thc nearly contemporary mosaic in Sta. Prassede in Rome (Fig. 7.14) !~ This characteristic portrail appears in Ihe Grandval Bible itself, in the initial 10 the Pauline Epistles (fol. 4111', Fig. 7.tS );" and it was also used later in the First Bible of
   
   Cl!rfllingiml Art <15 Spirill ioll S,>ci llg
   
   Fig,,,,· 1. '3. Lo",IOII, /Jr;'. Lib., COlin " ,II,. C/(II"li", U II,
   
   [01. IOj\·.
   
   I
   
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   ,
   
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   .
   
   Charles Ihl" Bald to identify thl" Old Testament prophet and New Testam ent apnstle (Fig. 7.6). Thus, the Grandval Bible mini at ure makes the S;lme point th at later was expandl"d in the First Bible of Charlcs the Bald: Paul succeeded /I.·loses as the messe nger of God's covenant. SI. Clai r goes so far as to suggest Ihat Muses' unusuallrvitJlion as he receives the Law may refer In Pau]"s elevatiun 10 the thi rd heaven. evidence of Gnd·s favor often likened 10 /I.·l oses· ascenl un Sinai." Though named in a label and, in any case. easil y TL'Cngnizable as th e I.'wish high priest by the bells atta ched 10 Ihe hem of his long mantle, "Aaron" is tran sformed inlO a Christian minister by the maniple he holds, of a trpe held also by the SI. I.-lartin·s ca nons in th.' dedicatiun min iature uf the (Fig. i .5). bu t in thi s case made of go ld to
   
   167
   
   168
   
   Clmptrr 7
   
   Figu/'f 7. '4. Romr. 5111. PTilsserk "P'" IMo",ic. demi/.
   
   signal its mystical significa nce.;' It is worthy ofoot~ that in the Carolingiao courts, at least two archchaplains, Hildibald and Hilduin, were nickn amed "Aaron."'" The crown and scepter, however, turn the pictured Aaron specificall y into Mekhizl"ilek, the "rex d sacerdos," who accord ing to Hebrews 7.1ff., superseded Aaron and his cult and originated the Chr ist ian priesthood." A well-knowo spiritual reading of the Old Testamento" app lied to the Jewish "ponti ficem summum" in the Libri caro/inj," for instance, the typology was also common in art."" But Mekhizedek's face was neither sufficiently distinctive nor familiar to be iden tified solely through portraiture,"' so the illustrator secured the reference by means of attributes. The tension between the players in this sacred drama named in labe ls and their ident ities established by visual cues calls to mi nd the ico noclastic argumen t about sacred epithets discussed by lean-Marie Sansterrc."' Even more, it evokes the compariso ns in the Libri caro/ini add uced by Freeman," in which, Theod ulf conjures up paintings of beautiful women, superscribed variously with the names of pagan god-
   
   Gm)/iligicmArt{lSSpirillJa/Sccillg
   
   169
   
   FigMf J. i) . L",,,I,,,,./lriJ./.ilJ..Ad,i. M,. I 05-<6·f"I.~"'·
   
   t.."~(t"Tnl" C'r-n~n·
   
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   UO~tr CTp,~", .(do F"~ desscs or biblical tigures, to pro\'e th;lt the value of each depend son thetituli not the images.""' wter Carolingians r<"!urn~d to this argument; jonas of Orleans cites Claudius ofTurin'scri!icismofpaintingsofh<'ath<'ng()(/sandChristian saints that differ from one another only by the inscribed names!! The Grandval Bible miniature draws the opposite conclusion: the superscribed names in the Exodus picture pertain 10 Ih~ literal account, 10 the sp<'citic !ext that follows the representation; the images disclose the story's spiritual signiticanc(",its position within the Bibleasa whole and, hence, in all sacred history."" One oth("r (catun' merits notice, the elaborate arch itecture in which the dclin-ry of the laws isseI. Likethl.""structuTl'bchindl\lo.>CsAddn:ssingthelsr,lelites in the (f ig. 7.7 ),
   
   170
   
   ClIlIPtl'r7
   
   F;g"rt7.J6.PIJ'is.Bib.MIt..'\/ .. noll~· ""I· J.H· JJJ.I,foA. IJ7'·.
   
   the building is surely the tabernacle.>. though here. the dirt ground and the edge of the tiled roof indicate tha t it represents specifiC'.lll,. the atrium where the l.evites were ordained. piclUred also in the San Pdolo nibl ... (Fig. 7.1 ); in this case, the uwcta umao· rum is at the left and the Oll h: r elllrance at th .. righ t. The tabernaclc's fort'Courl is ccrlai nly an intrusion into the co re narrative: it does not appcarint his way in any other rcpres-t ntation of th .. event, not even in the two ot her Caroli ngian Bibles. As Dorothy Ver kerk has pointed out. close pa rallels for the round arches on columns and fringed cu rt ai ns appear in Moses' tabernacle in the Ashburnham Pent ateuch (fol. 127", Fig. 7.16)."' Moreove r, Kohler observed long ago that the elalmrate ceili ng with its seve n· part coffe ring has a striking ana logue in the mi nia ture of the Deat h of Dido in the Vatica n Vergil (fol. 41T, Fig. 7.17). though what interested him abou t thi s similarity was its bearing on the date of the Exodus fronlispie<:e's hypothetica l lost protot ype. which KOhle r belic\'ed to ha\'C bema Bible made in the fift h cen tury for Pope Leo thc Great." [0 fact, the model was less likely Ihis interior set ti ng than the poortico of lati n us's palacc in the miniat ure illustra ting 1I" "I';iI (fol. 6ov. f ig. 7.IS ). which displays nea rl y identical cofferi ng an d also nut«l columns an d an unpaved foreground. latinus's ~ te<:lum,~ when' sacrifices were offered and latin king§ were orda ined, offered a perfect co unterpart of the "tectum~ of Moses. an identit y of word and funct ion aga in bridging two images. Not an aspect of the Early Ch ri stian model. then, but a ninth -ce ntury invention, th e mergerofa lit .. ra l represc ntation of the tabcrnac1e from the PCnl ateuch source with a classical temple from the Vatican Vergil predicts simi13r fusions in the and, like
   
   Carolingian Art as Spifi/lwl Seeillg
   
   Fig~rt 7. 17.
   
   111
   
   Vmj,,,,,, B.I>. Apos., CIId. '". ~.foI. ~".
   
   tht m, may have had meaning .... The assimilation of tht dtsert tabernacle of the Jews to a venerable Roma n temple rei!nacts the merger in the' Ch ristian church of the cCc/e'sia ex lirClmldsioll" and «c/nia 0; g.-mibl/s. This typological read ing of the Exodus min ia ture is pnplrnng in light of evidence that just such Ch ristiani7.atio n of the' Old TC"$ tament seems to ha~ been force'fu ll y rejec ted by Froougisus, who was abbot at St. Martin's when the Grandval Biblt w.JS begu n; Froougisus's theology seems to have includcd the sta rk claim thaT the Old Testam en t prophets were nOI 10 be designaled as Christians because Christians co uld nOI have ex.isloo before Chr ist's In carnation."" Give n thaI this argument is transm itted only in a hoslile lener of Agobard of Lyons, wril! en aro und 8JO in reply to Frtdugisus's att ack on Agooo rd 's com petence', and inasmuch as the' position is a herc-sy explicitly re'jcctoo by Akuin,·' il may not accurately reflect tht abbot's belief. Indeed, in 801 Frcdugisus had been attacked from tht o thtr sidt. accused ofbcing e)(c~ivdy allegorical in h is reading of Scrip l u re.·~ O n this critical ma tter, un fort u nately, Frcdugisus's posi ti on can not be ascertairll'tl.
   
   171
   
   ChapTer 7
   
   figu rr 7. Ill. Vlllirun, Rib. A/X'$., COO. WI. JUJ, ffli. 6o~.
   
   The deep spiritual read ing of jewish law and cult in the Exodus fro nlispiece, so appropriate for the single-volume Grand val Bible, penetrates the fourth miniature even morc deep ly (fol. 449r, Fig. 7.19).0) The ma nus.: ript'$ final folio,'" it too is divided into two ugi5ters and it too has Scripture as its overt theme." And though it imagines the future as described in the text of John's Revelation- not, like the Exodus )XIge, the )XIit- it dexodes the source text in terms of the spiritual harmony of the entire Bible. At the top, Ihe lamb of God and lion of Judah arc poised to open an enormous book covered in gold and silve r and set on a throne, as de5Cribed in Revelation 5.tft". Then [ 50lW in the right h~nd of the One who u.t on th~ thrun e a scroll, with writing ill$id~ and OUI, ~ad il wa5sealed up wilh sc~n scils. And I saw a mighty angel proclaiming in a loud voice, "Who is IO-orlhy [0 open tM scroll and 10 bmlk iu KOIls! . . • Onc of 1M eld en said 10 me: " Do J>(){ ""ffJ': for the Lion from tM tribe of Judah, the Scion of David, has won Ihe right to open the scroll and b~ak its Sf"\ICn srJIs.~ Then I SiW "tanding in the very middle of the th~. inli
   Sin
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   ..,. til< N<w ,.... ""'n'. would "" manif",' • • til< ""d of 'ime." or, in • ",nan! in'''9",.11;'''' transmin.d in .. riow ' ...... iDduding tbt Apocolypo< comm<1ltary .ttribut
   T1Ir _ _ m.od. and .... t ~ ..... ., <00>.... th< Old ..... N<w T.... • ."",- T1Ir ""'. "",,to imido, ~;all .....it .... , " - tbt Old and N<w T........."""'_ ...... """' _ _ tbt N<wan "'dirn"",i$h
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   du" .. , .... m.&ning of' .... book in , .... minia,u«,
   
   1kin_W'nb .......... 'h< ~o(,h< F'>I ....
   
   s...kd with ............. b)' remorbbI< ......... _ ......... hom It.. bo.>oom o(,t.. old ... " doriIicd b)' _ ..... i.;", I'o'\r;':h _
   
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   ",II< Grand""' Bibl. it..!f, 'hrn, containing boIh .....m..."
   
   and
   
   moo,,' 10 b< "nd",._ litcnlly.nd .pi,~,•• Ur" • unified book <>fd", 1;".., M I<6hkJ "",«I , Script .. ":,, """,",";11)« i, .... ",ed b,- ,he hi< rrlcn 10.11< "b<mack; ir>d«<\, pi.Uy, ~ """1!<" skirted .nd rim ... "",oifd"'ion. of God', cult. 101 "The "' inia''' . ..... mad< ..... 'I) l<>o/'>< visioru ""'''' ,h.an . n)' "'hriaI ",od;"" C<.om m< indtod." of .....8""i ... ·• Ih,« ..-..,.,ks nf"";og. .... Jd'in«l in , .... fi ...... <1I.op... of hiJr V. GtM>i oJ lin..,."" in III< D< em'." on, . nd in ... uSWOi ... •• I<1'0.... "";ns conliru of pu,dy php.ical .ppr<"l>ml.ioo, .. whrn on ..........-d!. on, p.rs< bu, doe< nor """'r«h< ....it\un«, Sri" i, .. II«inS i.r inlnprrta'ion, tho iniulion of nx.nins .10&. nuy ... dq><>1Il< ",n nf inspired in' mor in"anc., ... "" u....... to.-.d wha. Pharaoh', images n>nnt btr:a ........... '" ' .... m ,,;,h ... iri'uaI oyn. Spi,i' .... 'Won ~ P',,",ularly imp<> hav< hidden """ninSS th., rould only be diJrd""'d ""'.n ,..,. wi.h ,I>< kn< N.... , ,h • .ltn" ,n,""io" ''''' • • <"m.,,,,, in..pi",,,,,, uR:h 0 ... . «co" GoJ, " ~ ,.; .... no......w tlds,no "ou'lin ... col""" ", ... do. odors. Q' " , ...." _ Augus,i ... pu. i,,'" oonnh ...... it c... b< .pproached ' hrough 'Pi,i,u.1 .ilion, which m<_ ' -.n «0""'''''' ,00 in'dl«' ..... undct-".ooins,
   
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   Ambrooiu . ... utpo«JrP'i" of Gl. 76<> i> its,",on «,.lId disc=,1O> And h., in ' urn. """ "' ... . ph ...... in .OKh Carolingi.on rommrn' ..... on Rcv.t.,ion .. tit. on< p~iourmow do,h OVIt ,uB" thr do'h. Iohn', «. 'hr pi",ure ,he urrtr IUbj
   '0
   
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   of God and oft!>< ~ will br 11><1<...... hio ......." oIWI """"'" h .... , '1I
   Th. Ol limply br God, ho~t\.." . As ..... fIU" ;.. . nd hi> "" . Iow- not .. iIlt ,orporal o ........ spiri'ua1 'fhlort, bu, di«<" y wi,h ,h. mind: God will br .... lIT "-Ii.<.. . pi.i' ..... ) .,... in """" 01""" I' II;"" I;" 'hi> ,.............. """!ilion l of _~;"l! of an ;nl
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   VI""" thrn. ;, '"" figure replace! Gull', Script .. « " ,lie -my end of ,he G1. "",,.J Bible f;choIo,., "' .... long drbo,od thk q ..... ion. K.lhlrt'''.nd Wrr"", Wri>N
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   T<>hr.y "" him .. God ,he F.. ha-,'" Frcdcrid M..Jd.
   ouin .. i"",, ''''' ht mu;l b< I<>hn th. ( ....1'1.... R1""ot bri ng (~.....uy "RY , nd c-m. o..". W.,...,'I> I "'.. pub. I .. hod two dilf«=' in«rp .... 'io,.., on< . nook =,. inl,. """'" 'ht ·Son of M.n"
   ...,...!td
   
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   I" drn""ion from . n depiction ofCadus. 1M Romm !jOd oflK.",n. funha-o Ihi> '1O<XUlion ... i,h iI<'V
   .ocirn,
   
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   Carolingialt IIrt as Spiri",al Seeiflg
   
   At the same ti me, Ihe suggestion th at the enigmalic figure portrays Moses is va li dated by the ma n's rese mbla nce to the Mosesl Pau l of the Exodus fro nti spiece (Fig. 7.11); and thi s evokes an im po rtant Iypology. Acco rding 10 Exodus 34.l 9tT., when Moses spoke to Israel after his descenl from Sinai, hi s resplendent visage had 10 be shielded by a veil, as is illustrated in the Aelfric paraphrase where Moses add resses the Israelites from beh ind a cu rt ai n (Fig. 7.IJ).1lJ Pa ul deployed Ihisepisode in 2 Corin thiansJ.6tT. 10 figure lewish blindness to the law's tr ue message; acco rding 10 the apostle, the veil sy mbol izes the deat hly li te raln ess that prevented Jews from recogn izi ng Chrisl in Ihe wo rd s of Scripture, I.!l The qu .lifiC~l ion W<' have com~ (rom God; it is he who hn qualified u~ 10 dispenS( his new covcnJm-a covenanl npresxd not in a wrillC1l documenl, bUI in a spiritual bond; for Ihe wrillen law tondml ns 10 dealh, but Ihe Spirit givn life. The law, Ihm, rngr.lvN lell er by kller upon Slone, disp<'nsed dealh, and ,...1 it waS inaugur.llrd wilh divi~ splendour. The splendour, though il was soon 10 fade, made lhe face of Mosn MI bright Ihat Ihe I§racli lcs could nOI gaZt steadily at him. But if!oO, mUSI nOI even grealer splendour r~t upon Ihe divine dis pens~lIion of th e Spiria ... It is not for us to do as Mo~ did: he put a Vi:il over his face to ku p Ihe Isruli tes from guing on tha i fading splendour until il was gone. BUI in any ca>t' Ihei r minds had ~n made in$<'nsitive. for thai sa me veil;, Ihere to this Vi:ry day when Ihe le»<>n i. ~ad from the old covtnlnl; and il is ~r lifted, bKa u$<' o nly in Ch rill is th e old co'·enaOl ~brogaled. But to this very diy, every time Ihe Law of Mosn 1$ mod, a veil l~ over tM minds of lhe hearer). HO"Vi:\'ff, ali ScriptulT sa~ of M~ MWm-ntver he lurns 10 Ihl.' lord, the ,.... il is rem()\-ed.~ Now Ihe l.Qrd of whom this p.1S&agl.' speaks is the Spirit; and where lilt Spiri l d lhe l.Qrd is, Iherl.' is liberty. And bKauS( for us Ihere is no Vi:i l over the fut. we all rc:ll«t a$ in a mi rror Ih .. splendour o(the Lord; thos we art' transfigured iOlo his likeness. from splendour to splendour; such is the in floence of the l.ord who is Spirit. Paul 's allegory i. pictu red in the eleventh·cenlur y Ripoll Bible (Vatican , Uibliote<:a Apostolica, Cod.lat. 5729, fol. 6v, Fig. 7.21).,n Wh en Moses reads to the hraelites, he has a vtil over his face, formed into a kind o f mask deep blue in color; when he lurns 10 God, he sees Christ in Majesty. Moses' face is no t vei led in the Grandval Bible Exodus fron tispi«e b«au~ thert it is covered by Paul's visagl.'; the "populus Ch risti" looks on to the prophet's face. But the metapho r d ocs stru ctu re the final picture o f th e Apoca lypse pagl.', once again provoked by kro me's preface, The law is sp iritual; it needs to be unveiled 1lO thaI il tan Ix- understood lnd iu face rtve~lrd, and _ may contemplale God', glory. '''' Like the lounge thai separates the terrestrial wo rld from Ihe heaven ly in the Majestas minia ture (Fig. 7.10), Ihe veil is the colo r of vellum and hence represent s the male rial on which Sc riptu re is written. Lift ed from the elde r's face, il stands for kwish literalism that cedes 10 true Chrislia n understanding. 1l1 The "unveiling of Moses" was expanded in commentaries on Revelation: not just an allegory of the resolut ion o f Old Test ament myste ri es, it became a figure of the
   
   177
   
   178
   
   C/mprcr 7
   
   fundamental unit), of all &ripture, Jewish and Christian; "Apocalyps!."," after alL m!."ans "uncovering."'" Autpertus, moreover, link!."d th!." lifting of th!." veil sp!."cificallr 10 the open ing of th,· sealed book, As long as th.· wil remained owr Moses· face, Ihe book remained rolled lip and sealed.""' And in the Advrr,ll, E/ipl1l1f/u'II, Beatus of Liebana and Heterius drew the metaphoric significanc!." ev!."n more fully, Moses veikd his face and spoke to the people in this manner. Th~ face of the Bible (fllcies bibliarhemd WaS veiled from Moses unlil Christ, and in the end of Ihis Bible it is revealed ( ...·,-darll ). John 'l-veal. that the em;,e Bihle is one book, I'eiled at the beginning and manifest at th~ end. Which book is called two test~ments, Old and New, the law and the gospels, that is, the whole Bible. I '" The enthroned figure, like the enormous codex above, is the whole of Scripture, its face unveiled in the final days to disclose the unitary spiritual message. But what about John, the author of Scripture's final book? Beatus and Helerius noted that it is he who "reveals that the entire Bible is one book, veiled at the beginning and manifest at the end;" and as Croquison already argued, the enthroned figure in the Grandval Bibl<· belongs to a long tradition of author portrait frontispieces and would, by rights, be recognized as John the Evangelist."!' Joh n is indeed commonly portrayed in Apocalypse manuscripts, where his presence authorizes the visions depicted. For instance, in the Trier Apocalypse {Stadtbibliothek, Cod. 31),'" dating fmm ca. 800 and possibly produced at Tours, he appears on nearly every page, at Ihe dose shown bearded, seated on a throne, and holding a long scroll on which he wriles down the words of thc angel who rcveals the Heawnly Jerusalem (fo l. 73r, Fig. 7.22).
   
   Figure 7.]1. \:'uim". Bill. Afhll.. COtto 1<>1. S7l9. fal. 6v. ,teMi/.
   
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   A.,hot of ,II< fou"h phn ;, pottr.y<1. 11K ''''cin&>"en Goopd. (i ol. ' ..... FiJ. 7.',) &I< hoIdir>g. scroD in its talon. in much ,I>< ............y III< bird lin. ,II< doth in ,I>< Apocalypo< minia.ur<. '" HOT<... in otIttT T""ronun ~ books, IoItn i> di"in5"imro from !>btl",,". M.,.. and Luk< in .. rio ..... yo: ... ,10"" i. beard«! • ..J gr'Y-N irtd .nd ooJy lit i, P",,"rrd ope.king his JOOI><'Ir>lI>b<. in 0100 ....,nl~ I'''''''yed ... ~ Chn.,;. And II< en, ......... n i.... r, •• ,.... pink ground 00 • • , .... ri,./w
   
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   confirrru.: "I!yinl likr on tag!< lh< word of Iohn ""POm 10 th< 1I<... n~"'" Mryhn. ,II< only.",ngdi>1 a.lkd "propht(" in ScriP1" '~ (Roo loJl. ",",em in Ihi> n"""ion. AlcWn', L",,, '" Giold ",",IN God Jir
   1<."
   
   OM Rkh'nuI. .,,. In 'hi>. Jo>hn ..... Ii .. Moon.n.d r . ul wl>u. r<>r«h"'ly, .... God on Sin.i.n.d in III< 'him 1I<'l'ltn ..... i'h MOM'S :uord r . ul in hi> diKu";"n ohll< ,hr.. rn<:odts o£ "";ng.'" Tb.o, io also why ,II< oro:n;ns ..... o£ Jo>hn', soord i> inlCribN 00 • «ksIi.oI bI ... ",roll in til< Wri"&'rtrn
   
   GolF :Is -to dl/f.....,tio .. II> 1I'1'ltualliS"I!i
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   !ohn woo obo1 him from tho thno othor n"lIng
   1. .bllity to di>c<-rn tl>< ..."..,. my>........ "" .... th tl>< h;,t<> tho oqual of Mo«>:rnd P.u1. who .. ug'n II>< ~ r«>r'< _ 10 In.. ",,<1 God', w<>rd. tik.< Mo«> bnring tho fou of l'aul. tho rnthronod nun ran not < G"ndv.1 Bit>k. In """n. i>.
      
      182
      
      Cilapler 7
      
      wmposik of the three great "propht'ts" who. according to tradition, had alone set'n God directly. "'" Apocalyp>e commentaries drew on this concept. Autpertus, for instance, introduced Most's in his interpretation of Revelation 1.1 and Haimo of Auxerrt' concluded his preface by drawing the same parallel. '-Hl No wonder that fohn was pictured alth,: start of early Apocalypse manuscripts, like Moses receiving the scroll of his proph<'cy fro m the hand of God, as in a late Caroli ngian apocalypse in Paris 1Bibliothcque Nationale. /I.-Is. la1. nouv. 3Cq. llJ2, fo1. 1r). "I Moreove/, Autpertus not only drew a tight connection between the thrt-e grl-at "prophets," he introduced the Old Testament prophet and New Testament apostle 10 explain the opening of the sealed book itself. Even more than the other references, this seems to have effected the miniaturist's concept. &':auS(" Paul understood the law of ~ lose, not ca rnall y and acmrding to the letter. which outside prumi.o;ed nnly temporal things, but spiritually and according to its m~aning, he discerned th e Gospcis hidden within the law. which promised eternal not temporal things.... Th~ re(orc, the book written imide di.
      Carolingia/J Art as Spirillwl Seeing
      
      183
      
      -I'
      
      ; , -,'I,
      
      . ' ....J
      
      Fig"'" 7.1j. Trier. Srildrbihliorh~l. (Ad. 31./"1. pr.
      
      loud voice, like the sound of a tru mpet.") as the voice of the Holy Spirit speaking through the prophets' mouths a nd, in another passage, as the "voice of the Old and New Testaments.n " 7 Apocalypse commentaries also identify the principal angel, the one that delivers the book, as a messenger of the Holy Spirit. ". This, again, li nks John to Moses and Pa ul, who were also and uniquely insp ir~d directly by God in the guise of angels, the Carolingian commentary once ascribed to Alcui n points this out at the very beginning: Just as God called to Moses from the burning bush in the form of an angel and just as he
      
      .ppo..
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      H<>Iy Spirit.poI« ' hroup. oil 'h ....· ' ..
      
      Th .... Ih< .ngeI blowing ;n'o 'ho dd..r'. lip> r<prn«pnd It.. ... ,hrot>d«>d. boarin, w.tn",. of . 1I 'h .... proph.u, t.. ""nifdl' ,h. IioIy Sviti> «>mpl who dd iWffd tho old low, roul_tl< ""I>< now•• nd I<>hn vi';"n' 'Yoflh. fitUl doyo. '" Th. itmg< bring> mind . ro"'g< in ,I>< Lihri C4ro!i"; olncribin, tho mict of God II<.,J from tho mid" of ,II< t"'" ...... mivin< inspi ... 'ion ~... 0 ,ubj, ;nlo:rdl to Ff'Od<>gis ... If Agob.>rd of [.ron' '" bkn tho P"'I'htI, .nd ."""1,,, nOO only in. erncrol WlIy and Kootding to. divin< modo of ;"n .. Hr>i>.on", ~U"'u . "",int,;""" lOr cumpl<.'" bu,litrully... ,,,,,lIy 1'",. titlji th< ~ ,h<trunh of im>g« «nt<...:I p~ on tho oo,,'rn';"" p"'ur., _ . io>< individlUl ~ . nd, th.mo ... ....., unabl. Jiodoo< ,ho divino "'u''''''', ttto< m/J-_~" 1""I'ht1 of tho Holy Spiti,.,,".,;.. ion .. ,h. do.. of ,t.. Grand...1Bib!< I
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      bu,.
      
      Carolingian Art as Spiritual Seeing 185
      
      The illuminator of the Grandval Bible pictured precisely this argument. The figure at the end of Apocalypse personifies a theory of Scripture as spiritual revelation through a succession intermediaries; but it is also more than that. In its very indeterminacy, in its mixing of people and figures, it elevates the image beyond the text it accompanies into a new realm.1!o'1 The figure's point of reference is no longer Scripture or the holy events described in it, but interpretation itself. As such, it is a perfect realization of the view expressed in the pseudo·Alcuin commentary that Rcvelation is a nonhistorical text requiring constant and varying interpretation. 'OCI By using persona, that is "mask:' and by deploying such expressions as "playing a role" (gerer/~ perSO'llIlI/), the commcntaries cvoke the idea that the Holy Spirit put on various faces to address his people, as an actor in the theater. It may not be mere coincidencc, then, that in the Ripoll Bible (Fig. 7.21) Moses' veil is formed into a mask or that the screen in the Aelfric Paraphrase (Fig. 7.13) resembles a stage prop"·' And it is surely significant that Moses' visage is disguised by Paul's in the Exodus fro ntispiece (Fig. 7.U). Derived from a pers.onification of Caelus which was transm;ned from Antiquityprimarily in bust·length portraits, that is, in mask-like images, the Apocalyp· tic elder develops the same conceit, with its dist inctly la rge cyes and slit mouth assuming a character not unlikc classical masks that Carolingian miniaturists copicd in manuscripts of Terence plays such as the contemporary volume in the Vatican (Bibliotheca apostolica, Cod. lat. 3868, fo1. 3r, Fig. 7.26) .. ·2 The trumpet-blowing angel reo inforces the notion of a mask, suggesting that the face is not speaking but rather is the instrument of another's voice. '·) Indeed, the trumpet pressed to the elders lips may picture a weB·known pun of personare-meaning, to blow through or to playa trumpet-and persona-meaning, mask. In his Cmltra Eutydllm, Boethius derived the word persona meaning "the individual substance of a rational nature" from "the masks ( personae) which in comedies and tragedies used to represent the people concerned.~ In turn, he traced the derivation of mask to per50nare, sounding through, because "the sound that is produced is necessarily greater from the hollowness of the mask."'''' Later in the ninth century, Eriugena somewhat expanded this definition in his commentary on Boethius.'''' In the Vulgate, personare at times has the specific meaning of blowing a trumpet, in Joshua 6.13, for instance, and Judges 7.18. The Apocalypse miniature in the First Bible of Charles the Bald takes the concept still further (fo1. 415V, Plate VII). Here, the personification of Bible is white haired, to emphasize his age and, perhaps, to identify him more dearly with John; and the tuba raised to his face bears red lips precisely at the place where it overlaps with his mouth. Originally intended to close the manuscript, as it does in the Grandval Bible, the Apocalypse picture was adjusted during the completion of the manuscript to serve as the frontispiece to the Book of Revelation.''''' The three vignettes added to the basic imagery in this process all reinforce the underlying 1heme of biblical unity through human incorporation. The dder consoling John in the upper corner of the lower register is, according to Ambrosius Autpertus, "an Old Testament prophet who foretold the coming of the Son of God." The horseman rising from the book, to whom he
      
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      Chapter S THE FUN CTI O N O F VlTRUM VES T/TUM A ND TH E US E OF M AT ERIA SAPHIROR UM IN SUG ER' S ST.- DE NI S
      
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      Vitrum Vcs titumlllld /l.lakri a Saph iro ru m
      
      abroga tion of the Jewish bluuJ sanitin's furmerly mnd ucted hehi nd the curtain of t h~ Holy of Hul in . Elu cidated by captio ns and held in place by strict geumd ry, th ne disjunct i\'(' sy mbol s and figures nonetheless emit a penetrating, sensu;ll gluw of rich colors agai nst the dee p blue grou nd like cells of a rille .:namd. Suger co mmcnted that his windows Jt'plur~d vasl amount s of "vitri vest iti e t sap hirorum matt'ria."' " By thi,;, Erwin Panofsky understood the 3bl1otto mean simply "painkd glass and sapphin: glass'"; more likely, however, the choi(t' uf words wa,; meanl to allude to the glass's dual a,;pec!. its wib! imagny and j,'wd-like radiance. " In fact, the St.-Dt'ni,; winduws ;lrt' not, a,; Panofsky's explanation of the term <'il",,,, I"<'slil",,, wuuld have it, composed of "glass covered with pigment s as opposed tu glass slai n,'d in the pot, tbe pigments 'cOlui ng' the glass as do ,·,.SIC5 Ihe body... .. They are made of full y sa turated materia l. "\';',1/'," was inknJt'J 10 t'vuke Ihe idea of multicolored garment", to be sur.:, hut vo n Si mson's understanding is undoubted!)' corrcct that il n.,rt'fs primarily lu tht' "tranSIUCC!llp;mds 'ves ted ' with sacred sy mbol s ... \"t' ils al onct'shrouding and revealin g the ineffable."" If so, th en the fragile, rt"'ea ling vitri \'1"5Ii/i sta nd in co ntrast to the diamantine 1IIlIleria $apiJirorlllll of which they are made, not si mpl y expensive hlue glass, as Panofsk y wntt'ndt'd. but a lustrom ~ubstance wit h the char;1Ctcr of a I'rt'ciu us slont.. Scholars han' lon g ack nowledged the sophist iC;lt iun uf Suger's ,'soleric ima gery. A few years after ,'on Simson, Louis Grodecki traced close connections b ~ tw~en the iconog rap hy and twelfth -century biblical exeges is by Ruper1 of D~ul z , Honorius of Autun, Peter Damian, and Al)o;'brd" '; more r~'t' nt Iy, Madel inc Caviness has pointed out that even the suppost'dly narrative cyd ~ of the "Muses Window has inscriptions a nd sO llle pictorial >}'mbuis I hat giw <"ach event a typological significance, even though tht,), are repr.:s,'ntt'd in normal chronological order- as though one were re;1(l ing ;l theological wmmentary on Exodus rather than the Vulgate text :'" The wmplexity of the allegories on the facing window, in turn, led Konrad Hoffmann and now Co nrad Ru do lph to co ncl ude th<1t th.: program was th,'ologically so dense that it must have been intended fu r the spiritual edificalio n of the monks." Sl udmh of St. · Denis haw also recognized th at the m;ll(.'ria l from which the illlages are mnstTllCted is not mt'rt' fuod for th,' "yes. For von Simson. the stained glass Sliger deplo)'<:d in St.-Denis was nwa m 10 evoke the div ine light ofScript'lr~ th '1t casts away spirilual dJrkll<.'ss, '-' as exp lained spec il ically in th t' wrilings of Dionysius th e Pst'udo-Areo pagite, a ~i xth - centur )' th eologian traditiullally identified with St. · Denis and venerated at the nwnastcry." Noting that tht, deeply saturated (olors creale a di.ltin(II)' g.lou)l\y ;!lll bi~ncl", I"hn G;lgt'" and Meredith Lill ich'" have modili,-d thi s suggest iu n, proposing Iha t Suger's glass is rather a twelft h-cent ur y visual wllst rudion of the PS~:lI do- Arcopagit" 's "nega tive t heolog(' accordi Ilg to whit-h the lIlti mate slagI.' of cuntemplation of God is total darkn .:ss an d cumplelt' ignorance." Indeed, sensing the inherent h;lr mon), b,·twn-n the richly colored glass and the complex subj.:ct matln, Gage has as ked whether the "lu mi no us darkness ofSuger"s wi nduws at St.-Den is'" did not provide"J rem;lrkahly approp riat,- med iu m for his [en igma tic] iconographic pro-
      
      193
      
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      his Dilpulmio IlIIld cr Chri5ri{Jui of Co 109), ddl.'ndoo art h)' noting that Isaiah and Elekid not onl), spoke and wrole but also saw visions.''''' And Rupat of Deutz went so far as 10 argue th at pictures were e"en superiur tu Scripture. Puinting out that al first Gud had spo ken unly in the prophets' e3rs hut later had begun to make images tu inst ruet th l' eyes of thuS<.' who s.ce, hl' stress.cd Ihat Ezekiel's vision was, in fact, a piet ure painted "digito Dei,"·' just as the laws deli vered to Moses were "lapidcis digito Dei sc ulptas." And building on a notion of progress;"e r~vd,'tion lead ing from words 10 images to the actual appcara ncc: ofGud un Earth, Rupert gran1<'d pictures an ekvatoo place in tIll' divine l'l::Onom y."' Rupert warns that images are difficult to understand. indeed, he acknowledges that they are subje..:t to various interpretations; but in a surpri sing rejection of Augustine and others who doubt ed thl' theological se riousness of images, he ass ures those who arc seeking Christ and arc willing to work that the pictures will yield truth. tbat is, they will disclose Christ ian m),steries within the lew ish pr0l' he..:y."' By resolvi ng apparent contradictions in Scripw re, art ass um es a position bdwern eni gmat ic words a nd real pre~n,e. It providc§ a v,lnw ge poi In for those contemplat ing the pictures, in uther words. comparable to tbat of Old Testament prophets who alun" before the Incarnation we re able to "s.ce'" Chris\. Innumerahk works uf art manifest this in one way or another; among oth ers, the ninth-n' ntuTY Prophets front ispie<:e of the San Paolo Bible makes it patent (Ro me, l\,'lun3§tery of San I'nolo fuori Je mura, Bible, fu!. 117, Fig. 8... ) . ~j There. th., lower register irrustrat~ a literal narrat ive. I§aiah pointing out to King Ahaz the "young woman who is wi lh ch ild'" (Is. 7.14); and tbe upper represents the spir itual reading of tbat narr" tiw, Christ enthroned in hea\""I1. Between Ihe two. sixtee n pmphl'ts are pictured, Ihl'ir fl'r! firmly planted on earth hut th" ir eyes lnoking at th e prophecy's co mplet ion in th e corning (If Christ ahove. Sug"r may w"ll han' had in mind this idea - that pictures revea l the spi ritual meaning uf Scri pture-whe n he rderred 10 th e stained gl;ISS windows in the cbolr as I'ilr; I'cs tili. The clothing metaphor occ urs frequentl y in Christian writings, in Au gustine's Dr ca lrc/,iziIIlriis ruiliim" for instan ce, whl'r.' it is applied tu Scripture: "they may not imagine that the words and dl'eds of men, of which WI.' Tead in those books rolled up and concealed in fleshly wrappings. arc not In be unfolded and rcvealt'd so as to co n" "y a meaning" (though im"gulIl('lIl
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      But let uS leave beh ind as adequate for those unin itia ted regard ing Wnlemplation of th~ signs which, as I have said, are splen didly depicted on the ent rances of the inne r sanctuary. We, however, when we think of the sacred synax is nlust move in from effect. to ca~. and in th e light which lesu. will give us, we will b., abl e to glimpse the contemplation of the conccptua l things dearly renecting a blessed original beauty."'
      
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      C H A PTE R I I. (:f. H,ms Ikit i Il ~. 1.;k"''''$5 ,md 1'1"1'$<'''(('; A /-lis/IIf}'.if ,1", tWIIg,- H'1"rr /11(" £r,/ I'! Arl. Ira ns. Edmund )l- phcotl (Chic;l!;u. 19'1.1 ), 9- 14 d p'lssim li nd ],:0<111 Win h. L'jmll~I' II 1','r(l{)Uf (dll/("/I' (I'a ris, ' 999). ! . c r. Eugcn .. Varh;t, Minus" a nd Un l ikt' n;:s~: PJutinm anJ Portraiturc" lforlh comin~) . J. Cf. Ihl' cI;ls.~k SIud)' of m....lic~JI II;! rr;l' iw. Kurt \\'t'iI1.m~nn , I/Iml ,,!limls ill Roll ,,,,,I Ci"I,'x lnd ('\I. ( Pri nceton, 19;70). 4. Wilhd m Kohle r. I ) if k"",liIISiuh.." ,1../illlllfrm'u (Ikrl iu. ' \l33ft'. ). II , IIIIIY.: Wolft:,mg IIr3\111 fcl s, cd., {J" S 1.llrscil,·' Enllr)lrli'" ( ~'I un i.:h 1<;,)65): dl1ll 1';1:>(.11 Weilm,lIm, 511~':t'J,iOIi 11",1 G''gCII''~1rI (Wicshad.'n. 1997). 238ff. s. C r. Herbert 1_ Kl'ss1cr... ' Pi.;:t ur.'s Fertile wit h TTUlh': How Chrb tiJIl) ~bn J gl."d to ~bkt' I magt"s uf God With.,ul Violaling I ht" s..ocond Colll mandm t"nl :' 10llflllli ,if tlri' \\ ;r/ras An C,i/lrr}, 4~ 1 so \ 1991/ 91), 5Jff. (re!,ri nln.! in Slrufi,,! ill /'i(lIIr;(I/ Nllrrlll ;'T 1london, ' 994 I, 7~ff. ) and 'Thou Shalt Pai nt tht" Likene~s of Christ H imself'; The Musak Proh ihition .IS Pmvoca tion for Christian Images," TI,,' Urnl till/I 1iI.'1I1 /trl4Sir/t'm ;11 j,'wislr, C/rrist;;'1 rllt, H i~/lJ r)'.if ,\,t 16 (WJ shingtu n, I),C.. 1911s ), 7~ ff, (Studil~ ill l'ie/ori,,1 N{\rr/r/i, \\ PI', ,f[): I.:I"'rell«· Dugg;lII, "'Was Arl Jh~JIl)' Ih,' 'Book uf Ih" mitt' ra ll',' " Word ",,,/ " mlgr) " 911\01 I. u 7ff, : Cdia Ch.l~dk .. Pictu res, Books, amI t ht· lII iter;lte: !'ope Gn"!:ory I"~ letters tn Serenus of 1o.13r.,....iIl"-$," I\~ml /11111 ""uJ!" 6 ' IWO I. ,3lIIf,; and r.tkh.,cl Ca mille, "The Gro:gori.lIl Ddin ition H....,i.it,.... : Writi ng alltll h,"1o.kdil"\'Jtlma~.'," in L 'IIIIa~:e: Fml( I;,lIIS <,IIISilg.·S If.,s ill"lgt's '/'/US I'(j(.-itil'frt mi,/in'II/, ed. '''rU nI" l~aS(h"-l and kan -Cla ud\' s.: hm itl (I'~l riS, 1)1)16 ), K)lff. 7, Ca rl H. Kr.,ding, Till." S)'urrgogrrc TIle £mil'lll 10M II / /)lInl l:ur(Jpo$ (t:in JI R~por! , \'111. K, pI, I, 1New 1·lawn, 195( 1); Kllrt We il 1. rll~"n ,md 11(.· rl}("rl L K~ss l er, Tlr,' f,es<m:i Ih,' Dlml S}'I1IIgogu,' mul C/lris/illu Arr (Washington, D.C.. /9901. II, K6hler. Vir kilro/iugiSl'llI'u MillilllllrrU, I, 2191f.; H.'rbnt Kl")sit:r, ,./,.. IIIlmrdfed HilJlesfrom TOllrS ( Prim:elon, IlIn ). iliff. and "An Apostlc.' ill Annur allJ the M is~iun o(Utrolingian Art." Ani' mn lir l'tl/I·. [I St'r.• IV (1990). '7ft'" ( S/urlie! ill P;rl()rifll Norrmf/W'. l07ft'.I. 9. EpislOMr. lX.!09 and XI. 10. R'-gisl,um fpiMrr/,rrulII, ed. I)al·id "lurSI ICeS/., 119, 1-IIIA ITurn hoot, 191'121); lra ns. Utecili;/ Dav iS-Weyer, farly '\/,'/1;"'1'<11 ArI , )00- 11.50 ( Englrwood Cliffs, N.I.• ' !i7!), 48, 10. Wdl1.lllann a nd Kess ler, 'Hlr frNWt'$, 1!7- J1, II, I bid .• 164-66; and Gab rielle Sed· Rajna, f '"" jrri( (I'ar i... 1995 ). 121 If, 1:. Whl."l1 one appears in a secn,,, the 01hef docs nnl. I). Wd lzm;mn a nd Kn;sl ... r, nil." FrNCDn. 7~-1I 4. 14 , St-t Ihe hn,· recen t di s.:ussion o f Ih ... wal,'rsh..-d mmn.' nl in Ih."si.\ lh dlld IoCI';,'lI th (e lll uries by C h;lrl,'s lJa Ther, '''Tlw Truth in Painti ng: kUlluclJ sm Jnd 1d ~n1i l r in Ea rly -l> k .li" I'al A rl ,~ Spt"-. uluIII 72 (11)<J7), 10191f, H
      
      vi
      
      15, For i,,'I;oII"'. ;111 1,.. eh ri'li.m llllilding ot Dura Eump.... '; d. C,rI H. ",.Idi"g, T/,,' elm,""" CII"pd (I'i"o l Rq"u,1. '·ul. 8, 1'1. II j!,c'w H~\"l'n. I~bi). I~. "p)'~"'nIJ)' .n, .'k""r!lh ·"'·I1 I"f)' o';);in,,1 rq' "inl~J J"ril\~ Ih,' l'.Jia,·tllog.1Il ,.... Cf. lo,.'f 51 ryzgow.kl. /kr IJr/,/"rA-1l'I, .Ic) grlc,"iJ(lIr" PII,.,i(>/,'t rlS. ,In Komws /,, "'" Smy rn.1,'· ,,,/,,/"'.-/, .I,' , ';'Iurf'i.-/",..i,e HY~'''"''li;liA- ~.'i (I~7~ I, ~J;fL K~>sler. "Pi,· I"r~s F<"n G,''''''i.,Hin Srllliia in 1',(10,;,,1 NIJrriUlI'r. 99ff. I;or San ,\1.",,,, ",',' nun DelllllS. '/'I" , M"""o "J ."-,,, ,\Iar,,' ill I'"""" (1\'a' !",,);I,," ."',! Clli.,,~o.
      
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      Cod . ",. f,,1. ' ~I r. Fi g _~. ' I. t: f, Su 'y nu f ,,', 1>1<' . "line' iII ",t '.1! i0 11 •h i'111' i'lUt,· ill "" H1 ,li' d u i's.w Iia d u ~ 1011 I· ,\ Ihos, jJ.IIl"'" J h>r .~ n. ~,," (_n I, II' n; !Ir,I"",1"g;'/" ,',' ') II ,,6 \ I. M31T. .md Ka Ihk"n eurri~."" \'1; ""11'"/.-,,,,.-, ill 11", .'"",ml,-C<"IIIU'y IIF.m lOih' I';"I"'FJ (C,"llhr i J ~~, ,y~l) ..\4. ,! \' SUl.! 1m" L,'''' is. r. If".' ., .1\Ww' III< 1.1;", jilt h~ ( :\L 11""11 k i.111 ,\ 1" "" I).)",.." II rt H"II"I; 1I1>~ (I"HI», "Off" and I<"'dlyp;.' ICalllh ri,I;:,., 1~'lo;I, .! IRf., .!rl" I','te" K I~in. " hulll I h~ H~a,""l1l~' 10 Ih,' Tri,';~l: Vi,iull .mJ Vis"all'~r<epti"n in loJd )' .111.1 H igh ,\bl;,·,.,I ,\p"' ,,]),P"" Illustratiol1." in TI,,' Ho/)' 1'"" ",,,I lilt /',-n,"/o_, of /<"'1''''''''''''''''''''' ,·d. ] krl"'rI L K" " ier ,,,,,I G,'rhard Wolf (Bologl1a, )I. I.", .lSl,' r)'.
      
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      0" I he' \ 'er"" ica d. Kll·in. " I'",,,, Ihc He.' .... nl)' to Ill,' Tri"i.lI ." J lid Gerhard \\'"If. .. I'mm "land i'lio n I,) "er(II'Ka: j'i,lIrr;"g the 'Di""",hI"li,·,r "'l<"(, .11101 Di;;,.'m iI1J!i ng the Trl1~ Image "f e llri'l ; 11 II,.. 1..,li 11 Wn!," in "~"I"r " " d \\·olf. Hoi)· r",-". II_liT. ~7, E.... I.-III Im'I"" " ,,,d,,,i,,,,, \ .... on;,.e' depm!.!1 um ft, il R"rll."l l I",","'"" Um"TSII'/""'II" " zur (hd, rliel,,' 1.,'_ gem!r (L,.ipzig . 1~~91. 1~3' _ l~. WeitzJ1lJnll Jlld Bcrnal"" 1'1,,· ilF,'"1 iur (kr.rre,,,-IIS. ,,~f, TI", illl"'l'rdJl io" h.ld already ()c("rr~d tn Ihe' !"nth-(Clllury 10,11"" R'>I"h" ( Ili hliute'(;' Af""tolicJ, .\ 1<, ;:r_ P"L 43' ). '~. ehri,lOl' h.'r \\'"hc'r, "Two ",'''te-'; ull Illl' D,',', ;,;' /1""11" de, "lIid", ")'~'"r1iJ1.·; ~~ (1~6H 1311ft .",,1 Anlh,,,!)' Cm l,'r, "Under lh~ ~igll of Ih,' I),',',;,: 011 th~ GLIt" lioll of Rq'rc'I<'II[;,liwn"" in .\ k,hel'al Art ,HId Lil,·rJI,,"'." J)"",I,.rrI"" 0,,1; I'''/~''., 41( 19ail. 14\11 311, Cf, ~I",,,'II R,·,I I,', lI)'z,''''m,' 11'.. II/'.","",~ ill A!", .\/""" I t~r~"""'kh , O,,!n.• 1~l>i ). ' . IUjlf. Jild >': e"kr, " ~lo"'lie I'rohib,llo"."
      
      NotrJ to Pogo 12 - 19
      
      }I. MmI r«~nlly. Laura JoQObulo, "GiotIQ's Oc$ign Qf 1M An,"a 0Iapd. P"du~,w Ap.>IIo (I>«>embn 1m). }]ff. J.l. Cf. kft'rq- ~1.tmbur8tT•• ' Frtqutnunt 1I\~moriam visionis faOri Q\~""'; [magt and IQ\itJ lion in I!u: i.k>'OliOJu 10 t!u: V~mni« AllribulrolO Coffllll LiulltU ""d I"rt'Mncr. 116ft'. ,nd Sllf. }3. I'.clling. Ukrnm lI!Id Prrfnllr. }14ft'. and Go:.h:ard Wolf. &Iu$ populi fO"um;; Dit Gt-",hid", ~mi$"rn Kulll7i/dn- im MilllJ./IU"l (\~nhcim.. 19901. ,)9. Sloloni. " La chiesa; Lz.t: Bdli"" Liknons Iltld Prntncr • .wK. tI I"Slim "Jd Wolf. SuIU$ populi rtmumi . ..0. Cf. k:f.I.kr. -ApoMk.~ San ",...10 ...... iollumlul on thf worbhop ~p<)Oslbk for painting $.I II Gregorio: cf. Crbl iJIl.1 Filippini. 1M F.kvrnlh·Cmlury F~ ofOcrocnt ~nd DIM Saiol~ in thf &.!.ilia of Sin Ckmtlllt in Ro"",; Ph.D. dissnlat;')II . Johns Hopkins UniVC1'1.ily 1m. 41. In Ih;, way. lhe San Gregorio flt'SCO rralls 1M Irgmd ofSc. Alais. also much qu01~ all he tin~ AI lhe slorr Ion. "lnit w» a Rom.on nobItm~n ..no \o'nII IO Etbu 1<,1 1ft the f~mO\U f,J« of Q uist " no! madfbytL..nd · ~nd Spenl $fWIIIUn )'NtS l!horf noc r«ognirins I!u: imagtumilan ioon atlc-d OUI 10 him. Alex;' Ihen rdUrnM 10 Rumt . nd, IKcording 10 Ollt acwU OI. brought b.lck IheMadoi\lla·Advoo:.l1a still displ,ytd in tht dlutdL of SI. Bonibcc: no! far from SID Aks$io on the Avmlinc. The: I~lt is a aU l ilH'Iary OM: cvm • ""int Jlttds /JIon th", r:.omaJ vision 10 rttOgniu God in ~n k<,ln. 1t iI a pointlNlkuplicil in 1M Sc. AlbuI's Pul ltl' (HilIksham, !)om). whtK' 1M Old Fll'ncb Life of SI. Ataia i> followtd by Grqury lhe Grtlll's falf\(/UJ idlff 10 S«undinus 100 ils Caro1in8ian inlerpol.o tion. wilb iuargumtnt lhal. whik piclura should Ihcmxlvcs nol be adored. they are iruuumtllU IIiaI un k.od 10 r~ adonlion of liM: invisibk God; d. Midlad Camille. MG'<"[I(ItUn I)ofio ilion" and Rubtrl o.-shman. "Another Look al lhe- 1)isa1'I~lriog Ollist.: Corpomll ~nd SpiriHul ViJion in E.n ty Mcdic: ..,,1 JIl"W'." Arr Bullni" 79 (1997). SI9ft". 41.. Nam dru. n.I quod ima80 dow IoN ILOI1 ckus ~. Hanc vidus aaI mentt coW quod OOids in ipsa; Dt-lllllS.. Tht .\ fMiliN. I. s'l.ll« • Sa",. i'l"'.mcdt," in IYr AssiJuum Stllttloriumfor KJJHS'",i~ft.t8 (I!IOS), l;rlf.: E. \Vfucbcr_~hi. "Sopr. un cicio di .ft'ra.::hi okl Vecchio t I\'uovo T~lanltnlO ndla lbdiJ di S. Pic1m Pm.5() l'crmliJI..,- Aui dtllu I'tmlifioll Amrdtmu. Rcmll lUl "~i A,rhgill (Rolllt, 1906), 19911'.; L'Um"''''. td . Adriano PTaodi t1 at. (Mibn.
      
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      209
      
      "J7Y ). "'i ff. : An n.1 ~ 1.lria On'7.i. 1.'"1>1>,,;,,, ,h /-crew 011" I Runl<'. IIIi 9 J: an,1 Il nhnt L Kc.<~kr, .. R,'al Ah ....·,K':: !:arty .\ kd k\',,1 Arl .uHI 1110; ,\ 1.'1.'111, ',ph, ,.•i.. 1,( Vi., ion," in ,I l"rJ'II,~w wdilli " (l11/Jlmli ill Huwp" Inl l iml" tl m idlil" " til" , ,\ "'''If>,'I''' (5':llim :lI1~ ,Ii st ud in del ( :... nm, il.." ·" .. 'i ) ISI'"I..-1<'. 11111.'1 ). I " 71T. ((: h.II" !'I I• .f!>. l :i. 1 krhnl L. K,·~~ I ... r. 'C,'I'''I ,,'1 '1" '';01,,111 '''1111ium ",:d""i,lrulll·: Old SI , I'el<'r 's Jnd C hurd, ])","-<11',11 i"'l in ,\ ",di ... ",,) La . illl11:' ill /t,lIi,,,, Clwrrl. 1)",'""1/;",, ,,/11,,· MilI,/k .'\":"$ llll,1 f,'I'/), R""" iss,II,.,·; l''''lf/i",, ~. Forms. ,md /k~im",1 1"r",lil; /11,/1<"$ i ll l'i,,'(1rl(l/ ",.,mllil \' . )<;.111 I. ~ nd "Old 51. 1\'la";ls Ill(' S",urce .lIld ! IIspir31iun IIf ~ kdj· eva l Ch'lr..-h [),·curali"n." ill 8/1''/'''$ III N" .rillw,'. 452lr. 4i. Old 51. 1" 'ln'~ did pimm' 1'('''l'h..., •. ,;,Jinr.•..111.1 JI " 'J,I "n~ Jngd ( h)' Gi"llu ) b~lw..... n Ill<' winduws of Ih(' cll'f"~lUry ; d. III,' ''.HI)' ""1·enleell!h·centlJr )· "';Ita.:ul"r by ])0111,·ni.." T,lssdli r\'~l ic.lI1. lIih!iol<'''" " I',l.;;wli (:I, CoJ. A "'4 la, fu!. I.IT ); S1<.'phall \\""'11,,1.11. ni,' ""pi..., oIe5 11. 1,'lIr/mll,ln!; ,\I" $"i~<'11 1U1'/ ll'i lllollllll/,.,";.. II ill U",,, IVknn.,.IIul ,\ llInid,. 1<;(>4 ). Tllere i5 no "",den.. ~ Ih:1I ChriM was a1s" piclllr,·d. nur Ihalth"M' iij:""'s form .... I .1 single ,,,ml'osi l ion. 411. Tr.1I1 5. John '[:1)'101' ( ('I",,,, York, 1<1811. ~ 7. 4<1, Illiring Ih,' Mid"I,· AS,· •. ;I h.1.I. $0. '\1'1isl;, ~df· rcferenci ng abo O(curs in I h~ "),\:1,'" lir)1 ins, f il'l i('I1: PH I Ne ll'IO Cf.LU ET TER RA I E I I'ECbSI: I' H ~ U]{,\M, Ihe "i'osu r,," h",,-' "I'I'a"' IIII )' hd IIg Ih,' .1(lli al I'a illl; nl(. ;1 . cr. Hugo lira ndenbag, 1<<,/,"'I"l'i ,,,,, ,I,., " " 'isllie/",III/ ih" S"rt·'>rllil.~'· ( Wi"sh;ld~n , 1\167 I, 1'1. ~. !M. A T<· t~·T<'n,:<· Ill., }, ha"" h('\' 11 inl~lIded . as .'I: d. H .... h(rl L ",·"I,·r. " Pa ss,,,,,'r in ~1 . 1" ·I'· r'S:· "''''15/' .\rlll/ l,\ ( I \1~ (o/lS7 ). 'i>\ltT.l!l r",/, .. ~ i" I'ir lll';"/ ,,"'umll il','. 4.\J tT. I. H, I\ugu ~ ! in~. I)" S" " "' ;' <).4. H . I !" k,· t hb d illi,,-"h I;Iulu, lu me;,11 snlll<'1 hing lik,:·. "T he ti rSI·..-r~awd. I'res.: knt wilh GoJ '~ J Ul huril ),. S")'S : ' L,'I the 1l.1I\1<'~ l"fl l1<' .1Ilimalsl rem.lin : Ius! .•" IIl<')' ;1f;;'lh rn~'ghfllll tilt' ag<·s." I'aul I )ullun 1'1I~~ kd ,"'~r Ih" wilh tn ..•. ". "Ad.11I1 :In.! II ...· Anim.,i>: I\II<'I;"f )' ~1l,J Ih .., Ukral S~ns<' in Earl)' Chri.l !iJn ArI ." /)wlIlllIr· !"II o.&~ "'WI'/'! 4' ( \\11\71. 3(>,\(f.: ......... <150 EII ~n Knnm~;I'l , "The I'mgrJ m "f Iho' c"rr"nJ LJi 1'1 )'.:h." ,In Bul/<'IIII4 6 ( 19114 1. 4~4ff. and ()'lIlhi" H;1hn. "1'llrilicJljnn. ~J;:TCJ AClinll 311<1 Ih,' Visit11l "f God: Vicwin!! 1>. kd i(·val N.I rra t il'.·s," \ \~ml ,'lUllm"!lr ~ \ 1\111\1 ), 71ff. ; Ii. 101 ;n terriloriu CUlllel,'",i itJlia,· cil·il.ll ;s in ";eo GrJh"durlol in .....·d~,i ,' S~IKli luhJIlIli, h"l'l isla<' ilml)tn SJn ClJe Mari.w I'ucruill \eS1I11I ~r~lllio ,,-uliliowntis lK m,,~urum Illuna" , 1!19tT. ;7. Pl'f u isihilia in uisihitia dcnuJIl SI I' J 1arc 1 ("igh, h·,;,·l1\u r)' inl erl" ,1,1\ ie 'n in .1 1..'t I,'r of Gr~g· H
      
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      .".'olr, 10 Puges 29-30
      
      CHAPTER 2 1. Roocrt M. Gr-.lIlt, "Th~ Dc>calogue in Early Christ ianity," IiMI"",1 TI" '''/O):iml RCI'I"'" 40 ('9471, ,If.; Irwn Re.nick, "Idols "nd lmag~s; Early Ddin;li"", and C" n1",\'Crsi~, ," .';"b",,"o... 1 Dagron, "Mots, im"ges, icones," Nmwdle rel'«" de p'yciw''''/}'5t' 4-1 (1991j, lSIIf. 2. PC 37, ~75f.; cr, Roman, !.I j. J. Stro",aI" V, 5 (PC II, ,u); troo,. IOSt'ph G lItm~'ln , .. Thl' Scrond Com mandment ' and the Image in ludai ,m," Hebre\\' U";',,, CtJlirg., A",,,,,,lj2 ( 191)1 ), Hil IT. .j . Cf. Resnick, " Ido), "nd ImaKes" ; Thoma s Slcrnocrg, " 'VCrlralUer und leicht<'r ist dcr filick auf das Bild'; Westlichc Th,'ologm dC'S 4. bis 6, lahrhunden. ,ur llilderfrage," in ... lei" Bi/d"i, ",,,ri,e,,; K"nst " .1/1 TlWI>II.gie i«, C;",prijc/" ed, Christoph Dohmen ,nd Thomas St"rnocrK {Wi; rz· burg, 19371, 251T.; Chrisloph \'On Schiinoorn, L'idme crt L. Ke.~lcr, " 'Through th,' Temple Veil': Thl' Hoi )' 1maSl' in lu,hi sm und Christian;ly," K"iros }2-}} (1990-\ll j, SJff. l Srudirs in Pirtori,,/ Narrat;l'r I l o ndo n, 19941, 49ff,) and ~ ·Pin .. "'s ft'rtilc with Truth': How ChriSlia" , MJnagcd to Make Ima~c, of God Withoul Violal ing the Sc'(ond C,oll1mamlna'rH ," /Oimiai of tJle \ l'lllter, Arl GIll/ery 4~- W I ]'191 - 9Z ). ,;,\ff. (St"dics i"
      
      Piero,illl /,<"",lIi1'<', 74((,j.
      
      7. Fram. ))iekaml" "O ocr die religiilSt'n Hildn ;n d~n KiH:h~: Fragment ""Sden 'Vcrmisc hll'll Unl.'r,u,hu"s/O)Ii(lli R.·,,;,'''' 4S (1 95~1, l77ff,; Slcphcn Gem, " Hypalius of Ephl";us on th~ Cull of In1 Neusner (I..,iden '9;S), wslf,; and Hans Georg Th1l1ll1l1d, Die F,;j/'g,x bidrrr dr, ""b,drliC/,.." Bilder/ellrr: Text.· ,mol Umr .."dllmgnl zII' Zrit "M dc", IIlldrrstrrit {Textc l",d UllIer~u,hungen 1Ur
      
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      (0. ,\. SOlim,. '''[b'~''grJphiJi I,', ,h'n~s 10" """I)',i"" ,-" I'.",'~kk"a I"" lclXQUi ICS Mone'S Sin,I:' in Sill"S"I,i~",,' im, ill 1111",,' Iii SiI,.i" (;;"$<'1'1"" '\/r',III, (Sludi hi'-a"lini c· nn><,llenni ci. 91 (R,,,,,e , 19,i ). J~~fr.; ~""rl'i ,' ,kr N,·~·..,i.",. "Program Jnd InH1(,gr" ph)' of Iht' ('"'SCo,,, of Ihe PJreccl~,ion:' in Tilt' K,,,irr Dj,,,,,;, ~J. I'JII I A UnJerwood (j'rin';cloll, 197,), 4, 31l,1f· I wish Iu Ih,mk 1'",(,-,,,,,, C,·or);,· C ., I.n'ari, I; ,r di",u>,ing \ hi, ehal'd wilh me. 19. s..--.: n, 7, I() . ,\ \., nsi. .'><"ri"m" """(liI,,,.,, 11/. 1.\, 1~~; Ir,m, . I.;,· ro>, ilF ,,., m ,,- Iru'"'c/"SIII, ~o. "-',' ~ I", Io'j . 11.1biJ. 22. Chari," Il,,,hn, "nl(' K, ,im,."i, e hu ..,-1>. Nir a,'" Th~ I illl j" of Rel'rescn t,uion on the Eve of ko 11 nd .I" II:' /' ,lor/well d"r OJ)1 " m',c/" fj, '~l'" II" J>I, ~ 4' (I9':i I). 4 J fl'. lJ , 0" II ... IJi,'''''' /m"sc> , ~.~: I'(; 9.1. ll~~: Ir .Ill>. U,l\'iJ A"JC·T ... '" (C,eslwuod. N. Y.. '980). Sl. !4. ,\ 1.""i . . '-""f1I1"",,,, . 'J. 1~~CI); I krl11,'" Hcnllephof. ,-d., 1".<1", [,),;",,/jIlOl ".I i,mw",,,,I,,,,,,, p,'rll/h-m,·, (Ll'iden. I'J"'J I. l~ !: 1.,·,li,- 1\'. 1I,lrII",d. Till" Gm,'()-lImll,'" ",,,I Or;nll,'/ fj"dgrolll,d "f II,,' /r""'''/<x1JIl Curtio' and 1',,"la II.lour;ki ( I'r inn·b"'. 19YI ), ",ff 1~. At Ih" b,'~ i llllill~ ofth,' Ihirwe nth (l·otmy. Nich"IJ, /l.1~"'ri"·' msociJleJ ""II relics the M"",i( tlbb" Cf. Fr"' I ~ Gra bler. [J;,' K....,:fi,il",r fro/'rro! K(fJ'l lolllli""I't'/; 0,,' R"gi.'nlllg'-="il dr' K"i,." AkrP,'J '\".~d".'. /Sililk AIISd,).• ,md Ala;I'! /Jllk.u. of;r Sd"ebll,. d<" SI"dl 1111(/' d,'r E.-",,,,.I,,,,,· lIlll';,' d"s "'Iillrl, \'011 .11'1' Ri/do1"I,.,I" ( 1I9j - I~(>f, 1 ,III) rlrlll C;,'.i, 8,''''''''111 977IT.: 1'(; '37, 7X9: I','rides-I'i~rr~ 10"""011, FOlll' (Po'" Iifir i" ""'III' i""",,- I'l'r I" m I,,~ i,,, ,,' rI rI co,,1 in' .I, t! i,i /I " C, III"" ico P"<"II1"/,, 91 I~ 0m 11:t f,' rrJ Ta, 19/\1), llxff.: Thu",m ler. I'rul,s<'sc/"rlill' . .17~; Cyril ,\IJ"~". "l"11r Arl or II", H)'~"'III"f Emp;rr .lJl -I~5J IEngl.'wood Cliffs, N.J .. 1Y711 , l.l~f. .1(>. 0. Andr~ GrJbar, L -'-r/)/"~'I",,,,,- bF,IIl1jll; 1... d""i..r II,d,,;p/"giqIlO' {Pari,. 1957). 95f_ " T
      
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      Ernst Kil7.ingcr, "The Cull of Image~ in tile Age Before Iconoclasm," DIHII/"'riOIi Ollks P~I"'''' 8 ( '954 ), 121; Frank Tromble)" "The Council in Trullo (6 <'llalcs Byz"'lIillr.s IS (1970), 161ff.. 37. Weit1.m~nn already noted this; "Th irteenth Centu ry Crusader icom,H 194. )8. Hans Helling. "Zum Pal.tina·Psalter de$ '). J~hrhundcrts." jal"b,,(11 ,Irr ~11",rd(lliS(/'roSI -!II;WIC Fa/hers of lilt Cllr;slj,m Ch"rc/, q (Ed inburgh. 1889), $9. Cyril o f Alexandria understood John's witne .. ing in Inuch the same way: PG 7J, 19~. 4'. Edmund Bcd. fks IICiligc1I Epilrnrm des Syrrrs p,'scil"/"."",m (Corpus Scripturum Chris· tianorum Orientalium. 248, Syr. ,08 ILuu,,"in . 1964]), ll. trans. Robert /l.lurr-JY. S)'mbols of Cllllrel! II"d Killgdom; A SlIId), i" £",1,. S,'rill( T'IIIlili"" (Lon don and New York, t97S I. S3: Jean Gribomont, "w hymne. de Saint Ephr~m ou r la P~q,,~.H Md,,,: Ruhcn:I,~, OnmUllc!J ('967). '47if.. and ide"" ~ Le triomphe de paque5 d'al'rh S. Ephrem," and "La traditiolliiturgiqu<' des h)'mnes pasca le! de S. Ephrem,n Pnrol£ tit /'o,i",/ 4 (1973). 147ff., 19Iff.; s.:basticn Brock, n,.. HMp of lit, Spi'it (Lon don. 1983): and G. A. M. Rouwhor>l, Us i1y",,,es pasClllrs i5;1I" UII qlJul,;em~ ,icdr, 2 vol !" Supplements to Vigi1iae ChriltianJe, 7 (Leidcn, New York, Copenhagen. and Cologne, 1989). 41. Cf. Melito ofS..di •. 0" Pmdw mill Fragm,'III', cd. and tran~. Stuart G,:orge Hall (Oxford. 1979). 43. Homt/ies PIIlC1er Mb.tes. 47. PG 49, 379: both lohn ofD,lmaSCUS (Dt ;lIwg. 1.63) and Nicephorus (0., ;lIl1lg. 2. PC 94. 1316) quoled Ihe ChrysoSlom (eXI in defcnS!' of image •. 48. pc, S5. pa~silll;
      
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      3. A COII\I1l~"I·.ry attrlbu lcJ to Jk,J~ ( PL W!, w~- 6) , (or ~umpk, "'.,,, (r<'n o( thill y. nine !.~h;ng' in ! Corin· Ihi."s Ll . l..j; $t"t (A-orgt H,·",J~r!>On. &d, ~",/ I~€ \'i!U/l1 Aw (n.p.• '9&t). ]. Citing Ih. t"orty ·.troke limit..,t in [l.,utttvn .."ny, Ih~ t~~t"""ht~ .. it . r~J,Jing l.y p<.>"'ti n~ Iv 3n illu>lt.,iun in ~ manu",,;]:>t Ihat I h~ ..... rit., mnlnl ."t hor;t.li .... I>«a".., of its provt"n." '. in E.u ly Cohri.lian kom., 1"h. f"l th~t ;t ,("O" tJit1~! numr,ons \.C.n,'~ ( "omn~ p,en,~) illml'Jt,.,j in th,i, I'fOrr' p!Mt:!' in tn. t,xt C'p<" I",. <.po.",n.")• ..,h'l ....... ulpci.·I. m.~ I . no.>. 64~. fig. }8l). Th"",J",u s', ",,"'~,,'h · 'cnlurr Lifr oJf ."",m $I')".i'/"" "f 'f.i",i,h,,". (cd. 1'.\11 ".~ n den Ven !l.o[)\·~i n . '9SJ I. 90) rqx"'. 1I0w ~ p~;rued nJrMtiw irnagt !><''''nJ in plMt of J t,,~t to wlilY 3rl Ol;!!ac~ount. ~ . Lene, 4'. PG n. ll r. tr~ I". luhn I. McEne.n'r SI. Crril ofAlr~"".lrill: Ullrr$ ( \\·~,hjn):I"n, n c. ''J'II7). ,!\n, S. ll>iJ .. ll'" tr-~n_'- 18,. 6. 11>,,1.• 117' tf~" ;. ,!\o. ]. Ibid,. !'iO I rart>. llSO. s.,., :>Olari,-].....! B.oudincl, "1.. rrl~l i<>n icuuiqu~ ~ BFJUC~ ~ u IX- ,irldi,rnc: Hu,,/(! plI;ipl"'l,u1 , ( '978 I. Bsff. for a diloCn~.on of lh i~ impoftJnt liter."y tigu, •• !« DAni..! Sh..,,;n ... Line, A"d c...lor$' !'.imi"g a, A,,~k>guc 10 TYl'(,I<.>jly in Grff~ PJtri"k lil'·ratu ....: in Thr 171h 1"'(""";0".>1 RYOil ..lirn" C""!I"»: Ab,I",W of Sl,P'; P"r<'$ (\\';o;lIinglo". D.C., ,'1M I. ) '7f. r wish 10 th~uk p,uf";""r Sh •• , in (ur g"llemu51y 'llaring the maleri.l. h. h" c01ltcled for hi, ongnin~ study of Ihi l quell ;on. 8, cr. Athtrt.1gOI"l. Lt-g<1l;o pM (Irr;Ili~" i;, 1M. <'11. ~ rtd Ir ~ns. Wil!i.1rrt It Scho,)r,ltI (Oxford, '~7l) . JS·
      
      9. I" Hp;'I"In", ,,,I Hdmlros. ' 7.S (1'(" ~J- '.'01, tr.1n>. I', ....lcric G.rdiner. //"",,1;,.. ,>II II,r f:pin'r hi IId,tI"l,~ (Edinburgh, 'l!\>O), ~8.~ , 'u, 1'(;68. '4nr. ll.lhid .. '39If. I ~. w~",b WolJl:.:t -CO u" •. C"'",',' In! cC.inJk. The C~.;!riQtI TO/'Ollropit,- <>f Com"". ~" EgYl'l iatl .\I(mk (London. 'lI9iJ. '.19f. IJ_ The IJtc fifth -centu.y COlh)n (;e,,~i~ off..... a prtcCtlrnt !II pict Uling the ~(r..:dln"· of ("" r;;;< ~s lite Chricrl Ko:~,lcr. Tilt G>Ir~" (;",~j!: Ilrilish Ubr"'r. o..l(~ Conon Ollw /I VI (p.inctlon, ,~ ). 14. Co.imu 510rn.,101o, 1.<" ", i"iml;'. ddl~ T01"'S"'fi~ fri>ti,(/(" oi C"",w I"t/irop/.mu: rodi(~ I'I1lio",,, grr.-o 699 \ ~1iI.n. ljX>R I. The m.n"",r;pl i. gc naall)' doted 10 the ",'cond h.li of Ihe ninth ffnlury ~",J att ribuk,J to • COnslantinopolitJ n illult, .10<: b,n thf ilS<'lf h.s I(.:trl ll)· 00" as~igr l td 10 it21y, s.-t Wolsk.!· CO nu.,. CO;",~! Itldj(opk,mh. I. ~stf. ~nd l ub Ltro)·. ~ Notts rodi · colugiq,,~, .", Ir \ at. ~r_ 60}9:' C"hirrs drehto/O):Iq"N : J h97~ ). ;s!T. ...... ;111 "utr br Andn' G. AN •• ;811'. ' So C;io..-.n,,; llomeniw "I. n';. N .• s,.a" ....'" C""r,U"rum ,,,,,.,, . Ti, ... lrl of Ille LJy:a,,,jrrc E"'pi,r. JU- I~.IJ (Engl .... '-"'<.! Cliff,. I~7' ) ' 'J9f. 17. Or",i,,,,rs P'" ." "(frI i .".,.~j"'I>U!. 1'(;94. 13"', tl";ln~. j)~,;.l An.julo
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      N"mll;I"' 1!.onJon, 19941. 49ff.). Th~ Ji~I"'r~J lClllpk wrlaill may go back 10 1hl' arli".l rq,r,'S("!1 ' talion~ in kwi,h art. e~c"'pl i fied for in>!"lee by a gold gla~$ in the \'Jt ican:,e<: ""her ~t, Cla,r, "God 's HOll"" of Pcace in ParJdise: The Fea.t of Tabernacle, nn " Jewish GClld GIa"," 'o'If",,1 of 'rwi_'iI Artl' (19Mj) , I>ff., .'1'. fig. land Ke" l.r, '''Iempl. Veil." [)iap""-.:\ curtains are parallel.d in .a.t Christian art: "-'c. for in>!ance, 0 Coplic textil. in New York (Adde Coulin \\'eibel. li"" "I7",,,,,w,/ li'ar$ ofT<,xlilrl: Tlrr Fis,m'oI f.'xl;"'J "f /:''''''pr rl,,' N..", f,tsr [New Y"r~, 1 ~5: 1 , Slf. ~nd pI. HI and th., mo""i", in th., Church of lhe Nativity, Iklhlch.'m ( Hen ri St~rn, "Les representations d.·s lig. '9). The pane'" " f concilcs dans I'tgH", de la Nativitca !let hl<'.m,M H)':ulIIli"" " 11936 J. '!i' If. the Mandylinn n,..,d haw nuth 'ng to do with l.Jte Antique metalwork as Ion Wil,on has wnt,·n.le<.l ( Tlrr Shro",1 ofl'lfill: Tilr HII,i,,! CIO/I, of I..",s C/"i,ti 1Harmondsworth , N. \'.. '9791, mf. J. !7. \\~,al is kft uf Ib,' pall,'", i"g "Pi ...·",.' 10 b,: ,.a"do"" color~J S<.Ju:".s a~" i n,t " blue )lruu n<'I"(/If(' (Ron".. Frdhltl);, ,t nd Virn ml, t9861. JO. Cf. al", Chrysnst"m (a. in n. 9), PG ~3, Z7: trans. In J'. W"l.ka -('.onu., C"'lIIot$ /",j,mph'''$t,;" l, JW. )l. PG 6), "9: tram. 40. )3. An arrusion to H"brc'ws 6.Z0 in eh"pt.r S ,Z~7 occur, imm,'dia tdy hef.)fe the I'o"n",i" min iat ",. •. in th., V"t ic",' ({}(Jr~.
      
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      39. Sec Ernst .un lJobschut1-, CI>,i5 tl/Sbil,!n V"'e""d'''"g<'" :"r c/"i,II,c/,ell '.''gl'"dr (l.dPl.ig ,8991: AnJrt Grab;", I." ",;,0/,' i<"'e ,i" i.d,"" /.,' '\/,,",i),/;"" ,/,,,,; 1''''1 Mli",01"",' (I'ral:\u<', '9J' I; Kurt \Veil,mann, "Th,> Man d),linn of Con,tJt>t ille Porph)'rogennelo>," C.,hi,'rs ,tr(/,,'olog"i"(S 1, (1960), ,631T.: Awril eameru", «Til,' Hi-llury "f Ib,' IIll,£,' t1 kg,' od , ,.,,' Ctm~ro n , "Hi'lory th~ Image"; Han I. IV. Dri;...", "A bgJr_"'ge," in Wilhdt l1 s.:hnccmdcher, Nrulf;wIHrutl;r/,,· Api>' kr)'plto' i" ,/,u/!(I,a Ob"j(t~'mg (Tiihingen , 1987), I, 3~9ff.; A-, 1\1_ Dubarle, HislO'", d"rir""~ .II' l.i"cr"{ ole TI""I ( Paris, 19S~I; and An-ril Ca ,m'ron, "The /I. IJndylion and B)'lantine knnociasm," in 7'IIe Hoi,. F"N' ",,,/ tbe P,,,,,d,,,, of RrprrSi'"lOtio", ,..I. Herkrt L. Kessler and Gerhard Wolf (Bologna, '99~I, J.l l1. A seventh-century Arn1<'ni,,,, w:aliS(" introd"ces the T('111\,k' cnrla;n 3, it> first def"",,-' "f image, and, almost immedialely thrre"ftcr, cite. the J\ lJod)'lio": _"'e SirMpic un Ner>(',. sian, "Une JI"ologic dfS im"scs .Ill ~ I' ti~",e si"de ," IiF""';'''' '7-,H (1 944-481. 58ff. 4', s...., IIclting Ril.! ,Hid KI,/t, ~35ff, Genoa, Conwnto di S. Bartolomeo;.= Colette Du fOllr Rouo, /I "5.lrro Vol/Ie>" di GrllO"~ (\{om~, t9741. The VJlican, Cappella di "Iatilda: $<'. Heinrich pfeiffer, "l"icollos rafia ddb VemniGl," in Rom" 1,l(}()-lil7S: L'url<' d,'gl, ;\11111 Solllli, ed. J\1.".,dlo Fagiolo ",,,i "hri. LlIi oa /I. bdonna ("I i!an, , ~84 ), " ltT.
      
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      Varc"d 108;. M.rrin, 1I1"!Ir~'iDn of thr I/r",...,.I,. I~,ddn , 175ff.; lI/u",i'Wlrd Gr«~ .\f"",;. Jffipr. from Am<'1iuln C"II."t:lioru l ;~ry' Vikan. M. (Prin'Mn n. 1973 ). 98f.: ~lId Spath •••!:i" emp"'. 3l f. A t~nlh ' (fnUtry' ClimJ' us ~t SC. o.lth~rint·~. MI. Sinai (CoJ. g •. 417, fol. 41) i,KOtpo.Jrts rl"l<' ,",me" motif. . , 0... •• 11 d,,·c"lIIh .cc"u tury n,,"ust,;)>! in PJri. ( 8ihliothl-tjuc lI.l ion _I(. Co..I. Coi,lin l(; j , fnl. ,r l: \\'eitlm'nn .nd (;.I..I'·Jri" MOt!II.,(ry ofSdithou. Galau. Cn'ru~ There. ",'r' the .psr . .\10St'! is n:1'I<"",nt<'·h.n. hO".......1. lI~tllr Jllight .lUnd, for God. S9. [, ,I>: pc; 94. 1l~8: I",n •. 1;. 1>0. Sec V~n.n'c (;rull>e!. - I.ine C1 k "~lIon de b fetr du s..int ~l."d,li""." &1I""Ji"M M (' 9~ l. t4\ . 61. Cf.. c.I\-' luh" uf O.IIId!o(U •. [), folc ""h",loxn. 4. 16: PC 9~. 11 7j: ;<-e ,'"n Sd,olloorn.
      
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      "leo"".: ,,}C. According to th. tenth·century ~ !.eu., 'lf A!>gu." o""t W~, •• ttu.l1r In • 'yn_g"lluc". leaching ' 1\ ........ mb1r 'l( [c\>'': >oX 1)(>bKhul1. OlllJlI<sbi/dtr. 1<13' . 61. Cf. lOIl~ MMin, "/l.I .>qIl~ C1 )><.)ftr.it: SUI L> ,ignilk~ l iOI1 d'u"", illl;lg<:' ,·t KIn ill"s tr~t ioll .u XVII ' ,;.o.:Ie" .- in I"",~.., rt !is-"jfi(atj"" I P.r;., ,ylI, ). 16,ff. Tcllin)l.l~, rhe mir""luu, tun,fc. "f the irn....'" ofChr;.,.~ facrollto the d'lth Walo "doom dcpictro in Eastern .rt (or it ..... ould h~,... r<'<[ui,ed awelins Ch,;« RJg".<..I. " lmn"!;~Jphy of Tbe Al>g.>r Crck.~ 41 . 6.1. I."ng bc-(u'e !he .uh(in'pvi(,o" it>el( W;lS bn,ught tu 0.lII,tlntinupk. (fohn o( OJ"" ><: " >' I~ fide o,ril",I",,". I;: 1'(; 94. 11M: I.nf" /" fI,e f.m~'''T 11Icopllilu,. 5; f'(; 9S, )S1 ). !he f.th= ~llhc 5«01><1 Cou ncil of NKMl (Man,;, !iJ!m>r"m (O~(iljvr''''' , (1. 90) ). Ni.:cphorul (",'ljrrh' lic"., j , PC 100, ~6", .nd Roofu,.,io rf E,,..,,o. ,,",C P.uJ Juliu. A1~I ...d(r. Tilt Palrill"h Niaplror .., o{ C"", sl.mrill"plr: f((lC1i'l$Ij(d/ l~"j'Y ,,/III filing.' \1\IIship III rllt /lr.... mjllt Empif( [OdM..J. 1~ I. !.Hf.. 1\6). md "tht" ( ;ted it 10 iU>l if~' ~11 h"ly ilt1~ge.; ~ 11..J ('"m the «mh «("rur)' UI1. the Mand)·[i"" .... J>~~l("\)r~to:d in a sp«i.ll fe~>t honu1in)\ !;Icro:d KU"'. 6.4. Cf. r"hn uf Oom..",,, Dc fide orr/r",ku:.. : {lC 94. '148: tr.lns. 1~: and Thro. i s. It ...... pl...:i... ly in lhi. m ntut th.t Nk~phoru,. "~'i"hrli(l
      C HAPTER 4 I. Gu y Vibn. "Ruminations on Edibl~ kons." in IIrr,,,,,,,,~ thl Orig;"d/: .\ /wl,jpk' Ori.~'",,/I. l." p;n. mId Rrp,,,,/u(fj,,,,,, Studi., in the 1li.tur)' of An ~u (Wuhin!<1on. I).c.. t<jS<,! ). 4;/J.; Go, · d~n. l!..Ibi t, ~ II moddl" C I. r.pli,~ neW.rte biuntin • ..Idle ;oone: ATrc ms''',tII'' 7b (,~ 1. 6I1f.: )am.. Elkin•. "Fro m Orig;n.llo Copy and f!..Id, Ag~in : Rri,i." ,""rMIII ~f Am/rrri... 3.l ( IW.!). II.!t'!:: ~n d "ly t)Ioo'll "eo".~: in ~'"dnol'<'J"" J(I/'~rrr ~It,/jr''
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      MJgd;lkll College ·,\III.' lerb",h', A I'Jin.d) (;"idc f,om e ll"u> a. Odor";' in M.d" ....1C,1""" 51".1;", ;" .'\11. A"h " .... I"". ,,~J U" ,orr i" .If,,,,,,,>" "f 0 .."1,, .\10""". <'d_ .""rlo;)' l'ancHo n 5m--':enko and Chri>f"phcr I'rcdn-i<-k Mos, O'rin.clon. 199'1/ . ll i1l. JI. On .Il< I'rtli,ninu)" dr-a ... i ng~ that r( ", ~in Unl>.li n1ed in "JI. gr. 746. S<~ Lo .....k". Th, Orllll,ud". :ufl'. "o"'t i'", ,( hllUng.:n be, M ind;.lrtrli<-h~n ,", Un';II,,,, : ,If"",·h".., ,,,il,,,~ h fti. hil.Jr",Jt Kuml , «19SI)). QJtT. II . 0'".-111 U"'~'" 'k pnf/'(/;u~r ,pj,j'lUlli. cd, EJou~ rd dn PI.""" « Sour.c~ Chrtt'enn~. ~) 1'.,;•• ,<M ), 1~9. 911'. Ari,toll( Iud . de ...... to Ih~ pl\Kn~ to u l'bin Iht ~nfl~lhing of ~n ~mb')\); Dr gttU""'~"~ ~";",~l'",,, . 7 ~Jb. lnll Cf. /)~"icll, Sh,,<,,i n. " ,-jnc< ~nJ Colo~: 1'~inl;llg J S An,aI"gu~ 'n Ty pology in G r~k I'alr;s'i, l.ill'f."ure: Th, IJ,h In,,,,,,,,;,,,,,,1 11,.:<1"/",, C"",f;T~" Air· lJt"cts ,>j SJWII f\lJV.s t \\'a;hi"~I"n. D.C., lof8(», .m f. ':. On Ryunl il\( I«hniqucs in general , ~e l lj.lmn Torr. The /meg"";"1i Spum uf Prop", · ' i"" '" HF,,,II;n( Arr. A(IJ :>d A"h~ro)Qgiam fl Alli um lI iMO' i~n' IYllin~nti~ S {Rll nlt, I~ ), IJ. Kurl W"ill_mann, "I,,,n I'a imi"s in 'hc C:"b.lo.k. Kin!.ld"",: OU"'''''''''U OIl:; I"'JVr, ~o t 1y66). SIft:. ti~ u : Elir "I,' Vilci);,;, - The r our Gml'd..." in 1I/""" ,,,,r,.,1 Gird' .IID""",,'P" fmm A"" rl("" Cal/....""", . 'Wf; ~.l a l " T(lcrialnil:ov. "The F<>ur G<>s\><,~:' in /f),U"'I''''1I
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      M, ...... 4 0." .11;",/: Tht Lil~"'')' ".~t!pi. oj &JVT;rn(~ a"d /.. Comi"" ,I)" (Pr;ncn on. '!JI83l. w-ff. I]. Trimpi, "DI:/ ,\ rrA4>I.\ ... IA." ,~. In S. fu'~pi~", . 1'G9;. 111J. ,,,,. Gillxrt D~tI ""'O, " M"h. im ~g.~. iclmcs: ,>:o"'·tlk ........ ,It ",),
      l L Cf. Iohn ram~~ YI .. nni~., "A /{" e~ami"~I;O" of Ih~ 'Arl S1Jtuu' in Ihc Am of :-"K~ca u : By,""'''';''-'''' z..rtu:h,if,80 ( l'I8j ). WIT. ~:. Ch.p_44: <'d. and 1r~01_ Lleo il I:. sun ,,·.. o, "/"/" 14( ofS,,,,,, !\',li;on (Um"klinc. )'h"" '\137), tS';. cr. ,' k-,,~n
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      1<1. Scr Walter Bco niami n's dJ ss ic eS!OlY, "Th.· Work of Arl in Ihe Age uf MechJn icJI ReproducTion," Trans. H;lrrl' Zuhn in 11111/11;11111;0115 IN.,w York, 1t;6lI j , 1I7ff, 'Ill'" lI)'7.an/ines do 001 Sl',' 111 10 have been able 1<) prilll fmm in /tlsliu originals 11llllllw(l -d im,·n sinn;I I .~u rfa cC's such a~ I<"xtiks; d . nich~rd Forrer. Dir Zrugd'urkr ,I," b},zriiv~ r5, M AbgJrsal!t',M in Wilhelm Schn«nll'k hcT, Nruli'sw",,'lIIlirlJt' Apclk'},pl"" 1 fTiihil1g<'n, l11W ), I, jlIt;ff,
      
      Z9, Andrew of C I\' h:, Ik Sw Yurk, 1'179 ), ! 76. .II. Tilllll.'l1.' , 71C J - ~ , 3:. \1'1111 1$ /Ieir of V;"i"r Thi,,).:>, xlvii, II. ullff.. Ira ns. FrJ nci~ II. CoJ ~n el al. !Qa01l> rid):c, Mass.. 19Z9!l l. n'J6ff. H . Il>h(lwu'~- K,J "'''' ''''III''' (11111 tlu grirr/.isd"·,, KiIT/lr, ...t. loSt'ph Ih'u <~ ( A<'rli n , I ~ ) . ~ .. I\, 34. Andrew of Creh:, f),' $I'II/C1III'"m; PC 117. 1)01. 3~, Cf, n. 27 and A. Ammann, ~Due immagini dd cu~id.·lIu 'Cristo di Edt'S~:~ Alii ,lrI/" poll rijirill normA'mill TOmlll'" tli tll'(lu'O/,'Sia. Ik",linmlr J/:I ( 1 \16~ -66 J, 1115ft'.: Coklle t)ufour Iklzl<>, /. .. mrnir<'lfd ArlO'll MANJ YAION del Gr.HJ1'" (G.'m,a, 19(7), 1/ "'s'Im ' I'I./t,." tli Gfllom (Rume, 197-\ ), and " JI 'Sacru \'0 110'
      IIf R"prrSt'IIll1lill/l. 55 ff, )6. Cf. n. Z7 and Heinreich 11(t>iffer c1 al.. "L'i mm:lgine symbulil;'a dd pdlcgrinaggio aRoma: La V\'ronk.:r e il Voli o S;r.0I 0,~ in L'lIru (/(gli AI/IIi S.w li ( f.-l ilan. 198 .. " 1116ff. 37. Klau~ Varbsca , '\/lIl11irllf'OrlrrllS ","I '·('n ....u"fu /),'" k",.I1o-r ( \,'i~':IDa,kn, 1\166): l urelei Hilda Co rcoran, Porlmil Mrmlm irs from R","m. l;"g}'PI (Chit:Jgo. 1'JIl5); and Euphru~)'ne Du~iJd is, 7'/1<' ,I I},JlrriollJ FI/}'II'" "'if/milS I New York, I'JIlS ), 38. Cf. Rain er Watland, Dm Brlwbll.1 Clrris/;: .'Ipiilllllr ikrn Will jr;iilb,.;:wlli" i$<-h.,,, Hill/g'" whirh/I' (Rom e, Frei bu rg, and Vk nna, ' 98(1 ), e~Jl. 3~ff. .Ill, PJrJasca, Mumil'llporlrrl/s, 18off. et 1);lS~illl and pI. 35.1. -In, For a sUllllllary uf the argu lllen t5 300 UI Usagl', 1oI.~ Co r( o ran , l'urrmrt Mummies, 7-1-7b, -11. 111I/(lIIi"i P/lIUllliI.i Ilillcmrirmr . ed. Johann Gildemeister (Kerlin , ' 8-1191, \:.. 42. Ewn Ih(' fully pailll\'d "sainte face de Lann" retains this dark asp« t: d . Grahar, UI $<.1,1/,'
      
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      .I,m, ". r,>lkflh"', p"b1i'l'«'1 f"m,dim rp J.;". '991). Pele. ranhaH, "lmagu Contr lfJ,t~: lu"S'"S ~nd
      
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      I'. f'(; "J. 4~Jll: If~n~ .. !J\ff. Sl. I'>vb>chO!~. Ch,ill".ml<Tip'ortln! hi,I"".., br:;:'-''' Ii''''' ' (Bonn. ,8j111, lsO. Th< nCJt ly "om~mpor~.y I.'f,· a,f Sr. Htlll a,f '~"",s r~"> thll onl), 'he >lIint could scc the po.>r1r.it in • r~rs; noik- h~ h...! mld~ by Ia~'in!l: 3 pi ... e of li nen ~nA t ly the ... m~ S1l~ omo ,h~ o.igin&l: "\·it . S. I'~u); luniMis," A""hr.. lk>I~mJi"n,. II ( ,/19: ). 'SOf. , Ka~h.t~n ~nd M~gui ' t. ~RfI.mf i"'" lIa!(io. ):'~l'hi(~I ·l"~I>." j,oI. I:lob..: hiit~. Chri~IOISbild(r. ~03' .
      
      SI. The Holy F.KC o( EdcsJ..t Irln. mit1eOftM in Ihe ' i'th·,em",y Sy.i A h~'n'n ~nd 111M. pre·l«m!Kl.,,;.: .... ure",,; cf. r.mn Trilling. "The I m~!(~ Not M.ldc bJ.' II .. "d, J" d lh< IIYz.ln ti.,.. W~)' of Scc;ng.~ in rhr Hoi,. file(, 1I.I9ff. x., abo Anthuny COl ier. nThe M~ king of Ihe hUfini:ln I)iplyd 'f''''''''o," & $ ~ (>993). iff. f"Q' ~ll ~n<"irm froldilion idenllfying Chrill with SIUn<". W<' (je'Orgcs Didi·Hllh;:.mann. f ... A"S:NU<> ( P.. is, )~ ). Sf>. tlu ht and f>fciffer. Gnrbu,d,.:. 'nf. 57. Cf. Ken neth I'.r~. "l"codnrt" Sluditt':' lnd the I'at.io>rch !'\iccpho,.,. on lmage·M.king as • (.llrist i~n Imp<'r.ti.,,: 1:I}"",mu"" ~9 ( ,~), ,6 4ff.; ~nd e h• •le< ~rhcr. "T Io.e Bo.ty Within lhe r'."'e: A U>c of W"rd ~nd Irn~gc in k{)nod.. m," \\,,,,.1 .."d 1"'''Sf 9 ('9'1.11, ' ~oft: Writing in Ihe ,""ven,h ecm"~ of the C.mu li4na Ch ri.,. Grorgc the I'i.idi.n likc"n! Ih~ ifl1~gc in th" dulh to th~ ({)n'~p1ion of Ch.i.t effeC1~d ....·itho", ,""men; d, f:xpcJjl;(> ' .....i (a, 1.')\lIf., <.t.• nd t .. n•. Agoslino I'crloli ( En~l. 191\l J. 91. ~ . o.>b!.<:hO ll. Ch,i,:t"dlilJu. 110", W. Aal;n II~r;n<>. For i"-'tJOOI":~. in the e....."nth·crntury ("''"'''''' in th~ S.Icl, K,Iiss<' in C.pl"'do.:i~; d. ~l.or(tJl Re~lk 1I,.:;:'-lIIli,,<, \1\,III"'i'llinS i' l A,:;" MinM (G!«uwi"h. Co nn. 1967). " '03ft'.: F.rnsl Kitzi n);e •• -'n..- ""nd}'lion at Monr ... l<.- in .~rr< p"'fana ~ ,..,~ >k •• ., 'TI,u u Shah P.;nt th" I.ikroc-", of Chri.t Hi",,,,lf: The M"",ic I'tnhih ilinn •• I'nwoution for Ch ri.sl i~u I",oS""'" Ifwuh ""l3 - :3 ('997- \llI ). l'I4ft'. (o.ap. l l. 61. 11lc d oth of Elks.... Wl ••1.......oci.lcd ....·,Ih Ihe ld, " M~"dyliun Jnd Eueh.or;"I.~ in IImln'(!$ of f'nP"lI: ,\',"fl«"", 1I",,,w/ BF",";"r Srm/iN COfOf,r.."u (I',ine<'lu".
      
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      M. I\rh:lnasins l'al);ldopnulu)·K<'r:ul1<"IlS, 11,'wu'/I";" (51. 1'l'Iersbu rg, I\lVII ). On . he (w"r,,11 imponanc(.' of Ih(.' riznplllllltiltol fo r an maki ng, d. I·tans Ikh ing dn d Chrisri:\I1c Kruse, Di,' Etfi", lulI)I ,/,'s (;"""ll./<,s ( /I.·Junkh, 1994 ). 511f.: '1I1d loseph Len KO('r11<"r, TI ••• '\/0111,'/11 u( Self· Purl m ;/u r,' ;11 GUlli"" Ri'/lIIin,lIIe,' Arll Chil'"Jgu, 199J), 8olT. 67. lol1n IIfDam:r)(us, ik ;1II"gil1iIIllS tmlli" I, .6 and II, 19: PG 94,1246 and IJ06; Th"u,lur,' or S,,,ud;o~, Ad.wltli Ic"lI.mlllrJlC)$. Aul ;rr/"'/iwi I. 1.\ and III, '4: I'G 99, }44 and 39f"o. (,11. l'l.'Itlpid:u Sh'"han<)u. ~ I .a Docuin" d e Uon d.. Chakt'doine c\ de "'-'S a:tllJ IlAiwv ,;ai ayi",,· ri';O\"lI)\' rpI~ ( 1031- 1(95 ) ITh,'$' s;I(nn iki , '972); J'ld. most r«l'n, I)', Aml,'I1Mti.' C:r.rt. "lco of Chalc,odoo ~ ."J h" IcfJn~.w in HYZ,/II' 1;/1,' EIUI, /',U;/1 \ \~"j/: Ar/·Hi~/<}ri(..151111/i,'s III / 1(I/lI)r of \I (;/':m,/lIII. ,..I. Duu lJ f< 10uriki ('I 31. ( Pri","'on, I'J'J~ ), ~iYlf. 69. V<'nancl.' Grumd, "' Loon .k Ch;rlc.'i.loni,' ,'I Ie ea n"n de 1;\ (,'.,' Ju 5.1im r-.·landiliun," /".:1,. /Jt,/I",,, Iill IU' bS ( ' 9 sO I. 1.\:; ff. 7u.lJubS<.""h(lIz, C:/lr;SIU,,/iI;/rr,II!": Iran s .. 1411. 71, 0 , ' $I111(/r"''''': 1'(; 9;, '.)01. 71. Hdl17 Ga 1I;,'r. 1;~XI.· 211m b}'J,.uriIllS(/''''' /lIMuSI rril 11'nnkfu T! am /l. laill, '9'14 ), .p. n. Uulsi ~nd 1'f.·iffer, Dou li"illrt Gmlllile/" •.}S. 74. FrJnl. ~o>i('n'hal , wA Nor" on Ihc Mm,djl,~ in fllllr &5ays 0" Atl IIIlI/I.IIU,It'If<';" Mom (lxi.kn 1971), 1i}1f. 7S. Bk. VI, 411 . TIl(" dualit), of T/.rupIJllllrs COli/illlllll/11 WlIS I)io::ked up h)' fohn Sky(it"l.I'S; cf. /lHlllllis Sq1ilulr Sr"opsis /lIsloJrilltlUlI ( Berlin. 1977', 2}l. 4 00.
      
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      7(,. KilT! \\\'i lzm;rnn, wTh .. M~ntlrlitln and Constan,in, l'orphyrug,'nnt'lo),wCIII';t"r1 ",.../U'II· /")1;1/11<'1 It ( '9hO J, .6}ff. and Til .. "'mllISI"'r ofSt!;m em/"'.ill<' flI Mmllll S;m.i: T/,,' {..JilS (l'ri nedon '976), 941f.: lrnd Ikhint;, Bilrl 1'",1 Kulr , 233fT. 77. Cf. Di.li. H "h.·.m~nn, f"m , I"s.-li,\•. l)l IT. 78. (r. W.. irll11;urn, ·'M~ t1dylin n ." 79. Anolh"r r .. rly wil n,'ss app,';.rs in Ihr Inrnn1ogioll in Alexa ndria (Gr\'~k 1';lI ria r,h:rl U· brary. COl.t. 3S, p. 1116): d. Nancy l'atte rsun Scltc n ko, Th,' /1111$1 ",,,.d M,ml/scriprs '" Ilrr Me','p/mrs· Ii",. "'mol!>,;iol/ [Chicagu, 1990), ~ nlf. (Chap.}, Fig. J.6). 110. Cf. C hris.opher Wal ' !'r, "' !;iller·l)ay' Sai11ls :rnd th!' Image of Chrbl in th,· Ninth· U IlI ury nyun. ilU' .\largioal l'sal lef$,~ Rrr~,<, ,/,'$ trwl'"j iJrz"ulilll'5 4; f 19117), 1O,ff. III. 1b,' eoi n · likl' porlr.lir i~ of a rypc " 'd( knO'o'o'n in (arlier iron p;linting a~ a Signifier of rhl' original kon o( Chris!. Cr. Andrl- C,)""dNr, L'ircmKlilsmr /'F/mlll' t Pari.s, 1957), ! ISIf.; and K. Coni· gan, Vis"'I' PoI.'mies ;11 "1 .. "'illl/,·Ct'U/",.,. Hy.:m,';'''' l'sol/I ... tCl!nlhridge, 1992 I, Nf. II:. Cf. Herber t Kessler, "' I'ictu r,:s I','r. jl.- wi,h T/u,h'; How Ch r ist ians M ;.n ~g,'d 10 M,rl«Im~gC"~ u( Gud Without Viula ting r h,' Sc.:ond Commandment;' loom",/ II{ 1111' II',III1·tl Arl (jail.·/'), 49-S0 {199'-'J2 J, 5J If. ( rellrilll td in Studi,'s ill 1';(/<1';111 N"mll;r'r Il undon, 19941 ), NrT. a lid " M"d i· "va( Art liS ArgU I1IC I1 '," in /collogmphy ill II ... Crl'JJn"'II~, ",I. Ilrc ndJI1 ('.lIs~ idy [l'r in.:r to n, 1993), ~9fT. (Chap. 31. XJ. Cf. Ihe on,' from thr Sancia SarKIUrUI11 in Rom" no,,' in the V;l l i(;10 Museum; 1-I,lr" mann Gris;lr, I Jit Riimis.:l.r Kilprllc SIU.(fd Sw,rlomm .md jilt Selmt: ( Frl.'ibu rg im Brt'isga u, 1908 ), 13· f .
      
      Cf, Athl"'a, ~r)' li.'Il"\L .md Ill d irn ~1)'li"""lJ , '1'/1 .. 1'"",/,',/ O"m·/,,·, ,.(err'''' Il.on.l"", t9~1 1, 117· ~\ . U" th.' d't", t "r t" I'''''),I1II, ,'['ithe!> .1< f'" i" t.' " tn .!r,hd )'1"'" ,.". BJhi,. "II "",ddl"," ,,, ,d 1.0" nil 'I, ,):"a/.zi. "[ ' i cn ,,,.,~r .Iii, " iJ ·,·i! ." >ld ]e noi, J""I",,' ;""1<' ddl., Th",!. ,k", I\,d,,~ r.,I"'hM: It,kh"rn;ti ' >J " Od ; ~h ;l n.!." /I"Ii.'u"w 111'1/" !I<"/I,, Gr.·c" ,I, GrMI"f,' rml. Ph ;111'1' .\I"},,·r. nil' Hlll/pl'lrk,.,,,!,,,, Ii" .Ii,' G.·s.-!"dur ,I.', AIII!>skl,;sl," (1-,' ;1";):' IX~4 ) . ~1l1 . ~ i. , Ia., "I~'il "I",,, '" A I"~' '.I' 1'1 "' , «1. [, a rd /\d., lI",n LI fl' i 1b I U, ."111"- h"'. I):. 1~91 I. "g 1r. R8. I't; 113.43~ : I rai l' .. 1;; , ~ ~. Iklli llb' /1,/01 ,,,,,I /.:,,1, . 'i.llf. ,\1111 TI>"'I1." R.,Tl: " IJ." 'I"'il i,:,' K'T.lm i"n· lind ·Chriw,. <'[,i,,,, kin): ( h"",,,.. , I "'''' ra,',,~illg till' r,··Chri'lr.ull,,,,1 "" ),11,,1. ,t b;,h,,1' ,10,,,,,,,,,,'.1 lh<· im111",,'J 1<1.",. <)\J ~ iJn"-''i'";''' ! ~; II '.~ '" t, ,111' .. ' 17. ~-,-, P"I ".Io"I.'. C/m"""),,I01.' ... I.t'· ",,,J ~.\,,', ",1, C" Iitl.' I ),kak"""k.l, " j\'''I,' MI r k Il"s-i.mlt' .\1 ,k 1,1 lIih li"rh'~I\I" \'.Ui.;lHll·," /1)'::'''11;<1111 t ( '~H I. '''111.; I"hn 1<. ~ la r1 in, 1'1, .. mWIr.,1 ",,, ,>/ ,h" HI''','''''))' 1",., I"·d,,,, (" ~kd;",.II I\rl.h "'gun"·,,t : ' Mt n. ~!I. ~." Th~ 'H',kli,,~ ; , d",,' t" th~ f.,.-,' ""d W.,.. Jdd"d .1)'111): 1" ~I'ar" t;"'" tn re·m.,in ,·i., ih le . 91>, A,,,,,, h,"" "" L.1~' !'(; ,n", 'Y.\' ,,',' n.L ):''''' , ...\ I"t ' . i,,1.1~"'. i( OI"";," II>~. 97. 1I,,· I 'a IoISIn" '"1,, 1"'" d,' s 1,,1Ii!" ,,,. -' ( ""'" .. II, lS. cd. ,\ lJ 1,:" ,t lJ, II " i",II h... ~ 1\\';;" IIlJ ,~. 1907). .1'" t, .II". I, rJ"', ( ira h l~, in Oi,' K"'('~I;IIIr"f """)" ",,, 1\'''bl,''U ; ... 'I'd. ~~g. 'IX, Ni k" I., n.' II. I), J nd., kt,>. BlJ ~"" T" ' j(i fO' lU'fPO 'I' i" T'E ~ h' 0" ~ 1i, \"1 1,\ Ih,' ",' . '91>.1). ~,. ff. ond RJtT. "!l." . h~ih~,' K,', ,Jlnion' und 'l.nri,«>< ,I"r Aill iphon it l" : " 'N. Th,' ~Chri,t", A"I ;l'hn,,;!<,," m., )' hJ"" lk"(, ",,,,,,,i.H e·d with 1h,' ehJ ,,,,1of th,' C"k"p'." i., in C"'hiJni iI IUI,k ; d. IbTT. <0 ] lJ' ' h~iliJ,:" Ka .nni",,' lind 'Chri,«l> de'r Amil'lH>"ik,: " ,\ 1im .l! H',' '00, K,·"la. .. ~ 1",1i,·I' •• I ,\rt ;" A'~lOn"'n1 " .md "l ,"'-'''g .,t Ih,' I lOW r,', Th" HI \'.H;'~'I gr. 1>99." in HJ'~,"'r"'" ['''; I. /.(II;,! \1\', I,J"Stl, (eh" I'. S). "n, ~ I)O,)", i,),,,t,, ,,;'" i>'i)';'" ,)0(,1'"" " (I'.ori" flibli"t h"'I'''' ".HI"na l,.. ,0'1. "I". fol. ~~1> 1. Lt. k,n COII; ]I.",1. "C""t'·"'I' I.n ,,,,, ,·t una):",i,· ' .... ' .... .I,ll!> k .hri,t;;u';>I11'· b)'l.lmine." 10' ,,,/,· 1"01//'1"0' d,'j I,,,,,,,,, ,'// ,,1, 5: AIIIIII." ...·, S,YI'. '" ,I,., 50,',."" '.-II):' .... ' ...' M 11 917-7~ ). !9ft Iv!, I'G , flu . II '.1; Go" iliJrd . "C"mcll1l'l.u I, ,n ," IOJ , /1, 10""",.<1'-(IIw",a.-lIO'. A minl',·lin, ;. '. II, p(o' 9". ,I,?, Iro"". , 4'!. c r. ,\ h),h.· IlJrds.:h. Th,' /" "1: ~mdir'- !" II", Hi>!"r), 4 ,'" /01,'" I N,'W York. ,~~, I. ",~ , !)"]",I,,,tz. rlm,m.,/,,/do'(, ,,,, " - "~": If.'n< , I'd",,,,.! l~ihl~'n . lh'lor)' ,,(rh.-Ilrr/w,' ,,,,,/1-.,11 ,,(11,,· ROil"", h,/'lCr Il'hil"ddl'hi" 1 ~"4- \ I. ;:h.,I" ,!~. 1111, ,\, Ni"'I'"'''''' )~'int",1 ""t I/I,'hlli" ,'1 b ·<'f;"' ). th ,· ~L'n")'li"" rt·fUl,·, JIl )' doil1l Ill,u Lh"., t ~J llt"'t be dq'icred I)."~",, , h,' ".t,lIlOt I", ClrclIl1l""I",,r, Cf. ktTr,·v F,·alhn,lonl'. "Th,' • ' Rdut,ttl"" or th~ CUllll"! of ~I\ I>r Ih,' I',nri,,,.h Ni(~ph"n": " I'h.P, di,,",'rl.l!i"n. HJr\',ud lini' ""it). '~~4 ) . !,; .Hl d ,\lex"nJe, . ,\/,'.ii,·, '.,IIII"',,"IoHor,. ~4~r. ~~.
      
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      C HAPTER 5 I, On .lIe
      
      idenlifi,~. ;on
      
      of "<:o..m ... Ind icopku, .".: >« W.n.u Wol.b_Cono•• "S1<'r Il.llo. ,r".!Ie.I<$ ..-T Steptuno~ d ',\ltXJndr ~ ~i J 'idtnt ifi,~.ion lo.l.r mini,Hu, ,' d~lI" Tnpogmfia m,:;",w ,Ii G,.,,,a I"diroplO!tr .phi" CII"';.;"n n.., dt (-;O, m.s Ind i((>· I'lfU'lk: lI),l'othhols sur qudqu~! Ih ~mn d" ",n illuslr• •ion: RtI1U ,I ... /'FoImi"'1 48
      
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      S il""dim 1'. Mlld. Jw,·, Hiy/~ lII i n i",h~n \\":hg~tibou.g. 19J61 .....1'. 151tT. " nnd Kar,"," n;' <>1>.<:.",,01 that the V.t;'." mi"ialU'" depict •• he "begi nning, - or Ih. ioi.Y on I ht fJJ; .... of .he figure.' 10 .he kit with .;.., ~O()'" of Ih\>~ I" th r 'igh!. 00 1m l"'I,; bili. y lh~13n F.... I)· Christia n 1l'rr~ '(OIl~ pl. qu( ~I I>umb.o'ion O~kl io W.»h· inston .lw picture> lhe Lt~ )oosrrl<'nl ,\co.'"id of . innen. d . Gl:il Hd lcmo. Ad''''''''1 D<,mrni. &rllaloWg",,1 'J/1O"gIH ;It Ar"" a"d C"I""/,r .... llciden. 11/89 I. ~I/-SO. g, \ '. Igl.1l4. l4~ . l47_ antllS~, ~. W"I>k.J .Co nu:!. C", m-. I, JM. 10 , Eli,.bcth ){. vd·Nekr, l:artj,~ d ',dl;,,"u <1.",. /'M' j~jf rr (hrh,,," ,Iu sreo ,,;/ "" ,Iixij",r .iff/N: I~' ,i)::Mr ,Ir III rr~,o"'u [1'J ri_,- 19141.•' 1'. 17M!.. and -Some ){cmark> on .he k"nogr~phi{ SoUfCti uf Ihr wma. Indi(Ol>~u.t ••: K.zj"" jJ-JJ h991-9~). 73ft'.; ~nd li e,tI<'rt L. Kts,kr. ~Through .h. Tcnlpk Vril: The Itoly I II"K~ in ludJL<m ~nd al , L J~ I JJ (1 ~.,Il I~I ) , SJ/f.. 5,,,,1,,,, ill P.t IOllli/ ,\'~"C'"O rl[ d."" ip.iom ofth.cosmos ~ on tht t~tI<'rrIJdc. »). 0" Ih . ind"Jl'<'nd.m dc,iv" ion of Ihc l'1orrlKr "'.n" ...·.ipl from the ",.. hd~I~' d. Wnbb·CoIlU>, Co",,,,, 1",I;rop/(u!/O. I. 183tr, ~nd pa..im . 14. The ~U1hor ~~'<'n .th~t "tM .n".15 ~I( nOI in h,,~''<:n bot onl)' boncJth th~ firmamrnt Jlld ! .
      
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      Jbsu l.!i.;cs." llibU",hrm, Coo . .\6, cd, R. Ilmr)" (I'3ri. I ~S\I), I. l,f. I ~. Ahhough ,hc mi " i~, urc follow> lIook 7. ;" P"'P'" plJU " ... , ,h ' I" Ll7 o f 1""'* s: WoI, b .Cnou .. C"lnla,'nJic.'pku;;lh. I. '79f.. .n,I , . .p~fl II>. The cpi.11( U,"", "t",,,,,..... v'u·· ulke, lhall ··",jP"VlU.~ The ;ll"." '.'''' "f .h. Sm~·rn. """"loC,il'llI"}' h.,·. tr ied 10 di"i"gui,h ,he ' '''0. h~sic.lly ' r",mct, ic.1 gro"p, of IltCII.1>y piel" " illg .he 011. bt-nUlh th~ ,un ., the I.:ft Ov.-rlJ!'I,ing the " lO ull1J; n ~Il..! Ih .. one "n .he ri~hl >01II<,,,,,h .. mu.c hidO. 11 fUirok>g<> Ji S"""t( (F1nr(n,(. ' \l9S ). I ~, \ \·olsb ·Cun"s. GI".,,1j 1",li'al'lrm ,N• •. ~4« .nd \jj .n.! KUrl \\',,;t'.mann and C..:"'ge G.J.",.il-. Thl' MOtlM'C')' of S,.i ... 01.1,,.,,,,( "I J/"",,' .~i",.i: '/1,.. 1II'''''''''''ffl G.......k M",,,,Ur;p:s
      
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      1I. M"",,,,.:. Hish"'c~l MUleum, MI-. Svnudal 997: ct. Fedor liur.iJc'·. /llorlc/'Nbf ",,/'rrk< 'ws~" '; '''IIl~I.w; ' ''' ....molri , ;jbl.ijI'\1 (St. P(ltf$hllfg, IU, ). 1. pI. JlS I j J. u . A«oI\Jil1jl. to Cun,t."t;"e• •1,. flunlb.:-r "f an~l; >.huuld ~'1U<11,hc nurnl",. uf men.l Ih" I~",,,,.,,,cf.
      
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      LI . The ,. p, ;on in V~, . jl. •. 6yo,) ,ders '01 the .,v;,·i n): .!N.!' th .. in FIo«nc(. onl)' '0 Ihe dud bc'lC~rh Ihe g,ound . IS. l"lh~ Si".i ."d AoTC"'< ",."",... il'll-. Ihoujl.h nul in rh" \"',ic~n ,o..tn. Ih< firm.ment ,. ,,,,,.iotcnlly rcooe,<' an.! the kwi.h (uh " " rc ,d~lC<J In e~ch ",her ~t Ihc (,,,un,iI u f H icrr;,;r: (7S4 ) "'nr" the i''''flOdJ\!5 ~'!lu<'JIII< f~,hion in II", nrulr co nlClnpora'r Chhldo,' P.... lte' (M""""w, Public lib,.ry. Cod. u~. fol. '!r ) ""here il ill"~' f3I .. s I'lcllm lJ 114 >. 9: "Lift up yum h(~ >. )'Ou g.u .... lifl lhen) UI'. yo" cwd ... ting .lO<>I". Ih'" the king of !lIMY "'~)' ' ,,"If in.~ Ik>rnc hy ",,'" lnget.. Cnri.! ,. min.," ,i.ing t o) hc~ .... n d.lin •• ".! t>y .lighl blue ,ird •• ,,,,1,,..-..1 in. med ium hi"" ,ing. :9. Cr. Herbo:fl L Kessle,. ",\!coJie,·.1 Arl a, ... 'gume"!:· in {"'''''S','r''r mIhr (;'0,-,,,,,,<1•. cd. B,endan C...,id)" (P,incelon '9'1j ). 59f( (Chap. j ) dnd iden,. "·I'ietu,... wilh Tru lh': How Ch ri>l;~'" M~ n lgcd 10 llbk InuSe< of God Wilhoit, \';ol~I;"g ,h~ ~(()"d Cumm.ndmcnl: /'''''"011 "f Ihe 1V~luri A" G ,I/r,)' 49 1'10 (''1'91 /9: ). SjlT. (SI1"Jir. i" Pi,t",iul ,v"'m.".... 4~if. ). JO. ,>,1.cu¥e " ••dr. in f'i~n. "lint .polOj;.i.<· SlIIf. J3. I. ,~; P(; . (oJ.. ' LIM: t r.n •. D.,·id Ande .... n (C, ~""·ond. :-:. Y.. 1...'10). ". On Ihe ( U' t.i ... >cc ! (. I'.p... tuvrou. KI.... '"ilr 'rmllnl~ dr l'ln,;a rnatio n." C..hi"s ,"(hb'wtitjul'"! ~. {''I'9J I. '4'ff.
      
      """ile
      
      Gi.. van ni Do nwnico. ,·d. "'-!ansi. Sirrmnmr COlleiliurrmr Nm'll "1 Amp/;,:!i m" C.,I/ali" . vol. lJ ( FI"rl"lI o.rb I'Irprr, ~ ( 195 4), 14!fT, ,Ind Chri , tuph vun Sc honb
      J 8. lose lohann"'l, "Un offiCI.' inedit en I'hOIll1<' Ur .lu cuhe Iks im,lgn, ue(ll',,· l'<Jssi hk II<' Theodo re Studite," in Niccl' II. 7Ifl- I!lS7: Do,,;;,· :!ihll'j d'illlll!!'" rdigi" II$"s, ,'d. F rJnc"i~ flu,:sI'IlUI! ,1Ild Nicolas Lossky (!',lris 1987), 1431f. J9. Ma nsi. ,<;',.-mrl"" Coml'ili",,,,,", 16, J 99; Cha r l,·s n" r lwr. "TIll' [\udr Within th ... FrJIl1l':" US!' uf \\'urd and) mage in Iconoclasm." I\'Ort/ ",ul II/mg., 9 1199.1 1, 1,Inll 40. 011 lit,. H"/y I,WI5. I, 18; 1'(; 99.364: lr;IIl S, 53. 41. TI1l'r.: may b~' a rcminiscenc .. h"rc uf I Corin lhi 'lI1s 1.1;11. "Now h'" S<'C " "()' pU1.~linl! r.'0.."ion5 in:l mirru r. but Ih en I\'(' ~ h:lll SCl· faCt· tu faa,," Cf. aisn tl1l· firs l kl1"r ofC;rq~(H)' II 10 Leo III in c.oui1la rd. " Origin,'S tI" I'kollndastl1(':' !8!tf.
      
      C H APTER 6 t. In EIISI tIIul \ \~'Sl: Mr1llrs uf CUIIIIIJ 1111;"'1 ;"", ed. E"JnE\dos Ch rpus a nd btl Wood (I.,·iden. 1999).ISIT, 2. O n imag.·s as jlres.: nce.~ in g.'n,'ral, see Hans Belting, Ilil.-llmd KIIII: EiI ... G.:sc/riclll" ,I;·~ {filt".! "or dflll Zcilfl lta d.:r KWH! ( "'Iu nich 19911): tr.lIl§. Ed 111undlephcn ll . /.i l:"II(·'s ,,,,,I rr!'~('lIn·: II Histllry of tire IlIlolS" Ikjim' III(' Er" of Arl (Chicagu. 1994 J. }. Otln ,'on Gehh ,mlt, Til,' Millil1lllres uf II,,' Asllbll"'/lIrllJ /'fl/IIIII'IIrlr ( I.ondu n IIl8 j), I),wid \Vrighl , "Th" Can"" Tabk vf II,,: Cud,')\, Uell""','nlanliS ;llId Ikldled lll'wr.1I iun:' Pumlidfloll 0011:, f'(lpl'rs JJ (r1l79), 147IT.; fran1. IHd:cr l. "Slu dicn 1.um "5hbllnlham P,'nta1l'udl (I'ari s, Bihl. N,Il. NAI.. !J.14 )," 1'11.0. d issnlaliun, lIunn, 1986; [)oruth)' V" rkcrk, "Exod u, ,1I1d fa;;!", Vi~ i[ in lhi.' Ashburnham Pentat~lI c h ," ,\rl H"lkl;u 75 (1995 ), 94fT. ; idl' lll ""[ural Struct url' in ! h<' Al h hu rnham Penlateucl1 ," IlIIug., <11111 ndit'! 5111.1;" 5 ill Cc/I'/lrt!l;m, "f Ihl' F.iglrlil·lh Allllin·r~lrr of Ih,· 1m/ex of C/lrisliull Art, cd. C'(l lum Hou rihane ( Pr in ceton, 1999), 71 4· Mvnl agu~ It James, A IJt>scriplil't' GII<1/flgllc I'/Ilu' .\lml1lirriprs in III,' l.ilmrr}' I.]' flol/ CIIII,'gl' (C:mlbr idgc, 18'1S), S6; Hart mann G ris.ar, " II plospe ll" .idl':r nli c;\ hJsi)ic,\ Val ka na" in ,lllIIit'frn RonWllll (ROIll(" 1899 ), 463IT.; PHUIa Supinu Martini, ROlli,' " /'''Tt'11 gr't/iC/1 rOIlIll/l,'S(,1 (Serol; X- XII ) \A1cssamlr ia, 1987), 155L Ursu la Nilgl'n, M[(um . AIt·St. p,'Il"f. Fass;ld e (Zt:icl1nung im Cudex Farfen.~is I," in fkrmmrd 1'011 Hiidt's/r"im 1I11r/ ,/"s l ctJtJlll'r dt'r OI/,mclI ( H ild.:shri III 31111 ~hl im am Rilein. 1993). 2: 1I8ff.: and Y,·rs Christc, l.·,IPd,'lIlpsl· dc km, ( I';rris. 1996). 74f. 5. TIl<.' Vulgale's SpclltllC/1iluplrx is a Iran sl:rlio n of Ihe Sqlluagilll's to Olltjl.UI<J" til l'ilIfI..O\oV, which preserves t hc li chr('w etymology o( '\'llIrll/,I'IIIII. 6. Nuih Fir atli, "A n 1:.arly IIp:anline Hnl'ugculll DisClll't"red;lI [1.nik:· in MllItsc/"·" llJIllg'lII l MeI"ngl's Mlltrscl (Ankara, 11114), 9111!f.; 1I.' al lIrenk, Spii/dlll il:.' w,,1 frliht', ChriSlrll /11111 ( Fnl nkfurt, 1977), 169 and pI. IJ5: an d Henry Maguire , f(lrlll <1t111Omlll: 1'11/' Tern·,Ir;,,1 \1'or/d;1I EllrI)' B}'=",, · 1;111.' Arl (Unive rsity Pnk, !'d., Jnd l.ondo n. 1987), 40. 7... Die M in ia l urm til'S Ashburnham Pentaleu ch:' K"iros IS (197('\), I" Iff.. ~ nd He i01. Schreck·
      
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      ant! Kn,! Schubtn, ,,",,·,slr H,uo."'t'op" y oInd "'In"l1mplr)" '" f.rrl)" ,HId MrJ,r ..al Chrr,_ /~"'i/r (A,5o<"nl M~~~(ri,h( and Minn~41,,",li., '991 ). :41 If. ~. l.ou;~ (;;n7.l><"rg. n,r 1<},,,,,,d. of IIrr I",'s (Ph il oddphi • • IY~7), :8sf. 9· ;';'",(,i G'<'g<"'l' Ingo H~rkJoll, "s.-p"I",," ( "M""''''''''IiI'' drl M,,/ionu l )tume, I!lSS'. ysf. II. s.", ( ;n"". "' II pm'p
   2. 'erring ,h~ pca,,,,ks f.om .hc al ,i\lm arc•. Ihe illumin~· "" ",o.k~,..>di",. '3. Slcphlo WJ.(1'",,/dI. "7,ur Ik{\n'>g ...~ph;< 0.0.• ·Ji"iumphbo-t':.lko Jnfak di S. 1'....,10 fu". i Ie In",a J Rom... : io c...,• .I, mi ... ,,, ,,,1/',,,,< /1:",.,."""" r /1,."111;,,,, ,8 ( '91' ), IISif.; K,incr \\,,,01,,0.1. /1, ..;/],,/,/ Olli",: 5.,,'/'(11 ~'" .~pill'lII.a,t" WIJ f'''/lilF'''''i''i~IICI' Bi/dgru:lli~h .c. (Rome. I:.cihu.~. Jnd Vienna ,986). ~ , rl.; anti ellr;.tc. CApoc"lpS<' quc fju,' in "rot co n,... rur;oni •. eju>qu"I~ion;~ el .. Juu r;> mOrT i, dcducamur. ~ju"lu< <1114< fX to f~,ta ",t n!Undo i¥dl'~nni Ix,mlcnico .\-IJor~ ." (o1I(i/i"""" " ..,," r. a"'pl'S$ill'" r"'~... r'a (f lo",ne<. ';S~ff. 1. II. ~ ..1. ~N: "J"•. C)·t ;1 M~" So, T/" .... rt 4 ,I,r By:.."';"" [mp" ..·. .11~- ' i .1J (Eogl."""", Clif(~. N.J.. '971 ). '39(. ,0:\. Writin~ ~ruund t. . D. 4<)0, J.>ru<.knrill~ (Qnc/uJffi hi~ Timl' 1/" /(1r''''''''' ", ilh a dn<e,iplio n ",- • pi"",e of Ih~ Iw~my - fou , rid ... ador;njr: Ihe umb; "'. Prn.knriu., cd. Ii . I. Tho,mon I(:'rnhridgt ..\1_ .. Jnd I.,noon, 1951). 371,f.: ~nd lien . .. I·illmger. 01( Timl. /IIIM""'''''' (Vi.nn • • ~'IQ). IIl'f. I;. F..)t. Vi'lorinu~ or r CII,'u. Com",mMI;; ;" .... p.xlllypJIII ...d. JohJnne! Il~u»lri .tr. eSE/.. 49, \ Vicnn~ and I.,."ipli~. I~II», ~f.; .nd I'rim.uiu>, C""'''''''''",iw, in A,..o("I'"P,i!J, CC51., 9~. nl. A. W. Ad ar;" lli.rr nhoUI. I¢ls). ~ ~. '09 . • ' pusin>. 11:1. Wilhdrtl Ktlhkr. Pi, t",,>I'ngi j,:hm .\I,,,ill1,,,,,, Il\r:r!in. '!i1~I. 1:7.1- 74 ~nd pI. <07; (;~" H• • "dler. E,.."h", j.. a,,>lill.~i ... ltrr T/'''Wgir (Ik,lin. 19511). 'HIf.: Hurt nl i".. MUlhnido Jl\d 10.0· 'h im ( ;achdc. /-:"ro/;"SiKI ... (Munich. 1~761. J.8fT.; B'an,. KUhnd. From I},. &,.,hI,..o '},f 11... !mull/"''' H'p ........."'''.,,,,,, "I flrr flaly <:ify'" Clrri.,i"" An af Ih( F,m /If,l/t'lII;um (RUnlf. Fr,·ibnrg..",..1 VicnnJ. ' 9~7 1 . 'J~' Chr;",'. I."Apoc"lyp,r. 7/1-77; and I.ic""loll( Sau r",.· kh .. h, 'PJ' lIild in gic Ka, l. tk. (;m,,,"n ; 7"" Chri"{\I~i. io kalOlillt(i ... lK-n MiniJtur<,,:' in /hl! F",,,l/ UH'7 K(111:,1 ''''n ;"'IN: Kris/,r/li!<>,i(llJjpuIll'I l·MoJ'ng';r/". /1"/111', t(!. It.oincr I!<"",dll"bin~. '~7 ). PI'· Ii.lsif. '9. A,hill. ComorcllQ, L( ",illm"", ,lei .""l"ra",rn",.i~ f"Mrll.d"n. 1991 ). I. ,,j./Sif.; .nd Eri< r.IUlO. In ....."",mlai,... ,Ir 1',,1,1., (Miimkr. 1994). 73ff. ~ I y d;><~,sion of this nr ini~lU r< 0,,"(". ",,,,b 10 • plpel ull il M,. !'etc. lr' dcli>-.-rcminar 11M ., lo hn> l{op kin>. lO ..~ m'n'~1ur. of 1he I.J" ludgnrc nr ;1\ 11K- ",,·dfth·cenlu'r m~nu "';1'1 ill O%(".d con,
      
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      prupht:ls, npOll lks. m:1rtyrs, bishops, monks. an d vi rgins bdol\" t he imag~ of God ~nthron~J in heaven with the :mgd s and, opposite the s,li nt s. olher peol,le. some of wholll ,Ir,' \1·i.X"l'inll. Sec Gerl rud Schiller, Ikollogmpllir IIrr c/,,;HliclICil KUII~' (Go l"uluh 1991), S:16S, fig. ill\. 11. Toubnt ... Lt-s repn'scnlatiuns de r F.~dcsi3." 59f. 21. E.g.. Pri masius. Comllll'lJIarii, I. 4. Jnd CCSt.. 48. See Y\"e~ C hriste. "TriJditions Ii Ithair~ ,'I iconogmphiqul's dmls l'inleqm'Ia!ioll dt.""~ images apO(3Iyp li'lu",s:' in I."Ap"(,,lrpsr r/r Inll!: Tmdilimu r.~;g,;';qlles l'I icoII(lgmpldq"cs (Gen<"l'a, 1979). 109ft'.. lmd /."(lp" .."lpr.I'·. nff. 13. Sc ... Erich Dinkier, ViIS Apsis"'o$lIOII Gl'IH'5;J ( Prin~elun , 1\186 ). lS. A<'Iitur, u n, Gospcis ( Fig. 6. 9 ) and Ud in.:' S~cJ""Jm<'n lar)' ( Fi g. 6.10 ) may also b,' pi(1u rcs within pic t ur~s. TIl<" depiction of llt<' $30\" Ih ... m~ pa;",~J in /170 ;0 Ih," C o' of ~ i11l' El11 meram ," Swlli r\1(Ylic1'llIi f-Cr. 3. l4 (I\1S 3), 75ft"". )0, Aono d lomi lnil,e l Inca lrl nal ionis se xcent<'simo. \'.Healllls i Ciregorius pOSI 'lu alm l St-d~1 m I Roman Iae) & :lposlol ic l ae I (XcI"1 siae I t, ...deci I 01 1an n05. nu'oses VI &" dks.X.gluriosissim ... rexil defunc t I us) e51 31 1que) ad 31'{ Ief Ina [m ) n:gni c[ a kks!is s.-de[ 0\ [ 1[fa [nslal us ~st. O nl)' C hrisle ha s noled the im por tance of Ihis IiI Illus; I: A{HlmIYP$", 75. 3' . Ihi uidelll r clari t3$ Domini, 1100 l)t'r uisinllt.""111 .~ig nifi(an t'''Ill, $iu<' ~orpMak01 . sieut lli$.1 e~t in mOO le 5i oa, siu~ spi ritualem, Sic UI uiJit lS:.Iia$. uel lohann~~ in /\pocalypsi: sed pl'r spcciem, noo pe r aenigm~t~. quaotuol cam capere meos human;! mens potes!. $i'Clllld um adsumenlis dd grat iam. lit os
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      Intrl .. lllcn,·I, ,·bihili, .11'I>:iruil ul il1l'i>Ihilo~ IllmhlrJrd .... Hom. III t~ .. II _",.l(J: <':<':51.• 171. ~ .\ 1.lli.lllx. t·m"'g'·. 51. I oJ Ill )' "l'il1'''II. t"';rq:"ry" Im.'g'· , h,..."y >I ... "" m",,' I/Om ., g~II"r .II h.-li"f in Ih ~ ,dali. HI,lul' "I ;m:1!!<'s It, Ch',,1 1 frum ~ 11 .1':'11.11 JPl'licaliulI • If t;llfi", ,I, 'lIi.:.,1 '''II.-eplS 10 ri ':llIn" ; t h,11 ':.I m ... 1.llgd)' ill lilt' ,·,),:hlh ,,·tli ". y. ;;. ~.,. /I1ali.lII~, \\11'. lir,· ,'/ ,'""" ,11'1','. ~", . 1\' in Ih(' ,;r.x·k E.I.' I. Chri.1's hUll1.In 11.1111 •.: 1('11\.1 il1,xl~, Ih,· hCJ rr " TI .,' in d.·i.·n,,·, "f '1lI.ll(n. ~ ...: I h~ ,,"wnIUII.",1 JrgulIlcnt .It I h,' 1',I.i, C,l" ".:il ll l. 1:5l\/: .•1", cthll.dk "M"1I10'1"~ 1",;. '>fI, Th .. &cundllm, 1II1'·'I'"I.lli'"1 w .• ' 'Itlll/,·t.! Jllh,' C"tln.:il ,,(Paris io ~~~ aod 10 I."u's 111... 1',,,1,,' kit,·. III Ih,' Emp .. ml'li It Ii. h~d Jlld Th,~" I'h,I", (;,. bn,i . .'\,"n>r"," "''''iill.m"". q .•,,11 . .J",7f. :IIk! 014'191. ~" Ch.lldk. M;"'k"1<·r ...... m"rt' JII,'nlt"" ,IIJII" h.l) .,'.:,'''-'''' .. d.-.III'" .lIlt.! mon° ,011(.><' ~Ialc"'e,,\ "n im .•!;," Ih.II1 ,h ... lal"r N".Inllt'""' . On Ih,' I'mhl(,111 II( IrJn)llli" jon. s...... l.ui lr"ld \\'JII,I.:h. II'pl"m.HI,· ~",.I"'1 m / ,IttH .",,1 I;,','," 1)'''''''''''ltI~ (rpm II,,' GlrO/IIIS;,I" A....~· I llh.,,·., IUhll.",d"". HI77) . lift'. W' 1'1 .\16. ' ! ' 'ifl. .m.! M I'J!!aO"'"IIl. """,,,,,':IJ di""l:'" x.i rlUf,'" .kl'i, I.' hi'l< .riJ. ;at. iJol,,· fUnt , ,,itu'J dJ\·t110nIlUl 3i m"I.ld i, ... 1 ",'/lUll l hll,liJnil .•lb lun ..·" ;aI'III" .lIllllri> 11"; (Uit ll'Jtn ....,, ; dd'Cr<'l; I'/., \/(,. 1!!I. TIlt' 1.lngll.I!;" nf ~,,·c III Ih ...... ".,,"'''' "'~I' r'''I'' ,fI.'" (II 1Ih.. r :1 11;a1}'~;). (>,. ~""I I'... ,h" '" "I'" ",IJ J,I H,·hr ...·,,, .,·, I.IIUI: ,,,'n "irSd'·. s..xl 1"'0<'111' ,'am h'"Ml(i;. a. Jikd""II, "shihui .I1'i,..... llIrn . ~I': ,'1 n""l'w .1II",r,· "1 ,Iik.-,inn.: '1IlJIll JI'IIlI j)uminutll "1 "'llKlus "11" h .• I"·I11I1'. h"nu(dbil,,,, ,·"runt "lIigi," '11I.It:inihll' J"I'il1t:"tll," , .."tI 1.lhul" '" . "I"rihus h.. l1· ....·111 ,·xhit>..·mus, St...! illt> I"" 'I'M "IItll h. IIHlIe ",n~"1 Ull1: 1'1.. '10. I!~S. 4'>!. J""IIt 1\' "I I h,' Cuun.:i' .11>" <11111"'.1 ,\ III h,'n."i", QII,·,II.JII,·.! ".I AtI/IIJ(iIJlIII. whkh IllOlk •.,. 3 ,..... )' ... imil.JT .rr~III1I.·t1 I : N"n skill 11(,,, ;111.1):"1<,, .I,h'f."nll~ Ill" fi.lel~). ,.h,il. ,i,"1 1'.lgJl1i: ",:J 1.lIl1 U11lI1h .. I" .• fl..·.:h nn. ,'I .:~.i l,IIt"11 ."",, ..... ,,,,,I f.I,· ~J ""hum f.ldd illl.ll1iui, "In.lln"s; IIlt:' lI'ad... 111&>1, ':SU",. WI'. Th....,.(,·.... n.:,· ,,, ~ ,il .... r rel ief fnr ~I. I'dU!" ~ hJI,,:nw ''''1';''11111 "U hUI11 ~~I";I I "rh '~Jn1tni lI"slri I,,,,u (hrisli is 1'.111 kuIJr'" r.:I.-'·;,nl. os. MGN. Ep.iI. J,.',/r. A,'I". 3:01'1''1'. t>t> ••\ 1.I):is ,1U1,'111 in h.lsilk.! [>c.ll' 1'.11111 .11" "1,,1i. .1.,11111 ibi,klll Ina;.-.r'·111 r.l,:;'·n~. t>1 mus;'·" JI;pin)\,'lh , .•h';'I"r~m J"mlllUlll oo,tfUm k,uF11 C hri, II1111 ,..:11 "iginll 'IUJ lllnr "'ni,If,,,, l10milli $11" ""r,jI"" d,·.:nrJhil : ...1 a 1lJ1I' 11>(1"" ,1<1':1\1" liddil ..... n"h is '·"Ill'r.I1I1'; M(jN. trw. K" t: A,·I·; . .n ... ~." ehri'I~. I:A{,III_ lit f.::rL II.~ . I !I I"('SI., 14'>7. H:ldriJI1: J>lu~ rrgo \jllam p'<Jphd,l(· ,1.0 d',-in.1 ,.ci.'I1 II.1 Ilol'aum. qui.
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      (,9. Here, il slwulJ he rClllcmlX'rcJ that St'wral uf Ihe pr~'nknt d iscussi(llt< (If spirit ual el,'''''' lion. nutably krunll"s Le na w (Stweti EH.<,·/Jii t/i,'rtlll)'mi F.p"wln,.. c.~F.L. 55, cd. [5idor Hilh ... r~ 1Vic" lIa and l <,ipzig, 11}12 1. ~9otT. ) and lled ... ·s I).. I,d"'nm(u/I' (CCS/ .. 1l9A, cd. Da"id Hu rsr I"lilrn· hou I, 19691, 2~ ) had pTlX ...... d... d from Ih,' Tahcrn:Kk. The divillcl)' ordained '"ma nufa~lull1 " ! hal had ~n su l...·rsc,kd by Christ's botly. Ih!' " temple not made by hands:' pbyed an import:mt rol.· in th ... defcns..· (If im,.s,·s in general;.see Hcrbc.1 L KC5sler, "1I.1<,d iel'al Ar! a, A'gum ... nl·· in /'-'>lw!!"rpiJ), ,II '/1<' Crossroad;, cd. Hrend,ln C.assidy (!'rincl"lon. 1993). s9ff. (Chap. 31 ,md .. ·Pictllr.·s Fcrlik wi t h Trulh': How Christ ians M:magcJ to ,\.-13k.· 1m'.g'·' orGod Wit h01l1 Viobl ing Ihe x(ond Comm,md· menl:' {mmlill ,1 ti,,' \\\I/I,'rs Art GIII/"rr .f9-50 1' 9'11 ~92J. Uf{o ~I",/i ..s iu I'i,/",,',I/ "'"mlli1·,'. 7':1rf. 70. Wolf. .sal,,~ pt1p,,/i r(llmllli, I»), takcs this I() he Ih.· first al1emptlo Iransform Gre);'rTY'~ leachings in \l'rms of a ~enu;n" '1I1Ii· icnrlt"bl t i~ ar~unl("n t . 71. In his .II' {t'u.t ..· Diull)'s ius; -',.... Fdd, Ik",wl-!.mlllrs, 2.t 72. PL, 96. 122] (.; cr. Wallach. Diplc",,,";r SI'''/;rs. 8 ~ ff. ]3. Mall si, Sm'rom", t"PIl(ili,mUl'. n, r06s. 7,f. Qu i,1 in IInilw>u rllutuiu, IIbi d1risl;anitas CSI, ipse sacre imagines pcrman<·nt . . s. at. om nibus fidelibus hOlltlrantu r, u, per visibikm "lIhul11 ad in'·i~ibilt-m di"inilalis ma icslal"m mens nUSlra I1Il'ialtlr spiritali :Iffe.::tu pot'r contrm plationem ligural" i1ll3ginb secllndutll carm'm, quam filius Pei pro nost fa sal l1\<' suscipuc dignall.s ,·S1. EUl1i~ \"ix ad fid"m gcstorum pomrm perd uci, ~~ pic ltll1l passionis domini cac I'd aliroum mirabilium it:! cumpungi, III la<."rimis tCSI,'n! ur uteriores figuras wrdi suo quasi litu ri~ imprt'ssas; f,.fGH . .f8~. cr. Alice L. Harlin g·Corre:!, II'n/n/,· frill Slmllo'$ 1.;/1<'1/11; ii, F.xortliis rl IU<"f,'UII'uris Qwrwud,'1I! iu OI•.II; £.-rl;'sitlSliris RffUIli (!.eiden, 19<j6). T he claim persisl ...d. of COUrk. Thus,;n Ih.' Ihirl~"'nlh ccnlur)" when Jacqu .... s Panlal<';lri magis accende rcnlllr." cr. Andr~ Grabar, f.1l f
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      tho,", with ~h31010gk.lthetll('~, Thh (h~pt~r ~n~mp1' onl),to "'ow 00." the pmblrm. p"''''n1<,<1 in ima~ Illtury WJS Jam oJeu, tol if' .... H......· ,·i ('.onde'nn. ins Ihc Cuit of Sx".,j Im.q;eI in Arl and Li\e'~lure." Au.,J Arrh.u>.>Io:;:i.. m n Atri,.". lfJj/pr.~m i'rnillmlj" b ( ' )l7}). 1!7ff. s"". rur in,,.n(e. the he~"il)' r~o,cd Iwcl(th,unlu~ .11 .. in the Ch~l'd "r SL f i, min,' SI,·I)cni!>. in..rihcd .nmnd Ihe Ch , i$1 in M ~~lr ' Hi<' lX~ e!1 el homo quem p't>.o:ns signJI rm.go <"g/> '''&:Ibil homo quem Ku lla figu~1 )'mJgo, Jule, Fo,miM. I: db/ ...y~ 0/, S,';III·l)tn;,; RmlMrs ""royllN (P.,i>. 19f)o;1). 'z-IIT, Willi'm D U'.II,ju$ rei'<'31t1Ith" di.d~illler .1 the I>csinning of hi, di",union of im.gN in the Rmumalr divin"""" officior"," . IOffigiem Chri'li qui IrJn"; .• pronu, I",nor•. Non I·. men dli.g;"'m ..,OJ q""m daign.1 aJono. F_"" 1><-Um '.Iione ,."" nli ''''"ulil t:\~ . ),I,!<'riale lapis (ffig.de mJnus. N~ l >t.,~ N o~ homo 1>Tt'><'II< q\1~m ,~.ni.' ynugo. St-d n<,.,. ell el homo qU~1l1 SoI(". figu'~1 y",ago, ( l.iii.l; CCCM. 140. ( d. A..",I", D~\"Til an.! Ti muthy 1.1, Thibo.k.u ITu rohout 'ml. J'jl. Set al", GIlvin B, ~nd.lI l . n,~ AIi.-,!:,,')' II,~ Chl/reh IToronlo. 'W3 ), p. ~1. 94. Vb, C/,"./; pins;'''' ;nmp>. 1'11", l><-U, c.l, n« homo. p'.K'scn •. q uom ' .... 'm Imalto. s"d l)(-Us CSI. CI homo. quem ~,a flgur.lI im~go; in •• ",'d fiIHelllmr mJnuKril'1 in Tou.s ( Bib. mllll,. Coo. ";1 ,r.n",.ii>rd in PL. '71. 1!8J, s.,( lIu!(g~. ~ Effi&itm Ch,i'li.~ 1]). ~S. RAIl<>lher ...... k ., ,he Dis.oPl'e.ring C:h,iSl.~ Arl H"JJ~li" r, ('997 ), S18 IT. Ern .. Kil,jng<'r. ~A Virgin', hu. AnliquJriani,m in ·1"'oIfth·( :Cnlury Arl.~ "n HilI/mil M (.980). "If.; Willi.", Tronlo. "AI'I" Il(..w.lion. ,he liturgy.• n.J Ihr l"'r(cl>!ion of An in M~dic,'ol Rum~. S. .\1 ..i. in T, .nd S. ~t.ri~ I-b!(l\i.u,c." in I'll/jan Ch"",h fu"'dlion "I Ihr .\tiddlr I\gn lind f ",lr Rftlllj"",,<"(. Cd. Will i.m Trol\l.O (801(>1;n • • 1939). '6]'ff.; W.. lf. Sal". ""1'.41. ro",~"i. t83ff.; Wcrn.U11\ "on~ep. de, tni ' · ulAlle,lichell Ap. i) Tunili. forolf. Ar.. hilcllO e 'Pi<:Iu,; ,\flllt'du".~(n dr, K",,,lit;slI,,j..-hm IlIs,iwlN i" Flo 'rll~ 4U (t<' cun,litulN • <><'lirp"" 79ff; .noJ \,i,.li~no Tiberi •. II """"Itt> .... ",u."I" "'.,,... Jdl. b.,;li,~ .lei S.II\,i c...mJ r Damia no (Rum •.• ~L 1<1<>. Th. .dded ~n intermediary unk of Ihc f.;lh(ul 10 Ihe urii" ",I>cme. !knc.,h t"" d..k.-s al k l1 .",1 righl. Ugonio \k~lCh ....1groul" of fi8urc. I'.i.ing Ih~ir ., m. ill hl>magf. ""holl1 h~ I.bd~,( -po,,,,i"; I'.nyinio identifinl t h~m .s Ihc Book of R~~I.'ion·. I~,OOO SlIul, "'I\u will kr God in .hc fin:tl d.."f' (Rv, 7.4). Cf. Onuf,io P,,\Vini<>. ~IX ",o""",n.'" N,ili ••. b.p';"";,, ~ t p•.uriuchi ...... ,<'1" .11<·11n.J ......ie». of 0", "'owikp'''1''{lmm >..,11 S. PrtWffl~ m Rolli. br ROl' JUI Wi<skir.::h.n. Ry:..mjlllWu 7.ril..-fmft h-~~ (''W'-91 ). 511. Ikginllinll " 'ilh Prim."us ( I" AJAA·.. n. 7: 0 ::(;,\1. III I. ~o mm~nlaturs on the Apd in.rodu.;cd Ihc pdUptfO $1';"111 of lhe s...m<>n on ,he MOllnl (MI. 5.j) into their interpr~'~lioll of Ihe Ihrong J,:><:ribcd in . hapur 7-4. Ry aUu\>0:1 ~lIitudc fn, Ihn~ who wilhc:J In apl"Q.l\:h God. csl.bli",ing ",other I>rKlgc 10 Ihe ""'.-shiP<"'" ~nd anolher ;nv;ulion tn ,hem 1o ;',;n Ihe r.nk.. or Ihc ..... im' 1»' Jl"
      
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      Notes 10 Pages 128-136
      
      proaching God in tk 'pirit uf humility. In this, the apsidal ar.:h in thc Salll di COrleilio offered a close counterpart to the tJdinr S~crament'lry (Fig. 6.10), where th~ faithful alsn di,play abjectness in God's pteselKc. 101. Tua sanCia dext.ra protega! dnmum istam ct omne~ fidck' convivantes, qui d~ bonis Apostoli lui hic laetanlur: see F'~nvinio, "Desacro sandO basili",," 4ll4. 1m. On the true theophank im"l!cs in pr. -Carolingian churches, ""e Christa Bdting-Ihm. "ThNlphanic [mages of Divine Majc~ly in Early Medieval Italian Church Dt>coration." in ItnliaM crlllrril Vt"<m"llliorl, 43ff. H13. ~e Warland. Hrusrbild Christi. and HerklolZ ... Sepulcra ," 15Of. 104. ~e Matthiae, Mosaici. 261ft". 105. Flccte genu, qui intras, Christum tu et pronu, adora, Cuiu. imago .uper piela colore micat. Lux via vita salus sit t11<'rCes omnibus istic, Qui Chri.1O ",ddunt debita vota pie: MGH, Potlar latini, 2: U2. Sec Adolr Weis, "Ein~ rilmisch~ Monumentalkompositinn in Fulda: Hralnnus Maurus, ("..
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      109. \Vilpcrt, MoSt,ikm ",,,/ M"lerrie", 1:ll'7f.; lohn Mitchell, Tire Crypt Rrnpprnisrd in Sa" Vi""""z" III Vol/"mo I. ed. RichJTd Hodges ( Londnll. 199.11. 101ff. 110. Osborne, lVIII/·fuill/iug!, 170fT. lli. Sc<' tkrklotz, "Sepillaa,"' 14~ff. 112. Vern tabul~~ similinldincm, quod vlvcntis insigne eSI; se. Ladner, "Squar~ Nimhu.,~ :w and 36 1reprint, '4n and l'il ), who rightly qUl'Stioos the applicability or the pa~ge tn Roman art. H~re, it should he: ", membered. that most of the monument, di<cus""d in this chapter-the Ashburnham Pentateuch, Eton College Vita Grrgorii, Aseensioo of Christ, and the Apoca[yptic themes- arc associated with death. 113. Legiumus qunsdam ,uorum charorum post obitum vix carere prae~ntia potuis~. et ne dolore nimio coosternati insaniam, ""u mortem incUrr.:renl, in si doloris solatium statuas cis similes fabricas~; Wolf, 511111$ pop,,1i romani, )u. 114. Et idcirco invcnete ",m~dium, vnlent.s . um hakre. ut poterant, in Imagine tali, quem «shman. '"Another Look,"' s33f. 117. Tunc enim cogitarem Dcum,.i ab illi. ct ab roTllm oculis homo aufcrretur, ut amputata familiaritate quae cum came .rat facta. discercm vel ab~l1te care divinitalem cogitar (samo 164); PL. )8, 1114.
      
      "g. Siue (Om absentia corpora iam nota wgitamus, ut ex eis fotmetur quidam .piritalis
      
      Nola 10 Pogl$lj6-141
      
      a5ptC'1US l u .J.j): CSEL. 41~. Stlo also Ihf disawiOlI of Ihis impGlIJnl mUf in Chaulk " M~lItt. spinl. and Imag<': 'r..ff. 119. Cum ~nim p« m~nus prufati Evangdmu lan/um d~snal~ fo~ . fl flI:C dum fS5('nl rolorcs adhlblil. repmit in\'I.'lIla C'll ud.:m sJo~ Nh:alon IImgo lIupc:ndo idmodum ekron: prdulgtru. U/polt non humano opm', Kd inelf'ablili divlna viTlUle pc:racu : \\'01(. Sa/UI populi nI""lIIi. 32 I.
      
      110. Otrisfl face is ~ntkKictioru.. il may n:tlo:(l another allempllo rtprucnt Ihe unK't3bility of 1M holy f« t ; ~ Herocl I. ~CT, "Configuring 1M tnvil-iblf by Copying tht Hoi)' Fau," in Tht Heir fa(t und l/rr I'6I'11tk1t of RtprNtIIlillilm. <'Ii. Huberl Kmkr and Cc lhanl Wutf (Bologna. Ina ). u9A'. (Chap. 4). T'hcplanMd ,,"lIontion of 1M Tr.-oIi tripl)'Ch should ascnt3in wh.tther I...... dnkning ;. p.u t of the origin.ll p"in ling or memy an anif2(1 of CI~urt. Ill. On the ~ic. i t t Maria Andaloro,l_ic;Jd .'WIlltlll.'WIrllTon.om ;,,$o' MlII $omdDrwr. IMibn.I!W6). lUff. Ill. Gi.lnp~ro BogMtti :lnd Carlo Marmn. L'ilbbtuia btm-dnri/tll di Civrllt (Ci~tt. 198s) .nd Christt.I.'lIpCKIdJ'l'St'. IOSA'. C/ p"""im. 12). P:out StygeT, ~I.a dwmll'.ionea frtKo dd K(;. XII drib chiC$! di S. Giovanni ante POl'Uni Latinam; Studi RDmm!; 1. (1914), lISllt:: Marp~ Manion, - Tht f,ts St)1ft, " .... dtn A. lKrmq'l'l. - 1M minelahcrlkhrn Malcr~n df, KjrdlC S. Pittro in 'lU5anp,'KuMJlgtKhimlli(M /a/rrbudt der Bibli41rhffll HNf:.NlIHI 1 (19J8). 190ff.;.nd Rom~no Ind P.r{;n o, RDtnll, lOllf'. and 173ff. Mo,," lil:dy. angels ,,'ere rtpter.
      
      19901. s,ff.). Ill'. The ('butch ofS.an Sill'\':StlO al TIvoIi oR't1'$ thC' tlCst iconognphi<: par.tlJ.ol, IIilvinll the dipellt por~ nit of Chrul at the ccnt<:r, the KVen Cindloticks on eilher ~de, and the C\'angdist symbol> and twcnty-fourddtrullhe fu left.oo righl; lft Padfid. "Tivoli nd Mcdioc\"O,~ j.t!lnd fill'" 4'-4). Xc: .bo. $S. Abbondio e AbboiMUnlio at Ri[!.lll"'" ~1~minio; Mict...k 'l'tim",doi. ~Sulla chieJl miniQ.· M&nga J'~rdrlologir rt d'/risrmu 92 (1980), Z05ff. and RomallO and Pa rl:uo, ROI!III, J9Sf. I}G. The enly twelfth,cCf/lury f'rnns of "'-tunl ligl" {d . mouOo ;0 SI. Calhcnnc" I'IlOlUf.lery. ~h. sin~ lI: 1,,'0 allgel! al Ihe Kme of tt... ap!oid.;ll arch fuml: an opt'n ()CUIUL This. of O)U/loC, f~~, to enpSt tt... vitwtr's ~t1Ilmenu. Stt ftan -OlllMit Bonne, " 'CotKOrdia discoN ttmpol\lm': Lt lemp$ d.1lt.S In
      
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      3d iJllm~tcriali~ Iransferendl>. ho ncs'J medita.io insistcl c pcrsll~derc" " i,J"ur "iJcl(' mc quasi sub ~Ji'lua ..."tr.me;1 olnls I,'rr",um pbgJ, IIUJC ncr lllta ~it in tClr,UUIlI fJ(c( ne( t ul ~ in (oxli puritJIt', d emuIOl r i. al) ha( M:d <.Ju(st iun >ott n, 1.11 ~lId Mallo:",.(hi(~, Gihl " til,(' TIlto/UXit. ~b nm 1'. N.,'uhc u.... I, ~AI"$ "cdilk"ndi-ar, ,ddlr,lI1di:' .\ /il«://"".·., ,\I.·.ti~'·lllil' '!~ ! Ijly--t l, ylhlT.; ~lld J'Cta C. CIJUSstll . ~ M3 1 .'r i,1 und 01' lIs: Mi nd;1IrcrlilUlJ: F,-melt,;f' fur MIUf/!iIJj \ I~""rr (,\ taint am Rhein, 1996), 40ff. 1411.5.:., n. jl.
      
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      l . Qub J)i(lll ra~ imagi11um. 11UJC ~d a,~Ii Ii':lIioncm im peri li pupuli f.letJC iuerJnl, ul nl'Se;(llId liu(I'JS iPl;;lll1 hbl()1i,lII1 int(mkm(s: F.pi,wl.,. XI. 10. 4if(. ill (XS/.. 140A. ,-d. UJS Norberg (Tu rnhuul. l\liI~). 8i): ITJ ns. l.J.C'Cilia OJ" is- \ \'(t'er, Enrl,. ,\-/..ili...·/Il Art ) 00- 1I5U ( Engk,,'uod Cliff... N,J., 11)71 ), 4~. On (il~sory'~ Iw\!, s.c.': H.-therl 1_ K\!.~skr, - " kin rial NJ rrJ t i,'( Jnd Chul"I;h .\ l ission ill Sixl h 'u lltu ry G,III!.'· Slwli(j ill Illf His/o,>, of MI. 1(> (J9~S ) . 75 if.. ,pt. in Sr."/it'$ iu 1'i{lori.1I Nurmli .... {I.undon 1!19.,J, •IT.; ldl i~ RU!;l;ini. -&ril1<1 " raffi);Ur;MiulI<.'": 011<: )trJlli (Jsi di fruil.i(ln~ aitcrnJIl\'c,- ~lIIdi dlU;« l-I h~II) • •65 fr.: JCJn-Cbude Sch m itt. " Ecr il ure (! ima~(: lcs J\'J 'U~ II1MiEvJ IUI. Ju llIodi.-l~ g'igQri(n,~ in TMm"ic'S t l plllliqllt'i ,It 1't'crilUfr 111/ .\lo}wr ,\gr ( I'~ ris. 1\188 ). 1I~ IT.: lawr~ n cc Du~n , " \VJ) A ll R(Jllr tit .. 'Book (If 'he IlIil(f;I1t"(' I\'(m l mill I"'''tt. 5 ( l?il9), lli ff.; Celi .. (h:v.dk, " Pktu rM, Uou4, and th~ lIIilera\(; Po~ Gf<;,goIY r~ lA'U.'r) IU 5.'r(IIII' of M~rS<'iJ)('S.~ \ I\ml a".1 ['UII!:<, Ii (191)11). Ij.II IT,: Fdd. IkM"kllllllUIJ, 1\ If.: alltl Ann Fh~ l11 ~ n , "$cl i),. I UI(, ~ml 1magd ill Ihe lil.ll i C.u oli!!i:· in T~/Q " ;,um"gillr IIr/l'afll) "m!i8J. l-IjIT.: I>ielcr Siein. /J.., /){KIIIII rill bpmllilliscltrll Hiltlcw r";/S IIml .";1/.. £'1 rWi(k1II11,~ bi~ ill .lit' .jlJ('r /"III( ./t'S d. /,,/ull" , ,,I~rf$ ( M unich . 1\1&01. 1 ~5r.; and P" ul Speck, ,\rllll'l/sclvs, ,Itt ndllxlrlllbi!(l l'itlkiimpfa ,tr' Xilll/I(/II"'1 l,cfm'lI [HOlm, 1\181 ' , I~)«, J. ~e 1" .IO ,<':I;l.ud., Sch m itt , ''Cueddcnt , Nic';" II ~II,"S im:lljcs lI u VII1 ' JII XIII' si«[e;' ill ,';'it/( fl. iSl- 191lr. {)Oltu. ~i(dts {'IJII.IS"S r~/igl("'(s' cd. FlJn~oi5 llocipflulj alld r-.'ieolas lU.I.>k)· ( P'Jris. 1987 J. '2711T. a nd \"'i rth . L'i.mlgf ""', /it',,,./, 1I,f(. 4. Ann Frecman, ··(3Iul i "si~n Orl hut.ll!.~y and t h ~ Fat<' of t il\' Lib r i Qlrolini:' Vi1llOf.6 ( 19I$S). 65ff. all,l -Scri pl ure Jnd IIl1 JS''S'" Opus Caroli "1IIS courm j),IIUI/"'" ( Lib,; Clllvlilli" «1. AIlI1 Frumul1 , MGN, C"uCj(jd, ~ol. ~, JIIfpklllruuUlI • ( H~ n n"'w l. 1998 ). Sec alS() CdiJ C hJlcll ... "t. bl let, Spiril. and 1mJitc in Ih~ libri (a m lini:' R..dltTrl,.'S AII,~IISIinitmlrt, ~ I ( 19~6), 163ff. 011 Ihi;'
      
      qualiO: trans. I)" 'il-)<,~', liarly Mtdil""1I1 An, 10)). 10. N<:»tnim, qui non ~uimu r liUmlnl RlOniikanlcm. sed spirilum "\'ifican trm, qui non canwu..1ol'd ~iriuJ"luahd lumus. qui 'pmis visibilibus in"i,ibil~ cnnlcmplam\l', non solum lnusinibw: maiora mY'lui;o, qua.: nmni n'Y'IC1'io carent, SOld ipsis 1.wl.llis:ICU duobllS chmabim maio~ Cf nl\innlliorJ m)loltriorum imignia a Dom ino lK«pinC' nO$ grJluUnI\lr. Cum viddim tabubt tl dllO chmIboim atOlpl.,i.II futfim fUlul'Onlm. n cum Iud.t.:i IubolX:rinl cmwilCf rn. qllK t~'Pkisopc"u figuris pradi&urltionn ruerim fUlurorum , nQJ h,iIrmul in ~rilalt spirilwter t • • q\l~ ill.. unnplarib\l' ...iw prvfigur:l1ionibU5 (anulibu~ pntfigur.b.1ntur. Vb. ( IIr., L19
      
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      insub ••• eKk$ribus plrn\l' mpttril$ I«R'II qu.atdun Domino ~bntc , OOil<1 k'tI arlW'rn . iKribro: u in libro. non pillgtn' iUS$Ul tal•.•• Untk duu. inldksi non pictuI'U. on! II(riplun.l iid n~rx fidei ('Olditionem ftK COncos.lS; Ub. (ar.• l.jO ( MGfI. )10-1 L). 1:1. Ad contrmpbndum itaqlX: OuUi\lm. q ui C:SI Dri ,·irlll.,I rr Dei JIIPI~'rt;", SM .d inlucndu \'irlut~ q~.b co in Anct" riLLS dcri\'lll:r.t S\l111, non corJ'On'U$!IObi, ..uU$. qUMl (ommUIltIll (um inllltion.;lLib\l' animanUbLLS luibC'muj., $C\l Sf'ititalu t$I l1«euOmino p.loSlUlabat , CUm diuNl: /W,,/irinc Order and the Third Mod., orS«ing,~ Gnta. II ('\}83). 991[; l'ltnry Maguire, -Mbm :md till" Anim1u: Atkgory and Ihr liler:ol Scmt in Euly Quistian All." l)umbotlOll o.w I'.Ipm. 41 (1987). j6.¢'.; Ch.:ldk. ~ M~ItCf. Spiri t and Imlgc": Wirth, L'jmnge mitlibdk, l,.off,; and E1iubcth Sen,- lhc IconOV"· I'hy of Auditory PoIl uption in the E.uir Middlr Agt1: On !'AIm lIIustr:ltion and ",,",1m Eugtsis.~ in Tht:Smmd $to1lJ<:, N. Chari<:! SurncU, MKhKJ f~nd,.nd I'n\(ol~ Gouk ( loOOoIl , 1991 ), 19ft". l ~. Tr:ln5lTc mim debet de c:arne ad allill'Ulm. (k f01'pOrc ad spiritum. de uisibilil>u, ad illuwbiJia.1ic mundo I&d J),:um: Dt pinuris (I ilttllginibus. XVI in CCCM, lll , ed. L ":In Acktr jTurnhou tl98t).I~ S« J. Allen Cabanw.. "5:lilll Agobard as Art enlK; in Srudin />mt"rtJ to Om'id M"" ... Rdtj,ucm. cd, Georg<' Mrlon.., (SI. 1.0\1'" '9»). lO1,Jff. 1\.lI.l.pKiamw picluram quasi pKI\lro.nI. uila. ~n.lU n .."iolle C-"·~ltl1l. P:!.sc::tIUf hx ui· ,lone: oculus. I)n,m """00 ,",nn""ur ,nimu$. qui n J:ltltlis suis uic:luriu- COfonam, ~tl>obis inlet"· (t $Sioni, rorum tribuit :odiu!()r;"'; rk pftturis, XXXI (CCC.\f, 180). 16, PlUI quia glllm~ \1111"" (jlllm v.na in imagi"" forRlil , PlusqUt ,ni _ dccor~ pr~t qll.lm fa~ coIorum Pinura ostm!.ani ttrUm non nit figuru. Haec f.;J(~ YI:'J\lOl nlOmlllIt. "" famine Yl:'Jum, Et k"nsu vnum. iucund.. t'I ttmpo'" multo Qt. Inu rttC'fl1 pucil vilU m, gra\\lt ~Iqut \'C'IuSla, Ddicin proper t wti "" non fide $tqU<'S1r;1 C1!. MGM. !'«tat Lali"i IItvi Olfl>lini, N . Ernst J)(jmmlc:r (lkrlin. 1544). ~. '9'6: 1r;1ns. (',~nt, ~ Pando
      
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      quod 19ooro..~ :9. S« H~ru Hadrk. ~ ~~ police- flora. Aus Hn.ba.lu VwniKhten Gcdkhlen, in Trw/it;'", lind Wtrtung: fflIKhrift for From 8,"nl.&l:1 Zuni 6$. (Jdmmtllg, N . GUlller Utm t. Fidd Ib«kle, .nd G~bdd Sibgi (Sigm:tringm, 1989), 681f.; Fdd, /hln0k!4S11l1iS, 1.8ff.; ~nd ROH' mond ~IcKi1ttrick. ~Tl"X1lnd ImaSt in th( Carolingian '\~rId,- in Ro5amond McKinniclr.. ""-, Tht Usn afVlfflIq i,. &.Iy Mtdit",,1 E.. ro~ (C.mbr~. I~). l'l7lf. 17. ItSlO t im~n.:: un:. r,onlim! ambigul~ Ind ·Word. T..... I. lnu~'nd Ihe E.nl)' OIurch FalheN in lhe qino Codn~ bolh in Tnro t Im"'""g;"", lift". and 61ft". •8. Ali ltr flIim vidc.1ur piC1Utll, a1iltr vidmlur 1i1tt'tX. Picturam cum viden!., hOI; tSl IOlum ,idilk, !.uwse: lillerai cum ,'idtris, non hoc oUt tMum: quoniam commcmtril tI l~re: PL..I5' }9}; tn.ns. joho Gibb and I. Inna. 1M N'1«ne ..NIl Ant·Nitn", N,11rn 7 (NOI' York. .988). 1:;8. 19. Na: tabulae piclae adfigi. n« in p,rielibu.1 .'C"I amari~ una piclun. fItri drix1: quia in morwtnio. quod non Ipiritalibus. Kd humanis !lnlWII oculi! \Nlt1; Rq:ulll lid virgi,""" XLV in Opnu omn;", ""- Gennain Morin ( Honn. ' lIlJ). 11.f; 1....11J.. M.. ~ uri!,", M<:Cany. 1M Ruu for NI,"sof SI. ~ 'ills of Arl.., (Washington. D.C, IjI6o), 186. l(I. N H.ilno of AlW"rrt, amonsot~iI. in ~tio in dMni Allili ~'pistt:>las: PI.. cxvn, col. 611. For the ;utritKllion Oflhi$work 10 Hoimo of AUUfrt • .I« Dom inique logna , Pral, " LOC\I\'rt d ' Haymon d'AuxerTt. tlal cit l~ qual ion.~ in L'J:.mk rorolingknM d:Auxtffl" (Puis. '991 )• •6,{. S« Karl .\lorrison, ~ ' Unum ell mullis', lIincnuf of !thei",,' MNio;al and A~h",ic Ralionain for Uniftc:otion,· in Nmriln ddl'Eun:>pa rtl l:'u"'i'" CAroling;": un'tqu.uiont dl> wrifiun (ScttimallC" di "udio de"l CenlTO itali,no di ~tudi lull'alto
      
      mcdiotovo 11) (Spolcto, I~I ). S83ff. ll. Cum viddi«t iliac Mlliu.1 0.,; a!tw.imo .n:hanoqu~:K JIK'oISO iudicio , int ant~ .....c\.d~ pndnlin:.tK'" I""" momenl~ U«UIorom:rod huouIIK J;1lutis flIl0lumm t~ ckIMnti nh ibitiont oonct$SK Iu.beanlqUt ~uctOftt _101 Ie: W1'tub~ vi1""OS l"irtulum llmp;tdibus tl mi,...ocuIorom inlignibw oofllSCima vel Ct rlt ipsum Dominum. qui corporis CI !lansuinis lui m)"SI~rium li'T ("rU(i~ S;Kr;\lT\enlum nOMroae !lalllii congrulI'll ( 0n«51;1. i.st.at ....10 (1 gtmilium 'Um adduam.:iN! (KUlis tan tumnl("K\o r~....ant. I""" qU05 quui port q u<»d.lm Kpto$ gtSllrom ,"""m mtmorwn oordibus nlandtnL ... Und..- imasinum IUU$, qui. senlilium (r:r.di tioni~ inok"l'il. IoII(rK ksU libris lequipn;1ri /If'C debd nrc: VlIIkt, quia io libris. nun in inuginibus domiNC apil italis nuditiQIKtTt discimu l. .. . - Dominu, in montnn Sinai ~dnu~ lrgtm non picum. IN "Kriplam- M~ dedil, (1 in "tabul;"lapidds~ non im. gina.. Kd apica, qui indi«s rentm Ji'T $illn ••-.:thoron! (:)$C prrhibntlur. Ir;odidil; VI>.. mr.,l.jO (MCH, jQ)If.). ll. Qui vidd h3« u;lCUis IgrtoKmS uaa liguris non U:K~ lidam $ibi pueit ioug;'''' mmltm . Omnii n~mqIX lentt ",ric pic1uu ftdclL Quae .. nior k ripsil peT quinque uolumin. MoyWS. Quw ~Mit .tomin; sigN-IUS nomine- IHI,lS.. C.",rrn XXVII; cd. a nd lrans. Rudolf C Gokbchmidl, Pulllin,,1 Ooll/"fhn .. , Nol.. (Amllcrditm, '~40 ) . 60. c( J>ru&nliU$. TIlUli hift.,..ia",m . cd. H. I. ThomP""n (Cambrid8'" Ma"", '9531. 1: 146ft". Prudtntius'$ dncripli.on indudn the Adoration of Ihf umb '-cd on the Book of Rn"tb· linn ~monlllht mny·nint ilUbj«u and oft"eu OInst ian rn.dinp of~
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      H'lilUldiJ u~l~ris d noui T<"SIJ lll<'l1Ii ~unl mJ r.lIion e (OllpOSi lJ $ ':'~ibu il : uc rbi );rJl iJ. ISJ:1' l ign ~ , 'IUlbus inmVlarc iur po n.lnlcm , 1.'1 l>urmnum (ru,'<' 111 in '1UJ ),J ln,'IU r .I,'4U <' lIurl~ nl ~lll, p.o...:ill1;o ~lI l'c r inll iccrn r~'Sionc, p icl ur~ cun iunx il: I'C/I{fllbilis IJtu.illl· O~'" HiS/uric,r, I, <,d , C. 1'1111111))<,1 (O,, (old. IK!jI6), }!><}tT.; trJns. j . King (;.smb ridgl.', M:rn.. I~}" l, : : .II,ff. XI.' I'~ ul MeY" Jerl , MIk"tl<, .Illd Ihl.' Church lI.rim ings :u \\'CMmOIU!t· JJrfOW,~ iII .\ lIglo ...~'1X01i ' '''1:/111111, 8 (979 ). 6,ff. :4. 5.:1.' K<'ssler, " V ic1ur~ ;u Sc r i,'IU I<'," !S. S« Kun \\'ci lloll1 lnn lnd Herberl L Ke»lc:r, l J,,· COl/c)" Gtu( fiJ: l~riliJI. Wm lt)' C(N/cc (;'1",,," 8, VI ( I'lillceio n 19i16 ) Jnd Hvri>crl L K,~~ lcr, M'The .\111.11 1..lIl1l.'n IJble Relic in Ih<' IJri lb h M Ulo<:u!lI': FUI 11".-, Obse rval ions Oil Ih" Co n on G~' nc~i$H in !;ill/d,ts ill " Woriol M,mllil". 'l9if. :6. Lugd)' deslroyeJ br li r<, in rll:J' Ih,' musaic i~ 001 I<,wlded in Ju,Il'" i$ Ciampini, \ '( i,'W 1II1mi"'''''I,' (Hu me. ' 690-99), pI. I.XVIII . Se(' Stq)h.l n \\'Jel1.oh.ll, " ZUI Ikunll8laph ic u n Tri· IU\II,h,bogtul1lo.sJik$ \'on ~I . I'Jul io Rom." in .~ fiJC..II"'l tll /lib/iot/h'OI<' I krl=llIIlllt =11 /J'''''II nm Ltv Hrulm$. FIIIII; GIU]' h'vlf! .\ fm""li(ll, 1.IIi/wig !;idlll'/l (~ !u n ich 191>1 1, 1!jI1'f.: K';-Mk r, " !'k tu r.;os .u Scrip ture ," !Jr.: !Ja!1.' Kin ne)', MTh<' ApocoilypS<' in E..llly Ch r i$l iJn Monu mcntal ~(Qtal ion," Til, ,1['1"<''' /)'1'1<' III 1/'1' Midtllt ;\g<~, 00. Itkhard Emrnero n allu lk m .. td McGi.Ul (ltha':-01 ;ont! wndun . lOW!), :00; an d H ~ l ol.'rI l. KCs'\lc r. MR,"J i ,\b~" Il'<': F.a rir ,\kd ic\'JI An aou Ihe ~'lctJmorphmis or Visillll ," in '\/ur/c)/UKit" wti/tl, f' (1111,,,,,li in Emllp" POI ""'(" IlU lir/iild f' flllel JIIt.Ii,)I" " ) (Scftiman,· .Ii stud io dd Ce ntro it aliJno d i SI udi suiI' Jhu me oJ iucl'U 4.s ) (Spok tu, lo,NlH, 11 )711. tChJ pI er 6), !7. Sum JUlcm uigimi 'lUJIl UOr PJm:~ duod.;-d m Jpu~tu1i e l duoo~'Ci lll I'Jtr iM( hac; "1<.: tUI illu~ oi 1\'(1.11,1 , I" Apot"/YP$im, I V, .I, ~;J. loh~ lI ncs HJu5_,.ldt cr. CSf.f. l VifnllJ , 111,6 J. 49, (also, cu. Jnd trJm, Marlinc Dubl:)' JI';II is, 1':1971: idfrfl lCd :Irc Iv t h ~ CSfL ), Cf. AUt:u5l in c. [II Apow,· [}'PS;Il : PI .. 5, p6, 5<~' \\'Jetwlut. " Zur Iku nugrJ I,hi('," ~:r.; anu YI'n C hr b l." " l <,) l ~ pieS<'UI;J t iun s noMi.'\'4I cs d' A" . IV I-V ) cn vi si ChMkmilsn,' , :\''-<' ,\/GI1, Ep'JIUluf, s, K"".r;" , "" 'j,.1 !lIr rli " , '''''I'''): i'rld , Iku""4'1"~,,,,,>, :!ff. ; :lIld Ko:s.s!<'r, .. Rca! Ab:;cnce." !9, A/C ;H, F.pl'JI, K,I(, IIt"i, S' }~; wc FI<','man , " Thfollulf," 90, 30, A' \'cw 5.llv"lo(i5 k iunp iu5 1U suppo rt Ih is elJim: M (;lI. Jl ff. J!.. Ut, '1Ull~ nun pule rol l lI1en t i) uc ulu u rncre nccu u m g.·nl ilit.lt i~ Il1 J( ulis f,~ U IU) ) pitilJlilou s m i r,1Cu li~, ,nn('fo:'t nim i!lInl ,'QfIlm imagi nc$ , urpmalihus ,o ndil;U insl ru m,'nl is; I.ili. (fir. II , IJ (M GH, H), 3.1, MGH , LI';!II/11, 5<'(lio Ill, C..",rifill, 1'01. 2. 4~S. JoI. lloid., ,186. .I). QuanlU IIl .lU1CIIl Uliliulis ex picluu<' raliun c prul·c ni.ll, mulliplicucr P41cl: prirnum tJ l.Ii d" IIl, CjUi3 pk lUrJ l'S1q ucd~m li ttcr~hll-:t inli,"'r3I o, ::Ideo UI 'lu idlm rrioru m ICg.J lll r ('x picluris uiuki~ antillUOf Um h ;S1()ri:I~; u<,indc , ut lor<,vi l~lb ('111$3 I'r-~rl<,' mill a m ),I Urilll,1, in !;c~li ~ 5il· \'~ t ri I'~pac lcogitur. Co n~ta n l ;nurn iml'<,ralu fcm jlt'r Ihvr.rcidn apu~lolorull1, quod ip;'()s in I'j. ~ione videri l. (og nO\·i~!iC'. 1::1 \'id('lIlus ali'luJndo ~irnpl i ccs Cl id ilJloI.'i. qui \'erbis vi" ad fidtm go:'S lC') fllIll p05~U II I ~rd uci, t~ p icr urJ p,~si
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      COltOn Gt'ln;~, U. ~~. K.:s-kr. lII,ufrawi Bil>l.... ~ IIT. dnd lI lT. Amblmius Aull'<'rt u; lik .. " ...1 the fou, animAls of 10hn 'J "p<X:Il)'pti, v;,;on lu Iht .iv.:", of Pdr .d''''; In A".""/n'fltl, III in l.""C(."M. M, Rot><'rl Weber ( Turnhout .I\I7~), l7.216. ~t'>. Fi""her. "Al kuill ·Bil>olll." 5S. 5,. IlingjMII~" Mmmlll"", 1,. '3Jff.; Schmid. " I(:m"nt~fd n und MmialUren. IpIT.: Ktlo.!<'f, lI/,m'ff.: KUI'<'~n. M Maje>l ~ [)olllini.M9~ff.: ~nd Dunon ~nd Ke\. ~I ,h, fim 8'bl~. 6: _63 1'I p.I.!.Sim. 5I!, RCl mic.u .Klhcf<'us ",ndign. ,i...: propb(IM:. Hie t'v:msei;';A( qU;lttu(l' "' ..... K6 hkr, N>r~liMgi!<'htM i>li~i<""r(M, I" J97. and I,. 13l; P, ul A. Unels.- DumwlM' Oak! f\lpnJ S (t 9~ ), llot: Morr;\.On, - Music: 4)3ff.; ~nd Vunnn ~nd Kco.ltr, Iw"y ""d Pninri"gs "I'lv Fint 8ibk, pp. 11M. In So:duli",; C"''''r'' Pau-h"k. whi'h I'rovidM Ihe lilUli for the "",ngtliSTportraiTS in ,trtJin Tnuroni~n mJnu!oCfipT" )' 1.l1b~w. Ma,k.Luk ~nd JOOn ~ingof Ch ri)l tOS'"th(l": "Qu.tUOf hi J"~('tlo una Ir u<xr '-""t nlt>- I. JS9 ill CSEL, IV, rd. lohann liUrm(f (\'irm ... ,885 ),42. SjI. 101 qui. in ttl)'Ilerio al»
      pnltfigur;ltll.' iI, kg< ct rrol'h~Iis. v nlrmion! oflhe f'r4iU:i"J in /J),''''''li"e ('",.rvt- (Vic""., I~I9); . nd Robert Nd""" Thr lron<»gmph)' of Pr(f;Kr anJ .\finj"Wr< in thr 8y" mli"r Go.rvt IW<>k (Ncw ,"nrl. 198<». M. K(lhlcr. Kll1ol;ngisdrcn .\ li";Chcr. "Alluin· B;bc!n: 6 •. On Ih . usc of the ~1.ic'>tn Domini to e~p'm Ihe h3.mo nyofthcfour (.o)pcr~. >« Xhmid ...... 'nonufdn und Min"''''en,- Ip IT.: Kt»ln, lIIunl<,trJ RiMn, )6ff.; LI .... cnn N«!, 11,. (iuno/(>/!intll Golpdl (Cl m· bndge, )1,1 . .... '9'8; I. 'J.tl". ; md ..... 'pcncn. ".\\ajnln Oomini: 33IT. /». Til( um. nl'po~lion of litenl , • .d ing a nd prophr'lic ....... ng- in Ihe form of. M.ic~tu Domi ni_ i, found in .h" pmphC'U froll,i.pic,<" of .h. ~n Paolo Bible (f,,1. "7. Fil(. 8.4 ) .ncum ). ~· ig. ~.I'" ~e Jmlchim G~hde, ~Thc P3in'~n of 1M Clr"l;n~ilon Bible M~nuKlipl "f 5o.1lI PoWlo fuori Ie nlur~ in Romt,~ unpubli.hNl Ph.l>. di .... rl ..ion. Nrw York Uni'",rsily, 1':163. )04ff.•• mI "u d«o"~;'JO t. U: mini~ . tllre: in COnlmmraritJ ddt Ribb", di Sa" PaoW fuori It mula (Rome. I~,I . ,96ff.; Adolph Gold· s.;hmidl , Dit Hfmb.-inskulplu,.." a.... 0. ,62. 7~ -80 ami 1'1. LXX IV; aOO Rosalie II. G......n. -A Tenth ·un'ur)· l\"Ory with lh( Ropon ... 'A'picin\> IlonS<" ,' " Ar, Bulkt;" .:.8 (1946), ,,!fr.; oml Ch~pler 6. $(,e .1$0 Ihe l;.t;~h i"i lial in It.. First Bible of C"~rl"" th~ BaJd (rol. '.10 .. ); KOhler, KlIro(;ngil<: r;plS;n F:K.imik ) (Copcnha8ffl. Lof1ology. of coursc, for cunrl'le. H r• •
      
      OOllll> M~ulus: "Sum'xil 1\10>'_ tl WlIjC ",inut'" (jus. )".ue nrini'ler Mnpi, Dnmin"m ul· '.torem. el nomine d ..;snot r'I actio "". Qui minister M~"; rYCI~ \-QUotu, 'luia app ..cIU in ... r<>c. )I.]OJ.l ic-..., kgi. in .., ",crin,on;a • • """iperc dignalus " I , q"ia nOn .oh~.t It8~m ,·tnit. k'\l :ldirnl'krt. M....,'Ii in omnibui '"<:it;gi, sequilur. qui. in ,u nci;' q UM loquitur ..d ""ibi, Mo)" ..... ilk wi trpiu . ....1 m:lnif('St~ d ('Sign.I"$, quo~; ,om<'$ ind;~ilory o f Joshua's I'rt'wooc. at thf giving o f lh b..,.lo. Itt Arct..r SI. ( J,i •. "TIM> Ib.ilew>ky I'p:;" Typology .nd T0l""Kr~ph~ in Ihe uoous T r~di t;on: Cahim t\r... ~itJlog;4'.n 31 ( '98~ ) . ISff. 68.. Ko hler. Kl9ff.; Sd,miche" Min;" t"rYn in den 40tr JJnrt'n..lts 9. lahr hundtru: ""'hener Kumll>LltU, 60 ( 199~ \. ~lff.. and - Rel.tion! of Time .nd Spa.r: Th~ Temple of )elu..!em " Ih. /)romll' f ...cI""i/lt in ,h. uloli'lj;i.n I'e,iod.- in 711( R...,I dnJ IdMI fm,sahm i" ftwilh. Chli";",, "",II.u.mu Art (SlllIlin i" H""". of &:.ottl."".kin on Ocr"1"'" "'''is St'~"li(tl, 8;t/"d..,..), cd . Bi.nc~ Kuhncl t )cru",\cm . '998 ), ~7ff. 69. Kllhkr. Kd ,O/i".~isdu-n .\ /",;I1(,"(n. I,. IlO ~mI Schmid. "K.onont.fdn und Minia· luren: 1,4. iO. Th. c.plion ",. d.: Su..:ipil Iqtem )l.1"Y"" (oraKa Regi. e dex'a .u~ri. sed infr. bm do.::r'I Chr~l; popuiuon replClw. Nn::Urt j..In(\o. v
      
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      Kilh kr. KH r"'llIg;~II"" J l iniHlI/rnl, I, • •19 .md Dunnn dnd Kl'ssk r, P,"'lr], ,111,1 P"lIIlrrrgs uf Ihe Finl
      
      /l1/,k,11 .. f, ; 1, xhmid , " K~nonIJldn uml ,\l i ni~ l urt'n.~ I; Mf. and SI. C bir. ~N.·"· ;.. 1tlJ.l'S,'" llf, ; 1. H"rr;rur \\'i,d. irdwn . 11." .\/,'Sd;/.;r rD}!mmlll 11111 S. Prolssrdr ill HOIli ( 1.lhrhuch fii r An l ikt lind C hri"" nlUl11 , ErgJ nl un,!:,b~nJ , 171 t 1-.liln,'n. 19~' 1 and Ili,' M;'Sr r i~"('I1 ,1,'r Kir(II.' StUIUl l'nlH<'I/,' '" H,,,,, 1;"1ai1l7., ' 99l ). ln hi. rl') l't)llW 10 Ih,'I,iI,,; wmlllll , 1\111< H.ntri.1Il rda$ In Am ho>,,"~ .Ir,·,rrn in ",h ich IIll' Ch ur.·h I,ll hn re.:",!:ni ~l'd I'Jul "",h"s<' "I'!"'ar J " ce I hc I h.ld leMn,'J in ~ pil'l u r.,": Qu.lr \i mil is rcal hC:II" l',uII".1 1'".~h'lo. (ui us vull u m me I,k l ur.1 d o,:ul'r;11 I ,\/(;H, 10 l. n. EIl,'n Ik'a. " I)ie In i.i.ll<:-n'" in [)uil el al.. ' l'); Lub" J;I,'cn, T/,,'lIhmrmi,," of II,,· Hruli".· /:pwlN III Fn'IIdl ",,,1 EII,~II$h HiMrs .1/ /1,,' T\I~-I(", /IIld T/lirlrmlll CI'IIIII,irs { o.~fo nl . 198~ J, ,III f.: ,md Kc,~kr. nl~,.,'I,' III tlmwr . .IU. i ". " Nc,,' ;"I ulol"." 11f. i\. In",-·f I\r Jun , /)i,' liwI"J:, .. I,,' C;" \lI I", I""g im n f"(lI /fIII " ...1 Ori,'''' ( l'l"('ibur~ im Brdsgau , '~liI.
      
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      i ll. Ilmh AI1j:ilh,: rl and Th,......lutr rd'"f 10 I-lit.t ihal.t . Archhish0l' of Col'-'i:n~ ,I[IJ C h;rrk-· mal!n,'\ chJ j,I., in. ~.' ~".,ron" t ,\ II ;H, I~"'r..' i"J/I~i"l' wm". \\',Il.I'rrJ ~Lr.,h" a llu,k" I.. li ilJuin J, '"AJro n .~ .ho: bd b .1LL.I ~h,·, l In Ins SJrmCnL 5 being ~ "in):ul.l f c1Mra':kris ri..: "f lh,' hif!h ]',ifSI ( ,\/CiH. "'/t·I,ro· /"" i,,; "1"1'1 C,'f I., l,aJ il i"" 1':l1 r i, ' i'111'·." R"I'II<' I,i/lii"u,' .16 119!71, !Sff. 7'1. I.I/>. ",r.. '. !, ' ,)7ff. 11.1. Sn' Ih,' ,m i.:!<" pri nled in '/j';;/(I ,. ill/lllag;'h' /I,'Walt" 1II",Ii''''I'' .1IIt! .II!oI>, Gilh" r! 1).lsmn, .. ;\ In .. , i 11\;L,!:,,-" it:"'n('~:' "'(1111"'//,· "'I'IIl' "<','$J"(/r",,,t/p" ..., 11991 ), 1;1fl'. 1l ... 1.1,. wr. . .,. 16 t ,uGH . 5!Y ), it'j. "Ouia ~i .-;.a ncINu ll l im.'):;II,·' in JJCmnllUIll t: ultum w n,'r:r rl! ur, lion idnl" rdir 1;1111,'11 !."I I unc cl IIIm( idem ipse l1
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      Il"'. Thi~ i nr ~ r!,r,·I.lIi,," ••.m,l, in .lirl."<: l Cl1nrr:r~1 10 x hlllid\. - tl i,' h..·i,I<-n .lh'c.'I:1Il1<'nllichen KiI{lc"ll'r Gra m"·.I! nil ....·1 rtine Wn nillu slm l ione ll ,i Iltl"' ill "K,,," ,,1I.,feln u nd M i ni:11 u r<'II." 1; 11. II;. " I il !irS)" .lIl,1 NJrr dl il'<' ill I h,' b wu} Cyck o j II ... A d,h\lrn h ~ III 1' ..'nlJJ cuch:· un puhlish,-d I' ld l. di",·rI.lIi.ln. HUJi!" rs Unkcr.i l)". 1\1\11. Illsff.. "".I " ,\I"ul ~lrU~J U rl' ill 111<' A.~hbu rn h~1ll I"·nl.ll eu.:":' in /rllng.. mul /3clid: Slwh,'~ 11/ Cd.-/'(,II/, 'II r>( Ihf fi.~11I "'I /1 tllIlI ilw;,rr), 11/ /1/1' IlIIlex ,>j C/rri$l/"" "'I ( Princ!."!nn, IIJ\lIJ I. 7111. .'I~ . lo:lihll't. Knm'ill~isdl.')J Miu;,I/U lnl. I., ",.. ff.: ,md St:hmid, " K.lIll1n la fc1n und Minia· , , JL1I!."n,~
      
      In l. IIIJ. Ko,' .,kr, '"" I"',lle in Arl11l1r," ,m,1 ~ (JriJ-:iI1Jlil.,.~
      
      90. ~Si ~'Os ( hri slia n05 dk~ndn. ros ~w: affirmarc lIuhis. mullum rsl ahsurdum. II I ( hriM iani C"S.'iC: n\ prius (Iu;lm Ch rislus"; Agobard of Lrons. C.om m mll/'(/iout's FrnkgiJI. XVI in CO:;,\ I, U I. 295. ~ Ma x Ah ner, Fmligis 'ml To urs ( leipzig, 1878); Egnn Boshof, E,;/liKII{1{ Ago/l(1f(1 "011 1.,"011 ( Co1ogn~ and Vi<'nna . 19f>9 1. IMff.: loh n M~rtnbon, Fmm II,.. Grel.. co! i\lmill I" I/lr 5<1111"/ "f t\"x,rrr (u mbridge. I'}II I), f1~ff.: and Marda Col ish, "Caroli ngian DebalN o ver Ni hil and T.'nl'· bra..: A Siud y in Th.'Olngical 1\1<.'1 hod.~ Spr"(IC/UIII \9 ( 1 ,}8 ~ ), 7571f. 91. M:ITI;i"n, Chnin l hu s, el Ht'bion, (:tel1'riq ue Ani ich ri sl i, 11 u i Ch rimml fu isSl.· :1Jl1<.' 1\ 1adam ncgahan!.: Akuin. Commel/Md" ill S. 10(111111$ Ewmgdirml; 1'1.. 100, 74' . Agoba rd ;1Ccuses f rcdugi5us nf m~killg j u.~1 Ihi s cla im: "N;t111 5i Christu s ani,' /o.·laria m no n crar"; Cmum ,,/>il'(li('III'5 I;"''/I'gisi, 17 (GeeM. 296). Il l . Leuer ofCharlemagn .. II! Dungal m neemi ng I'n-dugisus's Ira(t,l)(- slI/!5I,mlill llillili "1 /(/Ij·lmmllu: "Ni h il lam .. n allegor icf aU I figurJtc ih i atlen das. kd nudum scrmonl'm nuda mque lincram rem JlUd,1I11 ~igll ifi(anh."II1" in AlGH. I:"pil fO/lIe Knr(l/im llt', 'I, 4, N. Ern SI Dii mm lcr ( lkrlin, 'l1li::; ), ::;::;l. Sec Claudio 1.,"OnarJi . ~G l i irianJ esi in Iial ia. DUII!}!1 I." la .:ont ro...~rsia ko nodas l kJ ,~ in VI.. lUll rmll Europa 1m /,;IIII'ff'1I Mill~IIIIIt"f , cd. Hdn1. L.clwe-( Siull g;)rl, ' \1111 ), 2, 748f.; llllJ Col i~h , "Ca rolingia n IX-ha les," 767f. 93. Kohle r, Kllm/hrgi5drrll Milrillt"rr", I). 136/f,; x hm id, " Ka nontafdn ulld M in ia turl'n." 18oft'.: KI'l>,!.:r, /II"5,mle in 1111' Gr:l1l1k:,1 UibJ..-, it i~ a ~i nglc fo lio ; .'<:'C [lruckna, "COIIex," 1O~; ~Ild Sc hmid , " Kallnnt:l fcln um! 1-.1iniatUrl'n," 178, Maddcn ~ u!l!\c~ lI.'d lhal origilMII)' lh ~ pagc I)re.:ed.:-d J..-ruIllC'~ prd,t("e, Fraler Amhro~iu~: A/d",illes /"Ii/ll.-, 16f. Man), olher K ho13rs assume that Ih,' mill i:.t u re is a frunt ispi\"C~ 10 the [look of Kcwl:!1ion; b!llthe pi.:! ure secms to Ix- in ilS righ I posit iun wil h in Ihe m:ulusni l)\. $e,' JIUW, Dutto n and Krsslcr, Til,' J'o.."y "'IfI l~mrri/J,~H'f ,II.. f;r>/ lJibk o n Ih~ piacclllcni of Ihe [{,'vdat iun pag,' in I h~ Fim 1Iih[.' of Charlcs Ih" lIald. '}$. O n Ihc rda lionship bel..-,,;:n Ihl: IWo miniaturcs. !it'("' KDdcr, lIIuslml... , Hi/rll'$, .-tJlff. t'l pa)sirn. 5« 31,;0 Kon rad Hoffma n n, "Sugcr'~ 'Anagogisc: hl'l> F~nslcr : ~ flo. 96. VklOrinus, Comm ..m. ill Ap«. tCSEL, 60 ): s« Kohl~r, Kll roIillg/S(/ICU Mill;rllJlff'II, I;. 100f, and 1,)6«-: amJ D;I,'i~.WI'}·er, "apt.'rit ~ ; a nd discussion in T"s/(J ~ imlllng;"" urll','//(llIIc"i,,," ·" (S pt." 1ima l1<' .Ii Mud io d~l Ce nlro ilalia llo di s,ud i 5ull"aho ml'diOt'nJ ~I ) (Spolcto, 199_' ), SllSf. 97. Ut-..:-r ~ "tCrll sc ripl us ";"luS " t f"r i.,~ " ' r",,,,!u,", T<.$I,ll1lcnturn, V" IlIS s..: ilk,·, ,'I Nnvum, ,o ntinel"(' vid ..'l ur: Cl Vctus quidem i U~t 3 li lle mrn {oris I'~lcbat , scd juxta rn yslicum inldl r ..·lum inlm Novllm O(c"hahat , Sive i nt us liber K riptus osten d il ur allcgnr i:l, foris histnri:l. Iddr( o aut em Vt'IUS ('I Novulil Tes l;uncn tum unu s lib..'1 dici /Uf, Ijuia 11 "': Nm' urn :1 Veteri, nt'e rU f$unl VclU~ a Novo val t'l disl ingu i; Commrulrl riorlml ill Aprr.·II/},P5iu. IV, ~; PI.. 100, 1t !O; ~t' al so lkode, "~Yl'/"'''I ' Ii" Apr)m1rpsis, J, S: PL, 93. 1.01 5. 93, $ep tt'm sigilliJ agnuJ imuKcns rnlldis Signal~ mi ris iura di skril pJtris. l.c:grs t vt'le ris sinu nowl1<1e Almil pe<:loribus liqua nlur r.:cc, Qua,' lu(em populis dcdcrc muh is. Ko hll'r, K." oIillgi5(Jrrll M illiIlWff'II. I" 136: DUllon and Kessli."r, Ptrt'/ r), mri1l'lIimi rrj!l of Illr firsr
      
      Hib/c, 11M. 9\1. K1\hler, Kllro1ingill"IIf11 Millilllllrl"U, ll' 1371T. IOU. Cf. Ihl- laocrn:lcle (IIrtai ll pi c lur~d in Ihc enq·do" , .!ia ul Hrabal1u s M:mru s ( H.1<1ia di MOnll'm"in o,CocI, l}l) in Kcs.~ler. "Telll])I.. Vei1,~ Fig,17. 101. Ko hler, Krm ./illgischrll /d illillluff'lr, I:. 139, addu.:cd Vkto rinus of P('!lau '5 III AJIM"I. 4, 4, to explain the motif ( ("SEt. nff.). Later commentaries ellhan( e the in terp retati" n. i\ulpc rtus. for in slJ nn" (1I1111' :1re<1 the a ha r o f R,'vc!al ion 6.'} '" , he Old Tcst:ullcn l ,.lI ars uf 5dcrific<' f s),lllbnlic of
      
      """ "h (.lrndl urnln~,a,willg l .111..1 tlKense I r.·l'r" ...·II,ing Chrislidn spi r iwJI r...,>('n'''1! I: til A(HK"/" .j
      
      (CCC\I. ~K'i I. '()~. I);' (;"",'j,
      
      ".II",a,lIlI. l l : I r.1II>. ' .. h" 1:')'lor ( New \'ork. I~!); r~ (1\'1/"/,, IJri in CCSL . ..II I Turnhull', III;s l, lI,flIT.: ami Fp",."" ex LV [I in CSEI.. +-I. l·'1. ,\ I'""J GoldD ,eSEI...131». lU4. QUJl'rul"cr non absurd.· '''''I''~ i n(,Hlucnicnl.'r .1 rbil rur ~l'iril.llcm II i,iuncl1I illla ;lIlel· 1,·Chl.,I,·111 ,'1 ,·(>Ip<.1ral"111 IJ1l1qU:1I1l ,,,,',1;"1.1.,'111 <111.1110.1.11'1 ub,inn.'. PUln ~ni1l1 nnn illcun1;ruenl" r nl<'dium 'Ililld curpu., ,!"id,'m 11"11 e.l. ~J ~i m i'" "S1 '{>rpori~ int.'r illud. '11100.1 ucr~ corpus ..... " ,'1 iIlud . _Iu,.o II.X' curl'u, ,'S1 nl'\; .sitllilr ,,,rl',,r;.: (;,'''. r,d Ii •.• '!. !4. SI ((.·Sf! . 4111; 1ran5. !14 ). ms. In Aru-·"l.. : 7 feeC\!, 'Ill ). $.:" I:r,m~ IIn",hob.l, Hislllirr ,k I.. lil/<'Ttllll"·/mi,,.. till ,\Ir',..." Agr! Luu'·din . "j-',1I ). ~~; Jnd ... ~ lall,'r. MTh,' Apocalyrs<' in l'.Irl)· :'kdi('\'~! F..xq:esi~,M in Apo.... /rpM' '" ,11,' ,\Iid.It,· .-ISI'J, JII1T. 0" ,\ u'perlus .Ind ar l. !It",' I"hn Miuhell. M'IlIC CI)'pl Rrappr Ji~d .M in .'1m, \'i"....II:'. ,,/ \ 11/,,,,,,,•. I. I:'<\. Richard Hodg<'~ _A n:h,,,..... ,,)!-k~, Mun'l\;raphs o( ,Il<' )11II1>h s..h".,j Honlcl ( H"n,,·. 111'1) ). i~tT. 1M. III Ap" .."I.: 1'1 . •tH). u>lj7ff. 10i. All' el1;" ~i, per illos '>(1110'1 lIidchillll l:>"'u~. III .d iqllid h"b.'ant In 1.1111 01 ~x.dk," i.l nw nt ; ., illlilc. 'III" "I i"''''I''''<'J I1.IIu(:I .. t'rn ;o' u r: (:" '. IN,. l!, 2\1. 197ff. 1c.:C~ I.. ~to I fr.). t\11l )"'rlIIS ",'oled rlCJrl)· lh.· whol,' Ci,; /)..i. !!, !\I'U inlnl'H·t It.-I', !!. ~ . " ,he)' slMIi "" •. htlll fJ. ,· ln (Ja''': III ApI'",!.. ' I) (CCC'\/, H·17ff. 1. ,rJll. K1 IIf .h,' Rl'i, hcnall xh, ",I." fjur/IJI):I.JU ,\I"g" !m.·ltq II'Ij6 1. ! s8. Ill , AI.. /",i",·s IhI'fr. ,b. M Ill. " Unl' " ,siun """" .. IIIgi'lu,· ( Jmhn\=lenn c. ( "/,,,.r. ",..1",110):1,/,,," 4 (111-1., J. ,usO: II). .\I'/j''SI,U /");,m,," .• H'IIf1'. " 4. ~ H inwcO'" 'I" r'iihmiHdJh~rI;' h,'" 1~""''1t''Jl'h ;,':' 1),15 "'//Iwer " I IIISK I. J1171T. ~Kan"" ,.l fr:ln Minialuren," 1;lIIt lib . " Trois illlJ grs ':J ruli ll)!i.·tHl'·~ .'11 101m.· .I,' «"ml"·nl,tir... ~ Mil I"\I''''J))'I'M:.» Ct!/II.-r~ "r"",·;JI".~I'/lh·$ HI, IIi !> \. n IT. JIHI " I ,,~ ' l'd~ . ,II'''"'''"'\'' du I-I."I! ,\ lu),"" AI:"' •. , I'TUPUS de I ruh " U\'r"l" '~ r,'':''"l.~." ,"lrnlal.l,'s S.mllll~ ( 'lin l, llS IT. 11 7. ""1'.:';,," 11M. "The S()urces and Ih.· Cun<;!rll ct io tl of Ihl' Grrl<'sis. Fx,,, (us . .\1a;"stas. ~ t1d A,,,,,,;!I),),,,,' Frunl i'pi,,'e IIIUSl r dliun~ in I h,· Nin! h -( :rnlur)' 'Iou rulliall lIibln," unl",hlilhcd l' h.l l. di~\<.,rtJ'iul1. I'rine" lolI , I'II>~ 1130: "II. 1I/"$lml...1 /I,I'ks. ;.IIT. Ch",I," IIlorgan. " Th .. ~ 1 ,,' i\·.· or a Figur,· n ul,ling in Bolh H~n..h a 1'",.-(, of 1)r.II",r)' \\111.::h lIIuw, OU I Kchind or On-r .h,: Fi\:ult,," "', Stu;/,..., (, ( 19!H 1. ' (jjlT.: and Dc Tulna}'. " E\'Jllgeli., ." The ","., knl1l<'l1 J"l'i ill Thr,s.t(uni ki, " tid ,h e ["111m Ba'lou~ .arc"l'h;ogu>. St..... Hdn1. KJhler. f)i,' Augilmmlllllh' ''0<1 P"''''' P""" !C()lo)~II;:, 1'1~'I ): ,m" Eli~.lb_:lh ~. 111.,11)(111. 'I'll,' I",· 1II').:','r"}' ,,'II,,· S."n>rlll/xu~ _1,10"'10.< 11,1.$"$ ( Pri'K~lnl1, III'JO ). ~o. I~ I. H.l!lS Iu.·kn, nrrs /li/o"l,,,, 1111 HI"" ..rk",,,,, (Oh.... , 1\1(0 I I. I ~ilT. .,,,,1 1'1. 37. I!!. $,.... E rtl~ t "~n.or.. l<';o. TI, .. KillX 's '1'" ." 11tJ{/t;x A .s,,,,I,, IJI '\/,',/",, " \ " I~,'ilj(,,' TI"~JI"g)' I I'r inc,'" III. I'IS71. ~,ff. 1:3. RlIlh IIkllinkoff. rt,r H"rtI,·" MOli4'$ III ;\In/"'",I rlr. "",I TI"",):III IIkrkc/cl' .In..! I.o~ An\=d.". !'IiO ), )4.
      
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      3,
      
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      11,.
      
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      Pages ' 77-179
      
      12,.(. On thl' \'eil as a metapho r uf allegn ry, Sl'~ Uri;m SIO~:k , :\Iylli flllII Seicuco' itt tlrr 'Ikrlfi" (."rrllury (I)ri nCl"I ,ln, 1<,1 72), .HIT.: and klfrey Harnbuq::.-r. Uri' Rmhs.-IJi/,/ Cumki.'S ( New Ha\"en, 19<)0).I.Hf. 115. Wilhtlm Neus5, Dir kmlllrwisclrr BibrliIlIlSfm/;rm 11m lIir IIh"I,· tI,'S rf5/m J,lliffllUi,'mls mill dil' II/I5/,
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      (CCCM. !u),
      
      117. Th e iu~a was C~l'a nded d uring Ihe n iot h centur)", fur exa ml,le. by Haim o of AII~"'Tr\': .. Lrx quae p"r ~ r Or5Cn data <'St. '"daml'/1 cst pon5i t um super COl lam"/ll,-S ist d iC" Entschleierung dn Most's:' ,"a pt'ril", 70), "utllertuS con t i ou~, AI uew Anf,clus de cadn dcsce-ndco~, udalllen abstul it, C"I cI~rilalC uuhus sui lihrulll ap.:ru ii, lluia .. imi ru m ~ lcdi.1I0 r /lOSI,'r in ~arne "1'1"''''n$, "hscru ~ '>li ..s legis ~""cuaui l , 1'1 gratimn Noui 'Ii,'§\amenli in Sl'tnl'til'50 adill1 ph.-Iam d edarui\. Inde e-I in m3 0U eill$lib..·r apcrtus ostcnu itur, s uh;l udi ~, in cis di spt'nsati O/le umnis ScriPluarurn stumml CO llg'uO lempo rr rellcll1l3. Hinc iam curpu~ ei us quod esl Ecclesia. leuclata fade glo riam Uum in i ~pc(ula ri perhibl'tur: /11 I\pom/., 5 (CCCM . J\IO ),
      
      130. Has nostraJ allrgorias ludci non rt'Cipium, carnaks Ch rislian; non in tdieguol . el inde Chrislum hominem e-sse l.leum nOli (onfi tenlur. i.knique ueh1U it MU~$ fade-Ill suam, tt 51.' ..St popu lo loqu t us. Vda la fuit Moysi usque ad Chr ist mn hi ibl ioll'cal' faci,~, et in Ii ne- huills b ihlime(ac reuclala cs t, EI ind e sic inc ipilur r~ ucl3li{/ Ihesu Ch risti. "q u~1ll d ed it ill; Ueus palmll fac<'re scr uis sllis. q uae oporlet fk ri clto." H a~c lonm1lli re ud,num cst. Quae l UI;! bibliul l'ca unus lihcr C"sl in capi te udatu s. io l1oemallif~SI UJ; I .Y9 io CCCM.S9.cd.H.l.Msledt (Tu rnhollt, 198-1), 7ft. IJ I. ~Vi5ion c"sc;ltologique.~ Ijl. Richard !..aumer and Petel Klein. Tr;t"7f"r Apoklll),ps<' (Gnlz, 11/7S), ' B . See also the- po rtrai t o f loh n in Ihe Abbe-"iI/,' Gusp"b lRibliotMque- Mu nicil,alc. MS . ... fol. 153\" ) ( Ko h!.. r, Kllrolillgisrlrel1 Mi" illlurCll. I I. -19fT. and pI. 4a ). 130'. London. Rril ish Library. Coo.I. Atld, IIH411. (.11. 116\' all d Par is, Bib liot htque Naliollak , Ms, bt. I/JIIS. fol. ' 37": Ko hler. Kllrolilrgisclrl'lI M in;lIIlIfm, l. figs. l5h and Illb. loh n alw is pictu rl.'d first in the- Majcslas of th .. First Uible of Cha lln Ihe Ba!d ~ Fig. 7. -11, Ihe-rr WIth white hair and !Jl'ard u nlik~ the ot hers; anu Ib,' cagle appt"'al'§ Ulyr Chr ist'~ heJd ,
      
      249
      
      t.\~ ' )'Ior~ "ol~n; ~uik v~.bu( m)
      
      ]><"il am ~ 10ltJnnn-, Kuhl~,. Knrolinl!".chm Minim"..-n. ~,tr .. I"h..nn~s. '. J.s3 ] " n' f. B.t>t"J on Scduliu" CMm~n f",,,fwlr. Mu,"" uu!..n, ~qu,I~~ u~rbu (GSa. ~~). Xc Chukj Liuk. «.... New I\'or)" of lite C.. n'" xhool of ChMI~mJgnc.- in I'rsrsd>r'ft MllrhnJCI,.lIif. t}6. - Two ROJl .... ,lC"><ju( Dr Jwing. in AnxCT '" J"oJ Svmc konug<>l'hic I'rub l~Il1~' in SIIu/in ill "'I "ml L""'1IIm' for Bdlr dOl C",,,, G.....n<. cd. Dorothy Min~' (PJilK~ton . 1~'>4 ). jJ,ft". (r<"p,imed in M")'~r xlt. piro. Rom"nNlI'''" Ari. Sduud S" .Jin (New Yo,k. '~771 . 300'1. ). s.,c .lho Link. " Nc"" II-"O(y" , jennifer O·R.:iUy. "SI. lohn n a fi!!un: of ,It .. ("".<>nlempl.lli\'C l,fe; Tc-.o:, .. nd In.... ge in ' he An o( ,h .. Angli>-S.non fk,l("(! i<:linc Refo,m :' in 51. V""jr,m: Hi, l ifc. Tim"" ""J C"/I. (d. Nigtl R~It,;a)". ),I"'II" ... r Sp.o,b, ~IlJ Tim TJu,m -B'own {Woodb,idltc. '\I'll ). ,~\ff.; _nd Dc.h",_n. «An · olhe, l.ook.- \,srf. Akoin wrole: ho.quc 10 1l~< ~ Iribuo ' ''pnio,ihus ( ,·.. ng.,],. ,i. ,,,blimiu. dc'·."'" COl. ;1. UI ~ru '1uodunnoodo .id..... in 'e". ,urn Christo homin .. eon,·.. , .. ,i. iIlum . uUm lranK""dl~S<' nc1lulom 'Ilia legi, u' omni, I... n. C1 pc ....1'ni'S<' • .1 liquitlun) e<>(li lumen. un<" 'Inc", ("'1~ sun! o",oll. tI i!'tum ~gn~c"' a, 'I<" 1:",,,,,,. ", h.bi ,.,tI in nobis; Epill. ",I Gu/am (I /l,(hrru,/"",,; PL. ,oa. 7~ " [n hi, "~,hng of Rev. ~. 7. AU l p~rtu .lin ko:J 101m 10 Chri,,', 0" '" ~cn l 10 hc~vrn ~('e, Ihe ,,,,,,,,«lion; /" .~p«." .• } (CecAl. Ul ). I}i. Grn. lid IiI.. 1:. :6. H (CSU. ~uf. ). 'j./I . Stt. for in'''n«. !\lcllin Com",,,,(. ;11 /010"'.: 1'1.. I<XI. i~1: ,uquc in lf ' iI'''.... f.".ngcliMUm !l(:ril' 10fo:-! ,-.Idc 1><-.11,", Io.\n ,\em. in di,·i""' "m p,ofun,liUlt ",~rt'ion"n tmincnliortm t>$<'. '~. 5« 10hn x"'m F.liu~n~. H,,,,ul~, in P'"k1)1,,,,, .~. E"' n~..-I;r Stn,d",,, /o.>nn('" I in PL . Ul. !lisfl'. E,iugcn. I1Inio lohn higher 0\1''' titan P.,,1. 140. Fa<;u eM ~ ulrm h;o« ;p<.I l~\'tl~lio 1)('/ angdum. ~ ipst ~1l~h lS tisur~nI Chri>t; 'tll"il. qui loqum.lur 1)(" iilum . ';""01 d iU( qui oIim MO)'si loqurIMlu.; E..'f>""" in Ap«fll.. p'Mf. in PI.. " 7. 9~O . , ~ ,. xc .... dolph GoIdKhn,id l. Au f;".Jy .\I",,,,;<mpl '" ,Ir~ "~$Op f"ab/N of ,\~ianu, ,,,,J IIr1n,,~1 M,,"uu,;p,s \ i'ri""eIQn. 'H7 ), fig. ,~ . '~!. r • ..,l u. it;l<]"". qui. notl.-.rnllilc' url>e'nndum hllcr~m. kgcm m<>S ~t NQuont T('StJHlfUlum unu51ik, dici, u,. ~Il'. 11':<: Nouunt ~ \'.. ,~,i. nee runum V,,\u. a Now u~"'1 di siungi . I'.m V,,'US 161al1lenlum nuntiu. ell el uffilllncn NOlli. Nounm "no, .diml'~ io.\ .• iU<" .If eiu" " ,i,,. ~.il fig"r~nt. umqu.. m de ali<> l<>quilu r. di«nl . . .. qui, \("riplor('S »<.'ri doquii nOll ~ ~ loquunlu r. ~ ~b illo 'I'" ok fi. 1(·"i010"i",n "",. hibr... uidem,. ~ ,umnlO ",ilicel at4"" omni. uillifiunte Spil 'IU. cui'" opus dt l"'lui pt', "" o"",iu1l\ Prophet;Jr um. &<jui t..,r 3num 3dhnc in uniu . loh.nnis P<'t1<>n de "nit .,~ placdiunlium; I~ Ap«at , (CCCM. ~s I. I~~. The ,ounte'parl in Ihe f inl lIihk of Ch .. l", lhe luld t in!. 4'S". I'~'" VII ) " " cur", ju,t ,hal moment ;..;:e Kllhler. Ku,,"j"S's.:h(~ I,. ' ~3ff.; KfSsl"r. /11""",1",,/ {/,/II.... 75ff.; ,nd K.....!cr . nd OUllon.lWrryaMd I'~jmi"g! in ,h( Fi.;/ /libk. '4S. "In lubi. ill. l>rac. /" .... f'<XUIy(>fiu.~. "I. ("Iula,i. UI sciat placdiulu' popul ; quid. ,ui ,,1 '1u.li'e, cloq"i dclx-~l. ne inunum ""num tuh.c "';tUl. lie "hi debe. !cnior. fia' >on", ",,,,i.lo.? and In ,nb;, it.><J"e pr..-di<:.,io ""I',im~lU'; /.. 11,......·,,1.• 4 mo.l ~ ( cr::CM . JJI .nd '10).
      
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      '46. /.. A{><,ml., rrad l CCCM. ~ an d 's J. L ~7. VOX .utem ha,·' si v~ ill E,d" ,i • .Ii .... ill Inallll<', r,,,te magna di,ilur, 98. cr. Au'p<:rtu .. I" A/'«/lI.. , ~ ud 8 (CCCM. (ol and "oJ. 14/1. AUlp<'rm •• /u A". .../ll., ,1(X.rM . ';) p.1r~rhu;.,.j ",.m- Akuini~n comm<: I1IJry: H""" ighur "isio per angdum m;S\.:I C9'. ,~~ , Sku. "n im Mo)'.,,·,\ ~lIm "I"i ,ibi in rul><> app.,rui l, ",,,tt,, Jngdlln1, l1",dn I)"",inum "Hc.II:.k luanl1~s h,,", .~"daliun"m . ib ; p<:r angchllll ,ni'!>J1Il pahilN:" ct ;r,,"n ;n myst",iu d figllra j)mninum I","m Ch.i"U'll flli,,,,, con fi .mJ' . It aque t·t Paul" Dominus in via per a l1~dtJln "I'pa.ui t; "IuiJ ~i in propr;a( (~rnis ~ub~tJ nTia 'ppa .... r" d,'bui,." ". lo,noi. qu~", ~1>t'Cialilcr Ililt-xi'. ~I'pare." •. E! 1lO!~nd llm "I"ia mure aliorulll loonn ... d".., qua;i de alio loqlli!ur.... Nun "n,m ip'" J ~, 9'. 'W. The !rumr,;1 metJI)hor i. also inc"'l"lTJlcd ;ul" Ihe lilulu; of Ih,' Grand"JI aiblc Majnl ~s nomini: UnrlCr\<' 1)"'11 '; Fi".:hcr. ..... Iku in- !iibdn," 55. !~!, Dt:i f'alris in C'('ml"" de m,-J;u duo.u", 'Ibtamenluru", "uX audilur; l.d,. Cd •.• I, IS (AlGII. J6J. IS). Hi slI nl scril'lore~ ~(rurum lihmrum. divina in~I'''J l lOnC /oqllenTC'S. ~d erud;" nIlCtll no~,ram pr~e«rl~ cudesti.a in F.«I<'Sia J i5p<'ns;onl;,'S. "'uc,nr aUlcm cnumI enim (f~dcr.· Spi.iLUm ",,,,,un1. "lui om niunl gcntium li nguds ""'nliblls al"-,sl,,lo.um infudil, ""Iidt at"m I""iu, P'" WS "I"am nobilitJ"'''' unills.:u iu 'G"'· linglla"I<XII tum "'!<'." . , . • pparul "ti.nn in hi~ unbis WStr;S, '1uod il. se nti~li, ti" pmrh t'I;~ ,"I ., ),. .. 101;.. ,II n"" ~"I"n, ..,n,um l'ra,.,J":~tj"n i". ,'I "lo.~liJ uerha utrin"-':UI in or~ illurum ip ..... f(lrrna"~rit; C,mmr tJ/li«li,mrs f",l<'Ki~i. '1 in CCCAI. ~1. 191. St-e Boshof, Er./'iMIL<>j'. 188ff.; "lar~noon. Cird~ "JAIt,,;n. 61ff.; and Coli,h. "Goroli ng,an lkbaln.,w 7fi71T. Th .. Ih~m~ ,0.;;;0" also ;n ~ !"'fill .0011,·tim,." att rihulro 10 .',roegis",; K< Ahner. 1'",legl5l". 1>. ~ porlr.tll uf Cr.-,;ory th,· Gn."al on Ih,' M.. IZ Sa'r."I1~nl ary (PM;" lIiblinth/'quc I"alionak. ,\I s.l~ , . !l~', fol. ). J i. im('<"Slinll in ,hi. 'l~I""T: in wm.~>t 10 Ihe l<-gcnll and 1ll~1 upr~,.,n,",ionsoflhe ,uhje", .h~ ttove of the Huly Spi.i l dOt'S nol ' l',·.k inT" Ihe )'Opt", ear bllt is Ih.,Wll with ils beak '1<'ar his muulh; SO:c KUhlc r, K"",{,,,s,>£/,m ,\fj"illII<'c", V. '65ff. antt pI. 4,b. Thr ;u."al'osilion uf ma,k. wit h In in.\pi.ing I rumlk'l · bluwing ",ngd" occurs in ,\Ii,hdangelo', drawing of /I fOj('''': ..... ,. fl.IJllhiJ' Winner, "fI. ';,hdal1gdo\ 11 Sognu a. an Examrlc of an Arl;,t', Vi,,,,,1 Rdlecliun in I ii. DrJwing.: SI!"lj~$ III ,I'e H,s,or,' 0.1 Art
      
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      w IS5. An earlier Gomlingian ...ump .... of s.och a enmI'M;!e ... ffigy is Ihc uMaroa Mi1iIJIIS on an i....lr)· in Ih... MeTropol itan Mu "...um in Nc",' York; GoldKhm;tlt. Elfc""""'$l'u/plllrtlt, I, I) and pI. VI, 11. Stt Suzanne lewis. "A ay~~mine 'Virgo Mili,.". al ChJrkmalln~'s Cou,,: 11
      
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      '56. Qu~d;hel hibliolco:a lolus ~io: c~. in •..Ikgenllus tamqu.lm lInllS ICC(;M.761. ' S7· /" A{><)<"
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      men l um hoc d Irgc ndo cognos(wl' IwbumlU1lln: videnl enim fJ,i<'m l UJm !;tmpn et ibi kgunl sine syllabis lemporum. quid n-li l ae\('rn a volunt as ilia. Coufi:u ioullm. XUI. 16f. in S. Allrcli I\ugusliui COllfi'5Si{llJt'5. cd . ,\-!arlin SkUlr!!a (SI Ul1 g3 r1 , 1981 )•.\4of.; Irans. W. \\'al1~ IC;,mb ridg,.. /o.·1;I$S., 1960- <' 1), "oJ. 17". K(ihlcr, Kdmlillgis./lrll A·/illilllllr<'ll. I, . 136fT. 175. Sec Herhcrl L Kessler, ··Gal.ing at the Futur,'; the ' Parousia' Minia\llre ill lhe Valic;\I\ Cos mas." in BFOlililif £d51, Lilli" lI'esl: Arl HiSloriml SIll"i"5 ill Hmmr vf Kim II'rilml Lib. fIIr.. 3.l6 (i"dG H, 46..;f. ) and Ch;l"tdlc , "Malh,"r. Spiri l, Imas'"'' 175.
      
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      19112 ]): Quia l' iCluras imaginulll, qua,' ad aedifica!ionCIIl imperili populi factae fut·rant. UI Ill'Sdente~ ti u era." ipsam hi~!oriam intendcntes. quid dictum sil ,I iscer"n!, tnll1sisse in d. Hagen Kellcr et 31. (1I'lu n ich, 199~ ) , lltff.: and Mkh~d C lm ille. "'The Gr,·gorian Definitio n Revisi led; Wriling and Ih ... l\kdievaJ Image:' in L'illlrlgc: F.JrI(liolj$"/ "Si11l"S drs illlllgl.'S d.lUs rOuitlml mh/iewll (P;lTis. 1996 ). 89ff. l. Opm Cim,/i "'Ilis (Oil/TIl S1'II(HIIIII1 ( Libri Ci" ,",iilli), ....1. Ann I'r,·cm:U\. ,\ IGII. C""elli, •. vol. ~, supp/mlmlllm 1 ( Han no\'er. 1\J98). 2, l3 (MG H, l78). J. D,' picluri5 <'1 illlrlgiuibus, ed. L. van Ac ker (eeeM. 51. Ij ltl. [TurnhoU\. 191\I J) . S..... J. Allen Cabaniss. ~ 5aint Agobard a.Ii Arl C ri!ic,~ in Slmlies Pr,·s,·"It''} It> /J",,;'I ,\f",m' Rd/,iIlSOIl, cd. George E. My)onas (51. luu is, '953 ). I023tT. 4. Apologid lid GIli/le/mum AlII"u!"m. 12, 28: Et tjuidem ali:! (allsa est episcopoTlun. alia ll1o na~hor\lm. Sdmus namquc q u,xi ilIi, $apil'n1ih us ,'1 insi lll;;l1 libus dl'bi lures (um sinl. carnalis populi d cvo lioncm, quia spi rilUalibus non /,OSSUI1 I. corporalihus excilanl ornament is. Conr;\d Rudolph , rill' "Tllings of Gmll<'T Importmlff" ( Philadrlph ia. 1'No ). 278 tT. and .\18- 1\I . 5. See Chapter I. 6. Grego ry d id llIueh the issm' in III<' prd:tn'!u his lu e mHim Omliranllll: "'For Ihus Sacr... d Sc ripture consisls of words and mea n ings as a pict u re consists of colours and objects; an d it is 3 foolish perso n who lo!;Cs h imsdf in Ih,' (OllIlIr$ IIf a piClur,· III the ,'.xtent that h,' ignur~s wh:1I is heing painted. For Ihe same reason , if we seize upon Ihc wurds which arc spoken uU l w~rdly ~nd
      
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      I;. On Ih~ ~..,l·like dUr:Kler ofSugt"r's glaM antl 1M lermin~y u...-..J lu desc. ih", 'I. >« 1.0UI. ~hrin. /N, pow"",,, d.- ri",,,~. (;/...... , ",.ri •• '\1931. mff. •~. I'. no(,k)·. S"$cr. '7' an d 1.6. 19- Tht Go.M, Clllhnl",1 ( New Y"rk 19~(», Ill . G.J~rri !rm.bu'S !h~ phr.IM. - "err~ I'<"inl t1 tn 111Jtih~ M :I.:I1,hi•.:0. - Viluu, .t~riq un.- ("I p."im. :1. "Jlibtica\ Stooo in \\~n~ \\"er~ Thcr 8iblci. fur Ih~ POOf?- in HIe lIibl.. i" rhi: Mid,ll.. Agn. I.. /"pw,."u "" Lil~"'UI'" and "'rI, cd. Ikrn~,d '-"'1" 1)..I...Jin.. l.r> p,,;si111 and KlIdulph. "'wlic O"m~. 7Off. ~. p~'iSi n •. :}_ von Simo n. GOl11l, Culu-dral, 1141"f. 14. I'> no&ly. S"g<". 171'.; l,m,..,r lJnn. Jr.. ~Sug~r. Thrology....d I h~ ...... un~lh.on ~rd .nd Simon r .... nklin (London, ' 9911. 150ft:: ~b ns I'. Ncuhcu""r. kA ..... diti'anod;-..-~ cd~h .. nd;:· '\/,.alln"r" Mrt1ir",li~ " ( 199~ ): 93.tf.; anod I'Mrr C Clau,,,,,,, " ~!alcri. und opu" Mind.. h~,li,he Kunlt ouf dCT Goot",ugc,k i" ""; M"I"'~m adir,,\m>; Fmwh,ijl fur Mill/hill! \\r,MM(' ( ~bir" 3111 RMin. 1990). 4OtT. :5. "Golhic Gw..: T,,"U All...... uf 0 Diony.i.n M>lhMic,- All Hillary. S (.""1). y,1f. :6. - Mnnlllic Suinca "bss: Palronagc .. nd SIy1C.~ in MO""IIr<"U1II ,,,,11 /~ ArI!. cd. Tim ... thy Vndnn (Sy , ""' ... lioll$,k l'y1. l'<1e. lJrllnkc. fal>~"". f.xP/oll1I1OMl ''''... tilt Um of My,h In ,\I(lIi" \r/I'/",,,,,h,,, (I.eidcn lnd Cok>gne, 197~J, ~ sf.
      
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      34. l\pOJopr "J (j"i/kI,"w," ilb/N1lml, Il, lA; mihi quod.1m11l00.k0 T<:pl#><:nl~1I1 .nl;qullin .ilum lud.tcoru11l. S« Rud(Olph. Tht "Thing! 07/( ;rnllcr Imp,,,,a,lft". l7~-i'9. J'}-'~. 3S. f)c Temp/(J. " \CCSL, "9i1. lll, ..d. D. Ilu~ l1urnhou., 1969]); Itan\. I'~u l .\1<1""'.=1. "lkde ~nd Ih< Church P,;nliIl8> in We~r11lou lh · r..row; ",ns"' -S ~fC.I<' ''''''"l<'nli. Dom;"i a.himibri qucunt. nrcn><' a l. \1\ 'luiilibm .i, circ~ r~>. quod rrop;' ''!o r;':' od.;mil.ri qUCJI. nrc"""",,, nl. ul mClu."d~ ind. o""ul> dcnlUr. Non dulcm inM qu..nldm OId'Ut.. donlur; non i¢tllt. II. ill; desipiunt, im.ginn ~ta<: 'aLumnli Domini .i
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      :nt ,S '9Sl ld ) 6 '1' '>OJIII'III ".11"'.' .1I"'!II1IWW'! "I' WUII.JI1J.L 'lu.,at' N .lp JJJ'l!n~ : I~ ' 1911111 'U')PU''-IJ 'H D puc cYCIllIIV '$ CUliV ' P~ 'J.)"'U!Wl>,~\\)() ""i'll" rIlJ>!J~} lU'//!!J JIl $,~J". \\ '>'IL JX' ~ue,'3
      
      (j6l - ~'61 5,,;"'1Ir/ VI 5.)10,\1
      
      I)~;:
      
      11101. 1'0. IhH~dit. h~lorn,( Ihis typology in ... ,nd eugtSis. ~ .....:ht. $t. OJi . , -.0\. l"~w M"~: Tn".>logic-~1 k ... ,"-'II' Jl'hr in the Moulirr·GtJ""h·~1 Mihle UlWI W;'.>nl of E.wJu • •- (;.oj/a. 11> { 1Ql!7) .
      
      19tf. ~8 .
      
      I" b:o.1wm, 4, )off. ((.1."'CM, !l, 787ff.). 49. " I."o<.idrm. l"k~ 11 cl h in"'l.~~ du Vl!l~ au XII!c ,it·dc.- in Nu:« II. 787-'1).~7: I~"u ,it.:ln d'i""'g'l "/';;("$<'1 . • d. Frnt><;oi. Bonptlug .. nd :>:icola. l<»s!<.r ( .... i •. ,!}II~ ). mff. h nul" nol ~ ,n«. cvincidtn.:t. then. tlut the -Ou.iot" ~nd lI,u. n St.~m mNJllion' ootll dtpio:t Mnst$ I' .... rnin.ntiy dt)I'I.o)·ing 11K StOll(" l~blC1$ ... llh. T~ll Ct!mm~ndmenu. ~. VfI.lI \jUJ,utn Jc I1Ulct;.lihu> ad il11rnltlOlurn molant ,·.r· I...... pruphctu AC(o •• d l110bm JI'J'< kgi. imima nQla (oK; •. I:il d. lot iI'.oni, ,",'IU "nc fu.fn.c p.nio, l'''"'l'C1uu''lu< ,ihu~ nmu, d Jng(iicu.,. ('" Ad",j";",,,,;,,,,,. J~ ff.: l>.. nof,~y. S~gff. 74f.
      
      \ •. Or A(I",i"iJI'~li,,"~.)+; h.", in • .odem viun. Llbi an('''ur vcJ .. n",n de f~". MV)·,i: Qnud ~h,)~ wlol. Ch,isti duclri"a ..,,-.:I,t. IXnud,n! kg.m . For ~n impo.,.m disru,,;on of Ihis mM.Jlion ~nd 1M .d ... d 0""' .ho,,"ing Ille umb .nd Lion o~ninillh ..... I.d book , !ott Hoffm.mn , 'Sugen 'Anag<.>f:i;chn I'.n ....:S"- IH d"';ni< IIomin.bru. !.If. (I'{;. 3. ,;89ft:!: for s.cOIllOS 1... I;n wnion. d. PI. ,,~ . ",,;f.: [.uibh.,d InllS. 5Of. 5j. F.CcltsWJlictl Jli("" t/';d./'G} . .u~: s.c(ll,," ~ [..:Ilin ~.r.ion. 1'/. 121. .<>tI lf.; I.."bh'-;d I,.n s. s./.
      
      Sor. w.,ltht. Volk., .
      
      Ko",~",p"',i,,"
      
      ,mJ E/m"sr /V, rsrUJ" '[)'01l}W,j A"'''I'''~'M (Win·
      
      b.den , ''!I~ ) . &.Iff. ~ssim. ss. Cod . hin. 1.' (PG. ,. m ); Sc01US ,..,,,,ion. 1'1. Il:" '040; Luil>hcid I.....s. '4M. Th ... bbo"~ frknd Hugh of SI. \/;.;-,,,,.,..11<> W!"Ole ~ ~omn'.n ... )· on I'lo<"udo·[)ion)";u!". lreJli", .... tal>li,h<>d on eWII firm ••• d.lionmip t..:1,,·un (-«'Sesis .. nd spi,it"... 1;\>Ctnl. f v . Hugh. intt'l'fd~lion of ;..0,:,,",, S;:rirtur. k ad; uhimoldy 10 (Q1l1.,nplnio" of God f«t 10 f.(~ Ih. ~l.( nl I... ulI",n bq:in. wilh r•• d ing ... d m.diut;un. Expo,;r;" in J/i( rn,d,;ntt! CNk-1-tr"l S. [)ion)~ ,i AI(ol"'tiMr. ~. 1 I I'L. "S. <;46 ). Sec Rotter 11.> ....... Sri(nu rr SII~ chr.: II"SUN rk .5.'1111' Viet'" (}'.r~ '\I~4 ) , ,8.4t'f. On [Iugh" pos.ibk influ. ,,« ... n Sus.r, ..... Zi nn , "SUg<"f -; ~nd J(udQlpll. Arume Ct..",):<". S, ..~X"< ,. lfIn.K.~""g.r "dG ;.n .." ....n .".",ug••... •• ' "
      
      ••
      
      57. Co,../. hitt.• I. 1 ( I,(;). 140); Sool"~ wr!oinn. I'/' ' ll. In4n; L"ibh.id tr.n~. 149 . SlI. AJn""i" ""i,,n~. ll; P. n,.fsky. Su.-:<". ~1f. \9. On 1M histo.y of Ih u tl1..:>1ogr. It"< Fun.;oi, RotspOug. -Un lI\(f~" igl iVlO SI~lu("I,,: II """ 'cnle ~ ,.
      60. I)"pwm io.
      
      Ql.Iud ••go h .. i., u idit. d ixil (\ s.c, ip:!il. q"od E,«hiel uidil. di1it .1 w:"p,i!. lic(\ po""'" di. ; (\ s.crib;~. p;do liun! uetbonlm figUf( Ct nO ••• it .. (1 pi Clure ~fip"fUm , crum .~i , lun t , jmi litudinc.< '" ' 101(; W,,,l< ,,!Gilbm Cri>r;~. Sl. 61. /11 f/i.::«ih(loII p,ophl."m ","''''("I",;.,,"m. [.1: wm. ul ""'e. u(tbi. Sri.ito; .!-J."<1US in ",u(tnt l"'Iuilur p,opll.u~. S«[ II qUJ.>(lu" imagi,,,, ... <><=1110-; ";..kmi",,, f.. mili. , iu, in''''''' ' digit" Oci. ngum (">t h i<: en~fr" r< ,,<"f.p;'n,um f.•,;;unl um ni <>cu i", h~bc"t i ad uiminc uid.';, uiddi< .. t 1''''1'1<, Ant iquo. inim i.:;,iu .
      ." IX
      
      "'t"'.
      
      ""1
      
      ;Il!clligcrc f"rle n"ndum u i~: Ix"", lit"'/) "illi, ''''''1''''''1. U"i~..."illos fili ,,, 'I"; tst i" Ji"u P~ro1 ipJ< ~"""~";I. Kt ~I ;.olul(> p<'.ielc in,mM:il i~run1 ui~inncm I~i hnminibu\ o'lendu (Ardu;ni. H,,~rl<) Ji /""'1:. l)Sf. ~nd als<> <41 ). "3. /" lfiaroMkm. 1: Cu m efgo de biK ui . iune ,~nli "ifi di~~rinl. ~I ""I( il'><.. ~ multi, .... 'i( exposiu ~i l . rt ul f.I"\fur il"i nmltum lubt~, ob..curit~,i •• no. '1u;d f~,iemu.! TC!l(mur '1u;p!'<' nmn; uolupl",~ pm~ili. ul "e in i,ln 'luid"", plop~a lam ard uo. u m'lu" diffieili IZe0' imnwu,i. 'l""(r~nJo t~t;nlon;" g!Ofi~" Ch ri>li Fi!i; /)..;. F~I(mur enim ~Iiquid nnn pMuum .upt,~\oe, '11.100 ;>dh....: ttud~iu; tl....:idandum ; il (,"CCM. lj. 16.4-1). b~ . Io.>.:hi m Guhde. "The I'.inten of the C",oIing;"n Bibk .\I.l1us..,.ipt of Sl" 1':0010 Fuo, i I... MUIJ in Rnm".~ unpubliJ. pp. j<4ff.. ond .. t... dccoruionc. I.e n1 inilo tu~.~ in CommrntllrW drlltl Bibbill IIi Sr. .. PrI~W f"".i /, "'''Ill ( Romc. 1993). :~ff ~~. (Jl~p.
      
      I X. ' J: K"'q"" uhil.entur c..rn .libu~ inte~umcnt ;' i nuolul~ at,!"e o!'<'.la Ji"~ ud fona hom inum. 'luac in ill i, libri, kgumur. non t'Uolu{'nd •• 1'1 .... apr.iemb ut inleltis.",ur. ,....J li.: K<:ipiC"O\1 ); ,1">"•. I. Ch , i>!OI'her. Fir>l o./(ch~li· (1lIIm,,,,I1WII (l'fw yo.k. 1(78 )• .IJ. Fo. !h~ impor!anc< oi Ih< (Ow, ing mct~phur <.turing Ihe ~~ rl)' I,..df,h ""1Iu,y. ~ Oronk. filb~/~.lnd lIr~n Slock. M,'ln ""d xrtnrt ill rlor li.-d!,h ,,,,",,,ry: A S,uJy "f Ht,,,,..J S'/W:Sl~r {l'r ill(tlOn. 1971 ). Jill". 6<). In John XOIU ~'$ tr~n~3I io". u$C'd .r SI. Ikni $:!)cd divin;'<)im. ~I ~ 'd IdelJ. (ir'nm ' pmit~ libi irmbolice >...!Ii",'nl~ "",j$",~I"m rr...-IrJ"s, 191""didc ,,01,;. m.nifnlcl ~. ~I intdlee· lu.olr$ IW$trol vuh", uniformi el non W!.IU lumio~ r.ple I I'L Ill., ",.hf.: If .n~ Liubhrid. :1 :1. 67. f;"Vsi..hy. }. J. : ( P(; }. 4~8U: Ir;>n r.. ll!. (>3 . PG ,. 997ff.• Xotus' t'~n;Jdlion. PL ,n. 117,tf; I.iubh.id t' ~n;.. I.lstf. S« At\d~ Loulh. l:>tnt! i\tM""i/irt (Wilton. Co nn " I~). loolf. 69. In Sc"'U'i ,,,,,.,ion: Ucind e multi, ""S"'ttAlur. el cum dext;' "",{'.rlmihu. in , ummilalem divio~",m • ..cen';"o"m p.;ttCUrril: CI"; ei, ok: m~ntnlil>us fil [>co. wn t.mpl~lur "cm non irsum. inrilibi li. ~nirn. ,;e,j Io.:u", uhi ,,,·, it. II"" .ul.m .,bitror lignific~r" divini"inu cl .• ublin,i.a vi .•ihilium . 1 i" t.ll igibi lium. ypo!hdicos 'IUOIoIbm .ut ...,monn. ,ubi«Iorum "'mni~ ,u l",unlj. ~r qu~ 'npe' omnem intclligcn li.tm ipiius p ......... ntiA OS!~ndjlu •. imclligibilibui '"mmilali!>u . ""ncli..imorum .ju.locorum ,uptrgle-iu" n'll"t;"'e Ihcolog)' In art du.in~ Ihc b Ier Middle Ages. ~ !dIT,,)' HJ",llUrg~ •• 7lr~ ROlh~hild r:"nrid.... ~ N",,· I-b.-cn.
      
      ,h,
      
      1990 1.
      
      71. ".ub peJ;bm "iu. '1 ..... i uP'" wpidi• .../,phi, i~I . '" qu ... i . ..dum. cum ",,,,num ."." 7J.. ",!!lu.i a.p«IUS I1pidi~ $.Ipph)'f; .in.ililuJ" Ihruni ." 7~. Dr Mmi"islmli",.... H: Unde. 'urn ex d;k<:I;o .... deco r;. domu, Dei ~Ii'l""ndo multico[or. g~mm~rum "I"""i",il'" ah c.inl riruco;;' me curi. deV'()("~rn. J.;I lKlarUm nian, din,.,i,. lcm vi rlUl U",. d~ ma1triJlihus ~ i 01ol~l clial i3 I'. "~.rf"ndo. ho"~I. nl«l;Ialio imi.terc 1'(" u.oM.t!. vi-kIlr "Kltr" m< quasi . dono"", p<>>><: tramfer.i. P;r.nobky. S"i", 6UT. n. A~ Rudolph poinl. out. IlK~ uc the o nly I"" anagogi.:.1 cbims in n.- Ad",i";)/Iuriolt('; ..,.. A"i.", (1I~~g.'. ~6ft·.
      
      I NDEX
      
      Aachen, P. I•• in< Chapel. »9 A.ron, ;. II, J", 'SI , ,64. 167. 188. 198, '46. 1,1 A.,on ', ,oJ '}' , lO' , ,,8 . '~7. '94 Abd,4\ A~I.rd .
      
      193
      
      Absa •• 6J. 7(}. 7J, n - i~, 81, M, U4 Abi',91 Abraham, I, 6.14 , I}. 107. Il}. 110 A,"<j~ s. 19 ac/"irapoi"oli, >1, 6, _ 61, 7". 7). &6, 'lb, 119. 114
      
      Am vf A"d,.. ..... 71 Am o/Sih'r,(f', III Ad.m, 6, lO- l6, -.II. 7" 1i17. Ill,
      
      l \~-bl.
      
      187. 110
      
      Adon is, ,,8
      
      .dora.ion. S«d~",t ion Ad"enl. Ill>
      
      aff"" •. l!0- 1\. 1}' - J7. 1}9 . 14j. 145-4/>, 195. 1J7 Asub"J of Lyon., .W, '10. '71 . 184. 18. R.l I. I1,18. Fig. '.1
      
      Albi!!"n,;a",,1\4
      
      A,inoll . I'. nh as,. P)""ilioli" •. 47. 10. Fi~. l.ll Atn, n.si",. I!! Athan.,i" , bar G um.)'•. ,I. 73 August ine. 1'- U. 14-15, " S. 1l0, ' .'I- }6. 148, '1"_ II, III. '7 • • 18<>. 187- 9" 194. 101-1 AU Ip<'rtu>. Ambro, iu •. 171, 178. IS,. 184 - 8\, 247 - 4X 11,1.. ",. '1' !Ie.tus or I.i.b.n •• '78. 18 4 !led" 9.1,1 .1 94- 9';. !II , 1l.' Ik lting. H.",. 113. 11K ikOMi,tin.,;, 194 B...rcng.udu.. 9-10."4 IkornJrd of ' H - 41. 190- 91. 1~4 . 197
      
      Ci.""Ju.'.
      
      ik"" -) . -Vi i)•. Chale_" of 'he Monk>. ' h"j>tl. 117 Iklhkhern. Church of th., l'.ti,-ity. "7 !loel hi" " ,XI IIonn e, )can ·Cl oud< . '94 br ...1 sto mp •. 67. 70 Brenk. !leat. 8S B,u"",,. P li r. 64
      
      ,.8
      
      Aleuin land psrudo -Akuin I. 'sII. '71. 173. '71. ,go-8\.146
      
      Alex.ndr ia, G te"" 1'" ,;.,..;1"'<'. C..;I . gr_ J" 60, >lX, u}. Fig. l.S A l~",o> I, 77. Sj
      
      A1•• i.,'<>9 • har uf in«"..,. JI . 'II. ,88. 247- -48 An,.l.r;u, of Mell, ,,6-17 Amb", .... ll. " 3-14. 24b Amin.d.b. '45- 47. '91. '94. '97. ' 1'1. '\7 Ammooi", of Al-n Ang ill>ort of 51. Riqui... '24 Amhonr o r Novgoroo . 8) Anl;noopoli'. 7\ a pse.lll
      
      A';.Uoo •. Aln;",. '9. 17. 51 Ari s!o!it.1lO Ark of Ih" Coven. Itt . 1-4. b . " . 1~- J1. 60 . ~" 101 . 1l8. 147.1\\ .'9'. 1 ~4-~5. '~7. 11 6
      
      .rt;,t •• 64. 69-70. 85. 87
      
      uri"•. 176. 18, . I~R c • • ..,rius of Ark • • ')0_) 1. c.l f ( gol J~o l. '~i-9'J
      
      , ~,
      
      "S.
      
      ('..mi lle, l\I i,h.<'I, ' 10
      
      ' .. mulidn. C~,i\t icu ". '''. ' '7 uroli ng;:ln,. Sf,' hank • C.,'allo, Cu~ lidn"'. ISO Ca" ;n~". ~ l ad
      IIJ . ' 46
      
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      12<,-".
      
      40. ' ~' - oI.J. 1~ 6. '5'. 1$5. 1\6. ' bO. 16,_ 1>6. q,. 177iI<>. 114. l1.6-M . 191. 194-95. '9i - 9S, '00- '04. 11~ -1 6. " 9. 114. ,,3.1. l)3. 1)9 , '-4' Ch.i' te. Y,'e;. 171
      
      O , isl ;.n" 4- 8. l". 3J- ;lI. JIl - .lY. ~7. 4~. I'. W-6J. 100-101 • .oj.
      
      \\,-\). 171 . 'no
      
      Chr;'tos Arl tipho ,, ;t<> icon.
      
      196- 91. "' ''. 1>6 8 ~ ",--,
      
      16u
      
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      ,hi"'''', N-8l , ~.1, 95· "~- .I". " 41. '4).
      
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      ' ;, " 7, " ". " ~. )J'-""', '401.13", Fi~, 6. >
      
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      11,,",c," 17 \4 ), J~. ,.6: I..,or.m 17i><J I, "" !><wmh b:lIT11< n;,.1 17871, )". 'I , nl. ~S- "9. 101. )I.l . 'J~: ofCAn,t.m_ lin"I'I'· I ~I j). ~,,;
      
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      frank<. '. 1 ~9. IS}. II~ r,,-J,ghu,. ) \~. ' 71, 184. 21" Fr<x'''IJ )) , A"". '4~, 1~8 rtmgc" ""' - bO , i~ , ~1 , >oR
      
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      ACKNOWLEDGMENTS
      
      C h ;lplcr ~ ~-~
      
      originally ;tpp~'Ml:l1 ;\:. ;lr t idc~ in the (u!ll.m·ins pubti c:\li ( IIl~; tnl' Juliltlr i:> gr.H~full o the publishcti for pt.'fmissioll 10 reprint thelll in Ihis volum .... Chaptcr ~. TIJ,' [lII,'1II i" /1'11';,1/. Orri51illll elml '5/"''''( Art: Stw /i.'s ill I/O/Jolr (If Bl:'wl..l Nllrkiss (III IIii' Ocmsiml vf His 5c'I'i'",i",I, Hirllrd,,),. t'd. ni alK;1 Klihnd {jl'wi$/t ArI, :!.\/!., I199719K I I t krusalem: CCII\i.'r for J<:\\'ish Art , The HdHl'W Uni\'crsily of krusalem), pr. I Z4-)'). Chapter .\. /nJJJu.I!f(lpll), (1/ ,/It, Cnmrolllis, cd. Hrendan Cassid )' I Princchln . :-';. J.: . Princcton UnivcrsilY. Dl.'pJrlnH'nt of ,\r1 and Arch:Il'olog),. 1993). pp. 59 - 70. <:hilptc:r 4. rlf ... Hilt)' f/It'" III/If th, PI/mdox 41{ Rt.'/Jft'St'IIWtiml, cd. I krht:rt I.. Kl'Hlcr and Cerhard Wolf (Villa Spelman Studie~, ~·ol. 61 (Uologn.l: ~uO\'a Alfa Editoriale,
      
      pp, Ll'J - SI. Chaph:r ). n}'zmr/ill'~ fllst. Llllill \\b t: Art lIi$Il.,iwl SlruJin i" I hmo' of Kim \\·;.. iIZIllIllI1l, ~d. Uoula Mouriki d al. ! Prinaton, N. J.: Prill ~clOJl lini\'ersil}", U~parl ' ll1l'nt of Art and Ar'haco lo~r, 1995), pp, .165 -71. C haptcr 6. A·forfir/o,'o:. ij' weilll; t' mlrumli ill Ell mpil f m fiL ,dll 11/11 ielL; fti " rrlrt, 1II1·,li(/I"I·(I (XLV Sellimana illlcrnazioll.lle di studi) (S1'oIt'IO: G:llIro ilaliana di studi suWal!(, 1998),
      
      ml"lioc\,o, 1998), pp, 1157- 1211. Chapter 7. "Ii-SICI" illllllflgill" ndl'dl/(lIl/I',li(Jf'\"() (X LI SI'u ill1;ul,) i n t ~·rn ;l ziotl.Lk' di studi ) (51'011.'10: C~ ntro italiana di studi sull'alto medioevo, 199·1), PI'. 5.13- 9". Chapter 1I. L'ill/a$": f,mai(lI/$ ('I IIHfS('$ 1/ ('$ inlll~Ws ,hlllS I"(J(I·id,'rll 1II,'lIkl'III. ,'d. !":rc)nle nasellel and /can-Cbudc Schmi ll (P;lris.I.';;upanl J'Or, 1,),)6 ), PI'. Li') - .!Oj.
      
      West were able to situate art at the
      
      boundary between the physical and the spiritual worlds. He examines the ways in which images acquired such legitimacy that sacred art becam e a privileged metaphor for divine revelati on . Portraits of Ch ri st, in particu lar. took on central impor tance.
      
      Throughout the book. Kessler also considers the lingering anxiety about
      
      the capadty of human sight to apprehend the divine in images. I n so
      
      doing. he discloses the artful dodges devi sed to deal with the controversy of picturing God's invisibility in mater ial form.
      
      Herbert L Kessler is Professor of
      
      the History of Art at the Johns Hopkins University. The Middle Ages Series Ruth Mazo KarTa5. Series Editor Design: PAmel .. Poll Graphic Design. ColorAdo Springs, Co. Cover: Symbols of the four Gospel s ~eal that the entire Bible-comprising diverse boob written over centuries-hu Asingle inspirAtion-God. whose fa ce here is configured AS a composite of Moses (Old LAw), PAul CNew TesumenU, and John (RevelAtion). Paris. Bibliotlwtue NaHonAle. Cod. lAt. I. fol. 415\1 (lower hal fl
      
      ALSO OF IN!U. H!
      
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      wh.ow infllLO'llCe ..at 10 ling.. on .1 ......1 <1.0"", 10 our own Hm~ .nd pI£c~._1<> .."",1 0/ Rd~ Hi.t.ry 1M Middle As" s.n.. .,..;IobIo;" popool-l
      
      n.e Ft...t of Saint AIm1k.:z ... Mt~;....,J
      
      Milk ...."" .... .d th. ItRobert E. lAmer
      
      Robert E. IAmer .. ~. slTaino/ m.d~.1 millennial IlIoug"l II...I conc..r-t of 0 P'"~ p4c. fo,. j,.....1 I"" end 0/ HIM. [10 ploponmt. mainl.in..!. that 'I~ c.~I.Ir.. of e"urel........Jd """",,10 I~ S~' .nd II...I millrnni.l ell"",11 _ld c~\el.tde 1M /eut. of 'Saint Alw.ha...' """ "So.inl David.' Ro.j«ting 1M common .....mpHon lhal .n millenvioou wotTe of n",,"_ oity anH-]oowi.1o.. ~ ........ &1 •• e"ri,n.n p'o ...... lic iT..dition that ~w • ........101. in .... Jews .nd Gennles ....,Jd come t<>griJ...tr 10 m"tuallornofil.
      
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