Illumination of a Scroll Based on The Stammheim Missal

Oud Holland - Quarterly for Dutch Art History, 2001

Bulletin du Musée Hongrois des Beaux-Arts 102-103. 2005 (2006). 81-96., 219-226. p., 2005

Among the anonymous German drawings in the Royal Collection at Windsor Castle is a large-size study for an altarpiece with coloured washes, formerly attributed to Denis Calvaert (ca. 1540-1619), which represents the Holy Trinity with three archangels and the angelic hosts (fig. 45). 1 The composition follows the type of multizoned Venetian paintings. In its upper third, separated by bands of clouds, a group of putti support the figure of Christ to the left and that of God to the right.

Athanor, 2012

Dedicatory inscriptions on Middle Byzantine reliquaries have been analyzed for their documentary information, including prosopography, provenance, and date. Relying solely on this data limits our understanding of these objects. The methodology in this paper recontextualizes Byzantine reliquaries and their dedicatory inscriptions by reassessing the meaning and function of the Greek text through its relationship with the form of the object and its relics. The focus of this essay is on one case study—the Limburg Staurotheke, a reliquary of the True Cross now in the cathedral treasury of Limburg an der Lahn, Germany. Three levels of analysis will be applied to the staurotheke and its inscription. First, the dedication functions as a record of patronage—the identification of names, titles, and gifts. Second, it is a typological comparison of the patrons and Christ as expressed in the precise terminology chosen for the dedication. Third, the placement of specific words is significant when viewed in relation to the form of the object and the precious stones and pearls that embellish it. These approaches together reveal the multivalent messages conveyed through the reliquary’s complex interrelationship of text, form, and relic.

An interpretation of the St Matthew figure, p 418, and the charms in Old Irish, Latin and ersatz Greek, p 419, that explores the relationship between the picture and charms, connects its origin with the Irish midlands and argues that the image presents the supernatural power of gospel books in specific relation to the content of the charms.

Heart of the City. The Church of the Holy Cross in Warsaw, eds. Kazimierz Sztarbałło and Michał Wardzyński, Warsaw 2011, pp. 200-205

from the conversation of the Lord' (Exodus 34:29), where the Hebrew word ḳaran was mis-translated as horned (the word can also mean 'to radiate').. This classic interpretation is well established.. But a precise look can help, and seems to show some contradictions about this interpretation. We are going to proceed to the graphic study of this illumination by comparing it to another very similar one, dated from the same period. A similar illumination exists in BL-Royal-1-DX f.4 r , with a same interpretation 1. We are going to look for the commonalities that can be considered as symbols shared by the scholars of the thirteenth century. 2 3 4 2. At the bottom, the left figure is Saint Peter. This one has long hair, no beard, and feminine features. He could be "Anima" 2 , the vital part of the soul, sometimes represented as a woman (?) (in Swiss Engelberg Stiftsbibliothek-MS-Cod-72 f.1 v illumination for example). 2 3 4 An interesting comparison is made with the BL-Royal-1-DX f.4r manuscript. This one is also dated from the first quarter of the thirteenth century. We see that Saint Peter does not wear a beard eithe, and lies comfortably on his arm, that Saint John is younger but also wears a tonsure, his halo is less rich, but he also supports the Messiah, finally Saint James is fully clothed, we see neither his hands nor his feet. It can be concluded that these common characteristics should be seen as shared symbols. St. Peter resting comfortably would represent "the body" or at least the animated (biological) part of the soul, Anima. St. James the Invisible would represent the invisible part of the soul, Spiritus. St. John the Mystic would in both cases support the body of the Messiah, and would represent "Mens" , the Platonic Reason. 3. The second character is old, he has an ornate halo, a white beard and a tonsure. He seems quite far from the portrait of Saint John. Indeed, Achard of Saint Victor wrote in circa 1160:

Umění / Art LXXI, 2023

The reliefs from the St. George Convent at Prague Castle are of fundamental importance for the history of artistic and religious culture in the Premyslid era. This article presents the results of a monographic study of these works, while taking into account all the relevant factors that might shed a light on their conception, creation, the origin of their creators and the models they drew on, as well as the intentions of those commissioning them, their location and function. Clues as to their original function are revealed, inter alia, through transcriptions of inscriptions and the identification of their sources and the context of their appearance, or through the deconstruction of sets of reliefs and an examination of alternatives to the original identification of place and date of the individual parts of a set. The reliefs probably originally comprised three separate units: the archivolts created at the time of the rebuilding of the convent under Abbess Bertha as part of the exterior portal (after 1142); the relief of the Madonna shortly after the death of the Abbess as part of the altarpiece (c. 1187); and the reliefs of benefactors not long after that, following the coronation of Premysl (Ottokar) I (1198). A stylistic and comparative analysis of the situation in question, when in Bohemia there was probably no widely based production, established workshops, training, stable inventory of artistic tasks, systematic reception of the work of important artistic centres, trends or tendencies, more than anything else reveals its own limitations. Also examined are the processes of artistic transfer, i.e. the possibility of contact with often distant cultural circles, where typological patterns and analogies of Prague reliefs occur. The iconographic and iconological analysis reveals a richly structured and layered conception of subject matter, as well as references to devotional image types or to contemporary tendencies in religious thought. The synergy of text and image in the reliefs in the St. George Convent provides a clue as to how an image spoke, sang, evoked responses, assumed or required roles, attitudes and actions on the part of the viewers, encouraged their active participation in associated rites, and evoked theological meanings that in turn prompted meditation on the paradoxes of the faith.

Within a century, Maerten de Vos’s design St Michael the Archangel moved rapidly between and across immigrant, courtly, mercantile and religious networks: copied by a Venetian print publisher, painters in Spain and in viceregal Lima and by ivory sculptors in colonial Manila. Using this print’s global circumnavigation as a formative case study, this article considers how early modern prints “went viral,” traversing vast geographic and cultural distances, working across and between various social networks in a manner analogous to contemporary digital media. Considering early modern print’s virality expands the study of the means of artistic production to a wider consideration of reception and dissemination. Beyond the binary of original and copy, virality helps to animate and illuminate the complex, multi-directional movement, reception and use of early modern prints in a global field.