TwoUnpublishedElevationPrayersinTakamiyaMS56.pdf

Ecclesiology, 2016

International Journal of History and Cultural Studies (IJHCS), 2019

This article attempts to interpret the doctrinal meanings hidden under the bed symbol in some images of the Annunciation of the 14th and 15th centuries. For this purpose, thirteen Annunciations of this period which include that piece of furniture are analyzed, and in passing some inadequate interpretations that have been given about any of these pictorial images are evidenced. To justify our interpretations, we rely on an abundant corpus of texts through which many Fathers and theologians of the Latin Church consider the thalamus concept as an eloquent metaphor for the incarnation of the Son of God as a man in the Virgin Mary’s womb, as well as for her virginal divine maternity. Key words: Christian Iconography – Medieval Art – Annunciation – Christ’s Incarnation.

Imago. Revista de Emblemática y Cultura Visual, 2020

• The purpose of this article is to interpret the deep doctrinal meanings underlying the bed that appear in the symbolic depiction of some images of the Annunciation of the 14th and 15th centuries. To do so, we adopt two complementary methodological strategies, based on comparative analysis. In essence, from the outset we analyze an abundant corpus of explanatory texts by Fathers of the Greek-Eastern Church when they interpret some quotations from the Old Testament that include metaphorical terms such as thalamus, Sponsus, and Sponsa; second, we analyze twelve images from the Annunciation of the period that include a bed. Based on the fact that these Greek-Eastern Church Fathers unanimously consider that these metaphorical expressions signify the dogmas of the human incarnation of God the Son in the womb of the Virgin, and, as a consequence, also the virginal divine motherhood of Mary, we conclude that the bed included in these Annunciations is an eloquent visual symbol or metaphor for both dogmas.. RESUMEN• Este artículo tiene el propósito de interpretar los profundos significados doc-trinales subyacentes en el lecho que aparece en la escenografía de algunas imágenes de la Anunciación de los siglos xiv y xv. Para ello adoptamos dos estrategias metodológicas comple-mentarias, basadas en análisis comparativos: de entrada analizamos un abundante corpus de textos exegéticos de Padres de la Iglesia Greco-oriental cuando interpretan algunos textos del Antiguo Testamento que incluyen términos metafóricos tales como thalamus, Sponsus y Spon sa; en segundo lugar, analizamos doce imágenes de la Anunciación del período que incluyen un lecho. Basándonos en el hecho de que dichos Padres greco-orientales consideran unáni-memente que esas expresiones metafóricas significan los dogmas de la encarnación humana de Dios Hijo en el vientre de la Virgen, y, como consecuencia, también la virginal maternidad divina de María, concluimos que el lecho incluido en esas Anunciaciones es un elocuente símbolo o metáfora visual de ambos dogmas.

IMAGO. Revista de Emblemática y Cultura Visual, 2021

ABSTRACT: The purpose of this article is to interpret the deep doctrinal meanings underlying the bed that appear in the symbolic depiction of some images of the Annunciation of the 14th and 15th centuries. To do so, I adopt two complementary methodological strategies, based on comparative analysis. In essence, from the outset I analyze an abundant corpus of explanatory texts by Fathers of the Greek-Eastern Church when they interpret some quotations from the Old Testament that include metaphorical terms such as thalamus, Sponsus, and Sponsa; second, I analyze twelve images from the Annunciation of the period that include a bed. Based on the fact that these Greek-Eastern Fathers unanimously consider that these metaphorical expressions signify the dogmas of the human incarnation of God the Son in the womb of the Virgin, and, as a consequence, also the divine virginal motherhood of Mary, I conclude that the bed included in these Annunciations is an eloquent visual symbol or metaphor for...

Journal of Historians of Netherlandish Art, 2016

2012

offers some interesting burial evidence, much of it from the later Middle Ages, regarding the possibility that a number of children may not have received baptism before the age of two. Material evidence is unfortunately incomplete for the twelfth century.

Oxford German Studies, 2017

This paper presents a miniature from a sixteenth-century prayer book originating from the Strasbourg Dominican nunnery St Nikolaus in Undis it in its historical and devotional context. The study particularly emphasises the interplay of liturgy and private devotion, as well as the iconographic programme seen through the lens of the prayer book's contents. Im Zentrum dieses Beitrags steht die kulturhistorische Untersuchung einer Miniatur aus einem Gebetsbuch, das im 16. Jahrhundert im Dominikanerinnenkloster St. Nikolaus in undis entstand. Die Untersuchung hebt insbesondere das Zusammenspiel von Liturgie und privater Andacht sowie das Bildprogramm im Kontext des Gebetsbuchinhalts hervor.

De Medio Aevo, 2021

The images of the Annunciation of the 14th and 15th centuries often include in their scene a bed with evident prominence, which allows us to conjecture that this piece of furniture contains some symbolism of particular relevance. Given such unusual detail, this article seeks to interpret the possible doctrinal meanings that this bed could provide. In this sense, twelve Annunciations of this period, which include a bed, are analyzed first with a personal interpretation that stands against some inadequate “interpretations” proposed by other modern authors. We will try to justify our interpretations based on an abundant corpus of texts through which many Latin Fathers and theologians see the thalamus concept as two complementary metaphors: a metaphor of God the Son’s incarnation in Mary’s womb, and also a metaphor of Mary’s virgin divine motherhood

At the turn of the fifteenth century, the forms of moving processional liturgy were vividly fixed to the pages of a Processional manuscript belonging to the clerical community of the Hospital of St. Giles in Norwich. On folio 57r of British Library, Additional MS 57534, the reader-viewer encounters the lighting of the paschal candle during the Vigil of Easter, one of the liturgical year's great events (see ). 1 This liturgical moment is presented in a visual mode that conjoins diagrammatic schematism and attentive mimesis. The delicate painting dominating the page is framed above by liturgical song, below by a lengthy rubric, and laterally by two imposing, fanciful pink columns terminating in crenellations and blue pinnacles. At the center of the grey step marking the threshold of the chancel, a pink architectural paschal candlestick is depicted with care. Three vexilla, red pennants hanging from spears, project outward from the candlestick's elaborate capital. Above them, the ruddy form of the paschal candle extends upward, disappearing behind the last word of the Inventor rutili dux hymn only to reappear in the upper margin, topped by a bright red flickering flame. Four additional liturgical objects inhabit this pictorial space. Two candlesticks glitter subtly against the ruled parchment by virtue of the shellgold paint applied within the meticulous rendering of their external contours, chamfered feet, annular knops, and concave upper terminals. Painted on the right side of the page, a golden thurible surpasses the two candlesticks in the intricacy of its feigned metalwork form. Stippled with minute touches of red and black, suggesting a complex, pierced metalwork surface, the incense burner is equipped with golden chains, rendered by the painter's brush as a faint quartet of golden rays extending from the vessel below to an inverted, cuplike form, set with a ring above. This upper element of the thurible hovers in space, tilted away from the viewer as if grasped by an invisible hand just beginning to set it in arcing motion. 470 Journal of Medieval and Early Modern Studies / 44.3 / 2014