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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< I" i"" Qf ,he f""''';' '" thot 'hq ~,," Id ' f'P«l ",.,,,1 ,.,,, . Th. Holy f >< F.th .... inono"'ul.o,. fin!".-" Tho: 10,,"5 .II.......J ,ho: "",,,d iuruY"i"" ' 0 ,,",",in .... ,I""nd,d I>,:, ....-n Ih< W ""~ .. Iuoll< to .oJI,h"", who. I; ... 'l>r kin¥ of f...k»;o . ",uk! no< "'" him in , ..11 ;1•. " II Hy"nt ;'>< hymn ", oH!, ,hi, d.i", ,,!~;"i'.
no. ."".... "IO'.,,1t "".... ,0rn Ni«phoms ukd 'l>r word -""oi">;l" - '0 o.< r >0"" ,iKulo.V (.f. fip. '.11. '.~ l.'J. '.'~. ,r>< mi, .. w..- YI!'i.i, .n ~ Ik>h in Chri" ;,, ini. Son. I" !hi• .... y. tho Ed ..... ;m .... ,,,.hI •• ,10"",:< .~I>< the firmam,'" d i 'idi"~ ,.rlh fwm hw', n whore Ch.;" ".ide>. Ih. pJU ... >«l rli,ion of im"'S'""m.okins- ,'''''''' < Ut>ly F",. u( ~ by
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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
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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 prototyprtirul". pIt)">iu.l ,.,li,., •.,. ;u" lik< Ih. j'h;t"'om P""'''YfH' of 'h< o.:",,"",h, K,,...,,,«I in ",h"lotl, ... od;"~ TIl< ",",,,,ial i" whi'h '''1';''' of >CUll'''' ,,, • .1, " " .n" 'h, "do< ."ill·, job: I. w...
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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< '" i, bo, in ",hkh two of th, aJlg .nd til< KATAXElONOI ... '" ,@ ! >n, ".u,y by "ndCfin~ 'he cUrl.;n in ~old ,,,J pc"I,'" .nd... ,h< .. m, ,ifT!<J on 'h< Ep;" '" '0 ,hc It''''' ,,, ,1If," h;",~f ,g.t;n .oJ ,g.t; " ., tl>< h;,;h ,'nlll< ,1", ,u1< lioly of lOolk> m..k by ,I>< I01oOO of _ ' , '"' "..U, "~ ,hu to ... :!! '1"'1' 01' 1'1' 1w",!, ," "Iw u~" rut ''""!'' >~ '.I" ~"I'l"'" "',nl>U'" 4"...." .,~, ·pu.wu,,,, '.~) "'I' P""~~"J ,»!qo ' IQ~ 'W'" -'"~>1 U>pPN1OJ I~U 1"'4 ~ '"4'JOOJJ p>ln, _I""'" "'I' ' 1"""""1" "'I' on~ """1 ,"""I~ J" II' p'u'~u~, uo ~" ·d P"' "'~'·""~"I ',""4:> P'4 'luO '''" 'w"'I' IOJ ,,~'u''''' ~ pur ""4::'Jo ,,srw, r.""1'4o,J ,o>wpu,w _w ",:> pu0»S "'I' "41 ',(p-wr" 'm "u,ri, ,u>J , lnq" 01!'."q'H "' LfUOJ
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ill< ony fm il" m''' pho" IOC comp"ison of .. l> to ,,'ok< jj, ins pre",n". df,,,,ydy n.~i",d by ,W'i,ibk ~'0,1J "00' th< >'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,,, rnd .," "10 .... ,h.. wiU b<m",jy.. """,un< huI, 01,,01. m...k ~""'" t. "" "'th. by 'M '"" nt f oc<s ,on ,I>< "',... "'" Or tho: ~""" , , h.o",aJ B"'ut<S of >'«.m '0 "'hOT "'",,>h.d.!, wh i< [ul[,l1m'''t of'"< I,,"i.mh Con,.n ,nd "'tomb it in the CO'" of .Il.>ccomp.n i,cllo>< OOl\Om "r ,I", p.~«>1>', erni>.Jm,d body i, em;.,.] into ,h< ""', kl."tili«! in th, ,i,ulu, .. ,h. "",onumt Schul>< ..Jd,d the z"1",, R"'k. which rcpoll> th" wh
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.... I'hough ",,,,,, n' ;n i'op< Grego, y_ ",,;'int', 'h.... ide,. ,bou, '"', 'pir ;.u. 1 fUrK'ion """< g;'"n form only "" ,i ns ,I>< < in."ibl< by on.,,", of II>< v i" Ok ... , W, m.:,... , h" \'< So '"" ,,~l It_ .\I,. h" 01('.00 . 00 ,he",he, ,'(,h, ~ 'p""il1 ilt
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~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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............ ,Iu, ... '''''"'''I'ili' ~ oi"", {';'b {runt Script." .... "",.-..,.. poetw< pt~ """" 1>< .. 01, '"'l'ak "" "';1 r-n tbot I mq _ "" fTIUY.>rd of Lyom .... in .. incd b«;oUI< .11 i""l'" ." ",.d< of phyoiul ,pp< .... m oi." im.ag< "".'r I~ "" oouI ..... coo ",...,.. For "rip< ;, "" p ... ,h ""..totion i> pootibl< in piid ot ml"tN ~
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o..;,.ti&n tding 1"-,.." ." fur ;rut.!>C:r uJ...,,, INm Eden, i. ,.. ,.-.,.;1 by. hand to .ignaI ...." •• >>«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, < ;",i.ot.l....;"ty ,of G .1It Old 1,,'.,11WXI .... , prdiBU" Christ. At d... >am< 'im< 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._iott of aU lCtiptunl ..,i«o, III< lurmony lIu, the "",do .Ion. do not _0tr 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< 8P'o< ri"f$ of lif
tl>< w.;Ogol1 .... ('''''1'"'1~ prodOKC"d" To"" f.... )..... u ri;', (S'U11S'''.
j.,.Jf.
wn""mb. I>cl'or•• only ,h.
·""'n'..... """"-I ,.,....
Tho .... of ric'u ..... o 1«.11 "thingo t"', ..... h.opp< ...... ,im •• '0 in1<rpr. i< ~ mol< "'phi"i< 1'rn"1, and tho l.lOdit ... ""in in J.,.h ...... pm< ""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< ti,ulo" idj '·.
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 ci llg
Fig,,,,· 1. '3. Lo",IOII, /Jr;'. Lib., COlin " ,II,. C/(II"li", U II,
[01. IOj\·.
I
.,
,
•.1_ •
.
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-oom o(,t.. old ... " doriIicd b)' _ ..... i.;", I'o'\r;':h _
.... ~
"'"" .... "' DUD)' _
T1r< gm' mol",
",II< Grand""' Bibl. it..!f, 'hrn, containing boIh .....m..."
and
moo,,' 10 b< "nd",._ litcnlly.nd .pi,~,•• Ur" • unified book fd", 1;".., M Innt btr:a ........... '" ' .... m ,,;,h ... iri'uaI oyn. Spi,i' .... 'Won ~ P',,",ularly imp And h., in ' urn. """ "' ... . ph ...... in .OKh Carolingi.on rommrn' ..... on Rcv.t.,ion .. tit. on< p~iou ,.............. """!ilion l of _~;"l! of an ;nl , nd c-m. o..". W.,...,'I> I "'.. pub. I .. hod two dilf«=' in«rp .... 'io,.., on< . no ~
Cor/. 11611 ... jot .,.-.
confirrru.: "I!yinl likr on tag!< lh< word of Iohn ""POm 10 th< 1Ik. 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 prophd«>d. boarin, w.tn",. of . 1I 'h .... proph.u, t.. ""nifdl' ,h. IioIy Sviti> «>mplivin< inspi ... 'ion ~... 0 ,ubjrd of [.ron' i>.on", ~U"'u . "",int,;""" lOr cumplnh of im>g« «nt< 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~ . _,,,, fUt "'-''''1'1«l his ap ..... """ "tho fa« of ,h. BiN< ..... ...;Ied from M.,... until Otri>1 , . t>d in ,t.. .nJ '" thi. 8ib!IO
,86
a.ap,",
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point .. 'ymbolius 0.';'1, who, in """"b r.u..d lIh.nd >pint, And fohn ori&inaI poolt;"., 111< Apoc' oI)l"< ~ in til< Fint Bibk of a...,k< tl>< Sold loon muIosjcol ....ding of f..wJ .... to ..... nifeot";.,n .... S "" Wutd of God w., """'" "' ..... '''''"'&I> "" I."p", ..'" ,I>< ~~ i' w" ..... ....,... ,!-.em wltIwto,.oUIahI< ""'hlns. Thn< it io ~ by ,"' ...... &o,h. " ' " IJy ,10< w:il 01 !be 1 roIlN ~p anti «>n«>I< ... d ofhio Co"fmio""
mm'
0. ..... ««I" ....... 0 ...... (.o.;t. ....,. , . . , fu .... of ..... uthon'7 01 'h)- & ... $c.ipt ... to t...,..,.. U>! ,.. "bo Wd hot dw t........ dWI be ~ up Iikl • boo.t: anti ~...." now ..... dwd ~ .... "• ..,. oPn."" ,loy Iooly Saipw",, ;, 01 "-< ,,,,.~,,, """"~ dittI;."""",," bsnifooo "'" d irs removal not j ..., .riri"".1 .... ding bu'.n ...... 'inB kir>d of.rnng. Th< c'p'ion' in th< G.. nd ..1 Bibk undcl'lCOr< 'hi> ideo. ....'hm'. in .he Ewdo. pin"", MooeI, in"",e" (dom) ,10. p«>pk ofOons. ("."..,... Ortim). ,I>< I.e. 0( \he S;M< don "'" need w< ""'''''8< of.1l S< Fi .., Bibkofa-m.. ,t.. Bold and.1>< Son PooIo 8ibk. ii 'h" ""'pirio ..........ufo ......\", .... mo". to tho o.lio"," can " ill be ".
,h.
,10"". ,h. pic'.'"
"'ho, ;.
rootd .....1«1 "" rht ""'" of Gt..l .. " .-... i< In """. """'" GooI ...... b &u '" &u '" hiIn .. t..m It..... tnodr _"Ioyl ,It;. O)rnmuruon. And ..... _ ... ..,.,..... ... of, ... f"", of "'" boJy but of tIu. of rhc mind.' -
In th ..... d. th."f.>d bib/;',hwIL" in til< G... ndval Mdt...,...10 '11>1 Th« >< orh ......... right. or In>! in parr: pirtu~ r-.,d ,h•• ;oo" of ,I>< .,.. (. nd . bo .b< 'l'i';I) bo, " ... Cud ;, "'1'Ittl..,...,, . .,.,
bil.hop ofM.,"';IIn.. ~ , Au5... ;(inion groonding.nd pop.>! outhonhip ~ ... _
i,
,ho< , ... ,.. of.ho< "d.we" pro""""" .....,,, on im.ga.. to b< ",itcnt.";"!! prontl ....-l on ,n..., """ ...... "I'pon.. hod '-n wit...-.!.
w.,..,.,..
,II< ,h.t ouJ!lrt not ,., be in th. l1\(I""ttry "hkh 00.. '"" pk ... lh • • piril.w bUI Illy ,I>< human oy.w m< ..... ll>n< DOn-no,,,,ti,,., ico""".phicaHy in.rical< imag dnrly!< "bibko .,r tl>< ini,.,..".," il ;. lim< , .... to =x.ami ... , ... ,"lX,ion of, ... mOl< Irln.!jOIdc
• ~id< li,u'II'.nd tho proJlimi'r 01 tho ..« ed to oY«l..-i< C''< oymbolic IoClu ofEed«i ... "'" tho SHOor, bu, ",'h< CO ...... n', rying ,he O' ...' ian imag< '0 ,h. ro-rful. ..< Book oI Uodu. (11.9ff )." 11>< 8Iftn color. <m ,h. ",h.,.- 1ut>J, JifFn-m,ial lhe Crucifi. (< I'>
,t.;"""
,b.
""11 "" ,he ~ of my ""hd< f.." ,h..a, God '""",in«i
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'0 '"" I,w, .0< .ksr.oi n~ P'uti« of"" ,ioJ fi,u", '" ><J '0 ,dOpOl< '0)"" 0 ",
f... m of • moo "' • "0"'"'0, '" of .rny .rnim.d "" ",,'h '" OirJ ,hoI tlio in iii< .i" tM lUoood Of Ii'" inth, ""'" ,n. "'Ih,
"nOr,
"' '"r ''1''il< ,.,
s ", h Cb,i" i," '1~,I.,!!i", " Rul'< " ~" " 'Iu;" k '" d" ... ,I" ,,",>ion : ,h."",,,,,pI.n« . nJ p,"mn,i"" "f pi< tu'" pm"< ,I.: i",I"" ''''. "f ,I.: ,.rJ I.,.. , nO Ih, ,b'og.:rtion of I<wish rite •. " Rudolph" "gumml th .. SuS .... ""inK m'«p,i ... " S'.·lkni, w., , ""ron ... to Ikrn"d ... f CI. iI" au" ."oK); on .. It ', m,«,i. lity i. ,ot i l < I.>" .... l>«n P"rn to Gro« p.nh lir.. tilt Irt ... kiIl< '>Piri'u, ..m.:.", ...goi .... ,h• . ........."'''' li-.", /...wi;" Ind«d. ' 0 apt.in the puni>ln".n' God ..... «1 "'" '0 .h. I.... 00. idoI"" y.,,d ,""If}' .. hik M......... "" 5i.. i, RUr«1 "",«I 'he~' ,.. bili' r to ~ myst.ri<s in God', ""nh .. wi,.....-l by ,M • ...;.colo" of ,I>< hish"" 0>";". J<w> do "'II "'" . h e _ ... n« of the Ok! . nd ~ T....""" ... how tho "of}' in tho on< rompl .... the 'hing. promi>«! in the other: .. lUbk from .he ....... w ~, ofScriplu ... ,bey annot cont<mp/.lt< < .. '''' w')'_[""V'o 'h i< p.....,mably whot Sug," 8..rnt S<rp
,,~..., •~ up It) " " trnins lin .... u(,1>< ... ..0 """" ..... ..,.j ",th ...... '" ilium ..... ... .... b "'" ~ sh.rj>I' ......... -.ad ,he d ....... b~~ on ............ t..frrd", ............. rn*"'-odo for thor ~ Sour« of >II lIIy ..........."""' •• Sou", wh> ,he ki,..j f diYin< niliV>t of GOO. w.h ...... on" tc. "" or< .~ ........ rd _ .... ,I>< ''"'" f tI,. mind·, ........ ,ruth _ .. ~mpI by hicnr
< ..... -='r "'••11 .....
Fjg"r~ 8.4.
203
Romo, MonaJltry of San Pd% / .. pri Ir m,m" /lib /(, /01. 117·
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."'
We find ourselves here in a realm between the real world and heaven, a world in which those who a rc trained in dewdi ng the holy signs are allowed to glimpse God through the ligh t and beauty of Jesus. In his brief but pregnant treatise, Mystical Theology, the
ju .. ouch ....Im. .. It ..... whIy pIoet. hu,,",nkind into God', prdrn«. or.t kos, (.Om.......... TIu, i> its
_mi." ..
fu",,"""_
pricip>l Th;' .. i>et. .gain Sugtr'..... of-matt'" "phi",,,,m.' Not _Iy did tht J«p hi ... kniflll ,1>.>, ~h ~h ~ """tNllO ohot whl
mu.utrtiol,,,,, ,I>
""VI.o ,I>< im"""",i>I."" C...... ond...,t~ (I"HI», "Off" and I'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 ~p1>,,;,,, ,h /-crew 011" I Runl.." ·" .. 'i ) ISI'"I..-1crt 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 /,/O)Ii(lli R.·,,;,'''' 4S (1 95~1, l77ff,; Slcphcn Gem, " Hypalius of Ephl";us on th~ Cull of In1,ing \ hi, ehal'd wilh me. 19. s..--.: n, 7, I() . ,\ \., nsi. .'>, 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".l, Us i1y",,,es pasClllrs 1er 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;
n
Pi'
w.
John Chr)! upon J hl~,k ~R","d i, ,~11....J a m~n .. "'ell~" that which ha, l"'ci>,(,LIh" WUic> ~"'.;h full ;["dr: in Ih" ,uuntin, •• ~< ~'! i,-had Cllnilk, Th,· (',.)I~ic 1.1,>/: 1,w"WsY "",II"'''sc-Maki".~ ill Mctlir,.,,1 Arr ( N~w York, 1«89).
3. A COII\I1l~"I·.ry attrlbu lcJ to Jk,J~ ( PL W!, w~- 6) , (or ~umpk, "'.,,, (rlt.,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'piJ .. ll'" tr-~n_'- 18,. 6. 11>,,1.• 117' tf~" ;. ,!\o. ]. Ibid,. !'iO I rart>. llSO. s.,., :>Olari,-].....! B.oudincl, "1.. rrl~l in icuuiqu~ ~ BFJUC~ ~ u IX- ,ir! 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 ChriIr~" (;",~j!: Ilrilish Ubr"'r. o..l(~ Conon Ollw /I VI (p.inctlon, ,~ ). 14. Co.imu 510rn.,101o, 1.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, .101"""".... Hi"""c.,1 ~ In «·HIIl. e"d. Hr. Il9, t,, 1. f'o 7r ). 1""H,d..,,, dr,' ,h""" d "'lr,,)il l ~.1I1 i,'"" nI Chri" "1111'1 )'1» ' whil('II'.,hinS il: >o:c ,\1. V. ~h,hq'~in.l . ,-I/ ,,,,,, /,,r), 1\1rI".!,,,·s~,., /'"li.", 1,\ 1,,,,,,,,', '~77) . Ct. KUlhle,'1\ C"rri~.Ul . 1';",.,/ f-'nI... "" I '" r/h' /';.1/""1 I ( .~ l1lhri.I~.·. '99' I. UI. I" % 1. r; II ,Jr,' " '1/ , ,,,,,-,1,,, ,\' 'r,'I/(' I/. " I" 'I''''>II,!/Ie ddl" ~ -1,,1/ ~ II "',' ,MI,' '''III,e "". WI! 1''''/''')/''''' "" 'w"""I I Jn!l'·~ Art I>f I/~' h"l'orr. ~"f.; dnd Ch, ,_.10 'l,h ,'" " "'- h'-i"l~ 'm. ~ l,... i, ' o,lMJ ). ,I,·hal. }09. TI,,-, 1«>11".1,,1,"
!!. llo.·dt Urcnk .u, re,th' t"'J Ih~ ,':nn, ,!:\r .11,h, I" ( "",IJllt",,·" "w" t"·.• t ,s.:: "'-~. " Ili" AII ':;n!:" d" r h, IJ"t ;",,, h,'n \\','hS,:n.:hl..J.or,I,·lh",!!:· IIr: ,""IIII." h,' /..,,,,11,,1, ~; 1,,,,,,-,,,, ), II>/>, n. ! . ...... "')' Jrl "t.., M( ;~~j,,~ .I, Ih,· I-u, lire: TI", /'" ....."5'" 1>1 ""alu,,' III lh,- \ 'JII,d" e"""J'," ,n I/,,:,mw,,- /:',ti/. 1.. "",I :-om!,,,,". r •. u,S'· h. J) .... h, .. ,I. ( .,oJ. 1\ ~ i .1.,,1«» ·...1l. I'. 11',,: W"bk~ · ( .""n•• ( ">I'!oJ; /11.1" "rk"'''~ • •• 'J~t1.. !~~: and 1"".' ( ~I rt)'~n" '~I, I )," II ii, I." k" 'i; ./'" ~"'" II J>, /" , ,, I'I, 11"I,'!"lee by a gold gla~$ in the \'Jt ican:,e!ance, 0 Coplic textil. in New York (Adde Coulin \\'eibel. li"" "I7",,,,,w,/ li'ar$ ofT,i5 tl/Sbil,!n V"'e""d'''"g," C.,hi,'rs ,tr(/,,'olog"i"(S 1, (1960), ,631T.: Awril eameru", «Til,' Hi-llury "f Ib,' IIll,£,' ' 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(',. 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: $ f,'''!!''('' of Ih ,' '~"' l' le I'ell millI. li~. SI. I;,.,h",. l'i,,,,,,,,/.hlJJ, ' he.mu". l X. ". >1,', Ih.n, lih' Ih, dial"" p.III,·I'Il, Iring." IC'nd l:ie!. - 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: ;gu." o""t W~, •• ttu.l1r In • 'yn_g"lluc". leaching ' 1\ ........ mb1r 'l( [c\>'': >oX 1)(>bKhul1. OlllJlI<sbi/dtr. 1' 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>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;lkr,. " Life Im;l~I~' '\'1: \\'nt;n8' on R)"1~nl inc Aft H;"o ..,'.
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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 ",),h(lwu'~- K,J "'''' ''''III''' (11111 tlu grirr/.isd"·,, KiIT/lr, ...t. loSt'ph Ih'u 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. mit1ed 'f''''''''o," & $ ~ (>993). iff. f"Q' ~ll ~n. For i"-'tJOOI":~. in the e....."nth·crntury ("''"'''''' in th~ S.Icl, K,Iiss: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~/ld ]e noi, J""I",,' ;""1"'I1." R.,Tl: " IJ." 'I"'il i,:,' K'T.lm i"n· lind ·Chriw,. "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""",.!"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 ·O!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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14.1. ~\lb p" dib ,,, ciu., "1"" 1" 1',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 $tqUru&nliU$. 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~0] , ,,8, Wllr~liMgi!tn Domini to e~p'm Ihe h3.mo nyofthcfour (.o)pcr~. >« Xhmid ...... 'nonufdn und Min"''''en,- Ip IT.: Kt»ln, lIIunl/!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,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. St..... Hdn1. KJhler. f)i,' Augilmmlllllh' ''0lam"/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 facon", ",,,,i.lo.? and In ,nb;, it.><J"e pr..-diJ1Il 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 ~, t 10 Ihe l0. AI",u'noo in il»O j(('ncre Ioculioni, .ic IlLULllJ fi!,-uu qu.ui Jlil )X'mjKpe l'u,~i. -La ~"Iua.l.l m........... il""8no.- in I.a ma.w:hml. il Jeppio (il ,iu",,,,. N. 11.1"", i,.I" 1I4. col. 6'7. ' 71. .\!.... lm. ~utcrll i.\li doc."d' mnl K.il"urJ.' ~udi.c diui )I'" n. M"lrd.~1 ci~ ""I,dum dngujum. qu" non~. ;n 'b1um. n/'q" • ..,hillYo!u, ,~",~Iihus imegumen';s i"uolu u ~Iqu. Oi'(11i. 'es which arc depicted. we !iCiu the wluuu ,lIon,·. tl/lt"rol oui./i l . liS il is wrinen. spiritus lillii'm "i"ifi(ut: for Ih UJi Ihe lena CIKdllPS Ih.: spiril. '" Ih.: chail" cown Ih.: Ilr,li n. HUI it is for Ixasu 10 Ix fcd on ch.lff, for m~n on ( tvo ·I~) (SllOlcto 199~ '. 11 Si ,l (ChJ pl" r 6). 14. 011 Ihcs;; ""ifllJow$, S;:~ Erw il1 1',1110f, k)'. AbwI Su.~r' ~. 3 1.
s,.., Hoffmann. kS ug ",,' ·A ll.sogi" hc_.'. • for rhe idcntiti. .. ion of.M l.l"u (Rrnro"'rn lit I'f.,;olr lIu Lo"\'rr) (I'd';" 1990). ",;ff.
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\ •. 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 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. ....... 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(lu" imagi,,,, ... pli 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. jl o./(ch~li· (1lIIm,,,,I1WII (l'fw yo.k. 1(78 )• .IJ. Fo. !h~ impor!anc< oi Ih< (Ow, ing mct~phur 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.
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