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4 results

  • THE WRITING BEHIND THE WALL: TEXT AND IMAGE IN LATE MEDIEVAL CHURCH DECORATION

  • Madeleine Gray
  • Journal:
    The Antiquaries Journal / Volume 102 / September 2022
    Published online by Cambridge University Press:
    19 January 2022, pp. 228-251
    Print publication:
    September 2022
    • Article
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  • The relationship between text and image in later medieval art is complex and has a growing literature. Wall paintings in two churches in South Wales suggest ways in which text could inspire sophisticated programmes of paintings. At Llandeilo Talybont, a sequence telling the story of the Crucifixion through the Instruments of the Passion relates to medieval devotions to the Instruments and to readings from the Holy Week liturgy. At Llancarfan, a medieval satirical poem on fashionable clothing and a verse translation of the life of St George suggest links between the wall paintings of Death and the Gallant, the Seven Deadly Sins and St George. Apparently random collections of wall paintings may therefore reflect a process of interaction between public art and public knowledge of texts.

  • Chapter 12 - Picturing Hildegard of Bingen’s Sight: Illuminating Her Visions

  • from Part III - Music, Manuscripts, Illuminations, and Scribes
  • Edited by Jennifer Bain, Dalhousie University, Nova Scotia
  • Book:
    The Cambridge Companion to Hildegard of Bingen
    Published online:
    28 October 2021
    Print publication:
    04 November 2021, pp 257-279

  • Summary

    This chapter explores the development and purpose of the illustrations in two manuscripts of Hildegard of Bingen’s works: one designed by Hildegard (the Rupertsberg Scivias), the other designed by a later generation of her monastery’s nuns (the Lucca Liber divinorum operum). An overview of her visionary experiences demonstrates the prophetic mission of their detailed images to communicate theological truths. The author argues that Hildegard designed the Scivias images to aid that communication and provide visual exegesis of her visions, serving as a teaching tool to guide the reader through the manuscript. The next generation of nuns followed Hildegard’s impulse to illustrate her visions with the later Liber divinorum operum manuscript, but its famous cosmological diagram diverges from the text because the designer did not understand its meaning. The chapter closes with an assessment of the very limited influence of Hildegard’s illustrations in the later Middle Ages, with one story from the preaching of Johannes Tauler demonstrating their liability to reinterpretation.

  • Ars Moriendi: Coping with death in the Late Middle Ages

  • Fernando Espi Forcén, Carlos Espi Forcén
  • Journal:
    Palliative & Supportive Care / Volume 14 / Issue 5 / October 2016
    Published online by Cambridge University Press:
    16 December 2015, pp. 553-560
  • Objective:

    The Ars moriendi was a book written in the early 15th century with the goal of assisting friars in their work of helping the dying. The aim of our study was to review the current literature on the Ars Moriendi concerning the field of medicine, to analyze the psychological mechanisms for coping with death anxiety within Ars Moriendi, and to explore parallels between the strategies used in the medieval book and in contemporary literature about death and dying.

    Method:

    A review of literature using Pubmed, EMBASE, JSTOR, Project MUSE, and the New York Public Library was undertaken first. The primary source was then interpreted from a medical/psychological point of view.

    Results:

    Seven articles were selected by literature review. These works comment on the importance of the Ars Moriendi in its historical context and explore the possibility of retrieving the principles of the text in contemporary society. The original text of Ars Moriendi, the primary source, presents death as a relief from the sufferings of earthly life and a gateway to eternal glory. According to the author, a good death implied the triumph over five demonic temptations in agonizing people: a lack of faith, despair, impatience, pride and greed.

    Significance of Results:

    Analyzed from a modern psychiatric perspective, the Ars Moriendi offers descriptions of behavioral manifestations compatible with delirium, mood and anxiety disorders that characterize people with terminal illnesses. Moreover, we also explored parallels between the strategies used to cope with death anxiety in the Late Middle Ages and in contemporary society.

  • 30 - Art and architecture

  • from PART IV - CULTURE AND INTELLECTUAL DEVELOPMENTS
  • Edited by Rosamond McKitterick, University of Cambridge
  • Book:
    The New Cambridge Medieval History
    Published online:
    28 March 2008
    Print publication:
    14 September 1995, pp 809-844

  • Summary

    The eighth and ninth centuries were a formative period for medieval art. Court patronage was scarcely new to this period, but its focus and character had shifted with the decline of the cities. The expanded role given to images during the seventh and early eighth centuries led in the Byzantine world to the sharp reaction known as Iconoclasm, and ironically gave new force and definition to religious images. An important example of new forms and interpretations of traditional iconography is the image of the Crucifixion. The study of western European church architecture of the eighth and ninth centuries has been dominated for the past half-century by Richard Krautheimer's great article treating 'the Carolingian revival of early Christian architecture'. Sculpture in ivory and rock crystal was associated with Carolingian Francia during this period, but the other major medium for what may be thought of in the context of sculptural art, various kinds of metalworking, was widely employed across western Europe.