Luxford_2010_Gesta_Out - St Andrews Research Repository

Out of the Wilderness: A Fourteenth-Century English Drawing of John the Baptist
Author(s): JULIAN M. LUXFORD
Source: Gesta, Vol. 49, No. 2 (2010), pp. 137-150
Published by: The University of Chicago Press on behalf of the International Center of Medieval
Art
Stable URL: http://www.jstor.org/stable/41550543 .
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Out
A
of
the
Wilderness:
Fourteenth-Century
English
Drawing
of
John
the
Baptist*
JULIANM. LUXFORD
University
ofSt.Andrews
Abstract
tides (Cambridge,St. John'sCollege,MS К 21), begunabout
1280-90,was lavishlypaintedbyatleastthreedifferent
artists,
London
MS Royal10 В XIVcontains
a
, British
Library,
one
whose
can
be
linked
to
East
including
style
Anglia.3The
theBaptist
thatisbothexceptional
largedrawing
ofSt.John
for
historiated
initials
of
the
Psalter
made
for
Richard
of Canteritsquality
andicono
Notpreviously
noticed
graphically
unique.
about
1310-20
M.G
York,
(New
bury
Pierpont
MorganLibrary,
animportant
addition
toEnglish
, itconstitutes
byarthistorians
are
the
Master
of
the
Psalter
or
a
close
artoftheearlytomid-fourteenth
This
53)
Queen
by
Mary
century. paperexplores
thephysical
nature
itsbibliographical
context
associate.4Andthedrawingsin a largecopyofPetertheLomofthedrawing,
thenature
andmeaning
(ina bookofnatural
philosophy),
of
bard's Sententiae
, now Cambridge,Christ'sCollege, MS 1,
itsimagery,
anditsartistic
context
andassociations,
within
the
show
with
familiarity theworkof theMadonnaMasterof the
broader
and use byBenedictine
framework
ofitsownership
De
Lisle
Psalterandmayevenhavebeenexecutedbythatartmonks
's Abbey,
Thedrawing
ofSaintAugustine
Canterbury.
ist.
These
whicharefoundon flyleavesandin maris considered
a symptom
a
wider
interest
in
the
drawings,
of
acquisition
illumination
at theabbeyduring
thefirst
were
done
at theabbey,becausethevolumein
ofmanuscript
halfof
gins,
probably
thefourteenth
Itcanbedatedtoabout1335-40andis
century.
is
a
rather
thana university
book,and,further,
question library
tohavebeenexecuted
insoutheast
orEastAnthought
England
at
least
one
of
them
to
textual
content.5
responds
theworks
isclosestinstylistic
and
glia,where
ofarttowhichnt
An outstanding
additionto thismaterialis foundin Lonterms
wereproduced.
Theiconography
includes
iconographie
British
a number
rare
or
in
John
the
don,
Library,MS Royal 10 В XIV, a mid-fourteenthofmotifs
unparalleled imagesof
a figure
thesaint'sfeet
Baptist,
including
ofSalomebeneath
centurycopy of theseculartheologianJohnof Dumbleton's
a monumental
Gothicarchcomposed
and,mostremarkably,
Summalogicaeetphilosophiaenaturalis.Itis a full-page
drawoaktrees,
which
thesaint.Thedetailandseofliving
frames
of
John
the
in
an
arch
of
oak
ing
Baptist
composed living trees,
mantic
richness
makeitpractically
certain
that
ofthisimagery
remarkable
for
its
links
and
withleadingcontemporary
quality
thedrawing
wasmadeas a focusofdevotion,
probably
forthe
illumination
from
southeast
recorded
the
scholar-monk
owner,
EnglandandEast Anglia(Fig. 1).
manuscript's
first
Oxford
John
Id.
Because of itsunusualcontextand also perhapsGeorgeWarofLingfie
ner'sattribution
of it to thefifteenth
thedrawinghas
century,
notpreviouslybeen published.6
The description
and analysis
Theimportance
ofSaintAugustine's
hereareintended
to establishitsartistic
in
AbbeyinCanterbury offered
significance
as a centerof book patronagebetweenthelate thirteenth
and
relationto its provenanceand thelikelycircumstances
of its
mid-fourteenth
hasrecently
beenemphasizedbyBruce use. Underlying
thisapproachis theconviction,
century
increasingly
Barker-Benfield
in a detailededitionand studyof themonas- evidentin studiesofilluminated
thatquestionsof
manuscripts,
andstylecannotbe adequatelyaddressed
tery'ssurvivingmedievallibrarycatalogues.AbbotThomas quality,iconography,
Findon(r. 1283-1310) instituted
a strategy
of book acquisi- independently
ofhistoricalcontext.7
tionthatreflected
theabbey's reputation
as England's "first
monasticmother,"
andthisappearsto havebeen sustainedby
, Purpose, and Date
his immediatesuccessors.1The place of illumination
in this PhysicalDescription
as inEnglishmonasticbookpatronage
moregenerThedrawingoccupiesthewholeoffol.3v,thefleshsideof
patronage,
show
a parchment
sheetthatis finerandpalerthanthatusedthroughally,awaitsdetailedanalysis,butsurviving
manuscripts
boththeimportance
of high-quality
decorationto theabbey's
outthemanuscript.
Despitenumerouswormholes,theslight
monksand theirabilityto procureit froma rangeof sources. croppingoftheupperand loweredges,andthedisappearance
For example,a Sommele roi, now BritishLibrary,MS Cotduringrebindingof a small amountof detailintothegutter
tonCleopatraA V,andthreevolumesofVincentofBeauvais'
whitevellumbindingis modern),it is
(thevolume'scurrent
in remarkably
, now in Cambridge,all containingsigcondition.
The overalldimensionsof the
Speculumhistoríale
good
nificant
wereprobablyacquired imageare27.5 by 17.5 cm,thefigureofthesaintstanding,
illumination,
21
contemporary
A manuscript
tothe
byFindonhimself.2
containing
hymnsand canby7.2 cm:a largework,bothforitsperiodandinrelation
GESTA
49/2
©TheInternational
Center
ofMedieval
Art
2010
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137
Board:
1. London
10ВXIV,
theBaptist
inanoaktree
arch(photo:
TheBritish
FIGURE
MSRoyal
,British
bypermission).
Library
reproduced
fol.3v,John
Library,
138
issue.
cover
1alsoappears
incolor
onthe
front
ofthis
Figure
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untinted
size ofthemanuscript.
Monumental,
drawingsofproareexceptionalin Englishbooksbeforethe
fessionalstandard
latefourteenth
and theindicationthisexamplegives
century,
of a monochromatic
oftheaestheticandfunctional
sufficiency
wereconimageduringa periodwhencoloredcompositions
sideredsuperiorto uncoloredones is thusof some interest.
and
The figureof theBaptistwas firstoutlinedin silverpoint
thenworkedup in brownink.Its strong,
thick,mostlysimple
withthefiner,
contourscontrast
pen strokesapplied
softening
andthelegs
Partsofthegarment
to thehair,face,anddrapery.
havebeen further
softened
modeling,apparently
by painterly
insilverwerealso sketched
inglair.The accompanying
motifs
pointbeforebeingdrawnoverininkbutlackthemoredelicate
treatment
givento thefigure.This createsa contrast,surely
betweenthesinuousbutrestrained
intended
power
bytheartist,
In
of the saintand thebustlingenergyof his surroundings.
thelowerrightcornerthereis an earlier,bust-length
drawing,
whichis now largelyobscuredbythelater
also in silverpoint,
to datethisclosely,butitsexistence
Itis difficult
composition.
suggeststhattheleafhadbeenusedas a trialsheetofsomesort
intothemanuscript.
beforeitsincorporation
andthusthedate
Fol. 3 ofRoyal 10 В XIV is a singleton,
of thedrawingdo notdependon thoseof the
and provenance
ThetextofJohnofDumbleton'sSummais herein
manuscript.
itsfinalnine-part
form,completedsometimeduringthe1340s
andcertainly
beforetheauthor'slikelydeathin theplagueof
1348-49.8Although
JamesA. Weisheipl,whohas carriedout
theonlysearchingstudyof thework,does notseem to have
considered
thisparticular
copyoftheSummaan earlyone,the
and flourishing
suggesta midcentury
styleof thehandwriting
Thisis supported
dateforthemanuscript.9
bytheearliest,now
on fol. lv: "Summa
partiallyerased,ownershipinscription,
MagistřiJohannisDumbletonfratris[Iohannisde Lyngfeld
de librarioSanctiAugustiniCantuarie]."Johnof Lingfieldis
on canonlaw at Oxfordabout1365,by
recordedas a lecturer
studwhichtimehe had presumably
completedhis university
ies. The relationship
of thisbook to thesestudiesis unclear,
because naturalphilosophy,to whichDumbleton'sSumma
discipline.But
belongs,was an arts-ratherthanlaw-faculty
thefact
s ownership
ofthebook in anycase reflects
Lingfield'
scholarssentby SaintAugustine's
thatthefourteenth-century
fashions.10
intellectual
to Oxfordwerequickto absorbcurrent
Royal10 В XIV containsthenamesoftwolatermonk-scholars
fromSaintAugustine's,
Johnof Prestonand Simonof Maidstone,and maythushave been used and keptat Oxford,and
possiblymadethere.11
seems
A terminus
a quo ofabout1350forthemanuscript
at least tenyearstoo late forthedrawing.Despite this,it is
reasonableto thinkthattheleaf containingit was boundin
The factthatSt.Johnappearsatthe
whenthebookwas made.12
ofa textwritten
andownedbymenofthesamename
beginning
is unlikelyto be coincidental.It seems possiblethatJohnof
hadthedrawingaddedas a markofpossessionas well
Lingfield
it
he brought
as devotiontohisspiritual
thoughwhether
patron,
orpurchaseditin Oxfordcannotbe
withhimfromCanterbury
It is worthnotingthatthesamedesireforpiousperknown.13
sonalizationis apparentin theTiptoftMissal (1311-32, New
York,PierpontMorganLibrary,
M.107), wheretheprominent
miniatures
of JohntheBaptistand JohntheEvangelistat the
Canon of theMass (fol. 142) can be relatedjo thepatronage
of Johnof Clavering(d. 1332), and theRamseyPsalter(ca.
1300-1310, Abbeyof SaintPaul in Laventthal,Stiftsbibliothek,cod. XXV/2,19), made forJohnof Sawtry(d. 1316),
wherethesame saintsappearat theCoronationof theVirgin
(fol. 17).14An associationof saintand authoris impressedon
usersofthemanuscript
bythecollocationoftheBaptist'sface
and therubricheadingof theprologueon theoppositepage
("IncipitprologussummemagwřriJohannisDumbyltone").
Theremayhavebeena desireto suggestthatSt.John'sauthorityandeloquencewereembodiedto an extentin his academic
or notthiswas thecase, thepositionand
namesakes.Whether
appearanceof thedrawingalso smackof a typicallymonasof divine
tichumiliatory
urgeto acknowledgethesuperiority
themethatbecameincreasingly
a spiritual
overhumanintellect,
of scholarship.15
in deprecation
manifest
Standingat thehead
theausteresaint,withoutformaleducation
of themanuscript,
butrepletewiththedivinegenius,wouldhave remindedthe
readerthatthewisdomofman
Benedictine
knowledge-hungry
is foolishnesswithGod (1 Corinthians
3:9), andthatitis vain
scholasticoverbiblicalinsight.
andmyopicto prioritize
Whiletheirdatesare notpreciselyfixed,thereis general
thattheworksclosesttothedrawinginiconography
agreement
andstyleweremadebetweenabout1310andabout1340.That
thedrawingbelongsto theendof thisperiod,about1335-40,
is supported
by bothits generalstylisticappearanceand two
The first
oftheseis thecostume
specificdetailsoficonography.
ax-manwholops a bunchofleavesfromthe
ofthediminutive
trunk
totherightoftheBaptist.Thisconsistsofa short,
dagged
jupon buttonedat thefrontandbeltedlow on thewaist,comshoes.In Englishmanuscripts,
binedwithhoseandpointy-toed
of garments
sucha combination
appearsonlyfromtheperiod
about1335-40 onward.An earlyexample,withan irregularly
minin a Crucifixion
is thedressofthecenturion
daggedskirt,
iaturein theNevilleof HornbyHours(ca. 1335-40, London,
comBritishLibrary,
MS Egerton2781,fol.49), whilea better
parisonforthisfeatureis seenin thesamefigureon fol. 14 of
in the 1340s,Paris,
theFitzwarinPsalter(mostlyilluminated
16
Bibliothèquenationalede France,MS lat. 765). The second
It is generpointis thecamel's headof theBaptist'sgarment.
instanceofthismotifin
thattheearliestsurviving
allythought
Englishartoccursin stainedglass of about1350 at theparish
In fact,thereis a
churchof SaintDenysWalmgatein York.17
Abbeyin Gloucestershire
sculpturalexampleat Tewkesbury
thatprobablycomesfromone ofthevacantnicheson thetomb
of Hugh II Despenser(d. 1326) and on thatbasis has been
18
assignedto thelate 1330s or 1340s (Fig. 2). However,the
camel's head is absentfromthepre-1350 artwithwhichthe
comparable.
drawingis otherwise
139
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: Natureand Meaning
Iconography
mostofthemotifscontainedin thedrawingare
Although
common,some are rareor uniquein Englishart.Johnstands
withinan archwhoseshaftsare composedof oak trunksthat
sproutleaves and acorns.Above, thetrunksbend to forma
oak leaves
septifoil
canopy,thefoilscomposedofburgeoning
Therearelarge,sculptural
crockgrowingagainstone another.
ets on theextradosand a fleshyfinialat theapex, wherethe
arcs are tenselyknitto forma bower.BeneathJohn'sfeet,
whereitwouldhavebeenusualto represent
a stonyor grassy
femalefigurein a longtunicwithhair
mound,lies an inverted
arrangedin cornettes.Lions are shownon eitherside of the
saint,one devouringa rabbit,theother,withtheprominent
fromcontemporary
lollingtonguefamiliar
heraldry,
facingthe
viewer.A hedgehogwithgrapesstuckon its spinesis representedjust above thesaint'srightfoot.On theleft-hand
trunk
arefourbirds,whiletheright-hand
trunkhas a singlebirdand
thesmallax-manmentioned
above.Clearly,theartist
was interestedin stimulating
viewermeditation
on thecareerandqualitiesoftheBaptistthrough
theinclusionof appropriate
motifs,
theinitialimpression
of a devotionalfunction
for
underlining
theimage.Mostfourteenth-century
of
Englishrepresentations
thissaintcontainone or twoof theelementsshownhere,but
fewifanyareas complexintheirsymbolism.
As wellas recallthedrawingevokesthenonnarrative
inga popularhagiography,
stained
imagesof theBaptiston a largerscale, in sculpture,
The archaroundthesaintsuggestsnot
glass,andwallpainting.
ofdignity
andholinessbutalso theplastic
onlytheabstractions
of a tabernacle.
monumentality
Of thetwosortsoflatermedievalimageofJohntheBaptistdefined
theasceticandthepastoralbyDorothyGillerman,
illuminators
and their
sacerdotal,Englishfourteenth-century
Withsuchrareexceptionsas the
patronsfavoredthelatter.19
woodwoselikefigurein theMacclesfieldPsalter(ca.
swarthy,
FitzwilliamMuseum,MS 1-2005,fol. 133),
1335,Cambridge,
theBaptistis shownfairoffaceandhaloed,cloakedina mantle
thatis oftencoveredwithwavylinesto suggestthecamel'shairgarment
referred
tointheBible. In earlyto midcentury
art
he is almostalwaysrepresented
in an open,contrapposto
pose,
clutchinga patenlikedisk containingthe sacrificiallamb of
God,towardwhichhe turnsin obediencetohisroleas Precursor.20
This diskis usuallyheldin thelefthand,whilethefree
handpointstoitina visualprojection
ofthewords"ecce Agnus
Dei" (John1:29). Occasionally,as in theRamseyand MacclesfieldPsalters,thediskis reverently
fromdirect
protected
contactwiththeskin,butitis morecommonly
displayedin an
theintimacy
of theBaptist'srelaundrapedhand,suggesting
tionshipwithChrist.(Thus,forexample,InnocentIII stated
that"inthesacredmarriage
contracted
betweenChristandthe
Johnwas theceremonial
Itwouldbe posChurch,
attendant."21)
sibleto citemanyexamplesofthisimagein Englishilluminationoftheearlytomid-fourteenth
insuchmanuscripts
century,
as theGorlestonPsalter(fol. 48), Queen MaryPsalter(fol.
FIGURE
2. Tewkesbury
theBap(Gloucestershire),
Abbey
sculpture
ofJohn
thetomb
II Despenser
tist,
author).
probably
from
ofHugh
(photo:
213v),PsalterofHughofStukeley(fol. 18),ButlerHours(fol.
13),BarlowPsalter(fol.14v),theTrinity
CollegeBibleinDublin(fol.297v),theSarumHoursnowOxford,
BodleianLibrary,
MS Douce 231 (fol. 2), and thepreviously
mentioned
Tiptoft
MissalandRamseyPsalter.The figure
inthedrawing
discussed
heredepartsfromtheseconventions
in severalrespects.The
AgnusDei, gestures,stance,and presenceof hairon thegarmentarenormal,butthegarment
itself,a tunicturnedbackin
is otherwisealmostrevealingly
shortandis
flapsat thethroat,
mademorestriking
hooves
bytheadditionofthescaled-down
andimbeciliccamel's head.Similarlyunusualis theinclusion
of Salome, an agentof his martyrdom,
beneaththeBaptist's
feet.This imageryseems to be a uniquesurvivalin English
medievalart.Thatthefigure
Salomeis easilyestabrepresents
lished.As noted,thehairand costumeare feminine,
and the
acrobatic,
tumbling
pose is thatfoundinEnglishwallpaintings
140
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as a symbolofthe
ity.In thiscase, thelioncan be interpreted
Baptisthimself,whose"voice . . . cryingin thedesert"at the
beginningof St. Mark's Gospel (Mark 1:3 and John1:23, in
fulfillment
of Isaiah 40:3) led to RabanusMaurus'influential
associationoflionandEvangelist.25
The grape-studded
hedgein thiscontext.Bestiaryloreaboutthe
hogis also appropriate
hedgehogexplains thatit feeds its youngwithgrapes stolen fromvineyards.It was consequently
likenedto thedevil,
who stealsthefruitsmanshouldstoreup in heaven.26
Yet the
stimulatea devotional
impaled,weepinggrapesimmediately
awarenessof Christ'sPassion.Fromeitherangle,theanimal
couldhavebeenunderstood
bya monkofSaintAugustine'sin
relationto theoppositionof virtueand vice withreference
to
thelate-thirteenthorearly-fourteenth-century
bestiary
belongMS Douce 88,
ingtohisabbey(nowOxford,BodleianLibrary,
fols.68-154), whereitis picturedanddescribedon fol.96.27
Takentogether,
the animalsand treesrepresented
here
allude to the Baptist's eremiticallife in the wilderness,an
ofthesaint'scharacter
thatwas ofconsiderableimporFIGURE
3. London,
British
Additional
MS47682(Holkham
Bible aspect
Library,
tance
to
medieval
It was duringthefourteenth
later
monks.
Picture
TheBritish
Book),
fol.21v,detail
offigure
ofSalome
(photo:
Library
thattheEnglishbranchoftheBenedictine
orderbegan
Board:
century
reproduced
bypermission).
inearnesttodefendtheprerogatives
ofmonasticism
by,among
otherthings,
statusforJohnhimself,
a
asserting
protomonastic
and sculpture
Salome's*dance beforeHerodand
claimalso madebyotherorderssuchas theAugustinián
friars
representing
Herodias.22
A figureof Salome standingon herhandsin the andtheCarthusians.28
The lionat thesaint'srightfootandthe
HolkhamBiblePictureBook,madeabout1330(London,Brit- birdson thetrunks(on thelefta falcon,pelican,magpie,and
ishLibrary,
AdditionalMS 47682, fol.21v), providesa close
withspecific
eagle in ascendingorder)can also be identified
arefoundin otherluxvirtuesandviceswithreference
tothebestiary
andrelatedtexts.
comparison
(Fig. 3), andsimilarfigures
ofthefourteenth
urymanuscripts
century,
rangingindatefrom The magpiein particular,as a symbolof vanityand empty
theQueen MaryPsalter(ca. 1315, London,BritishLibrary, chatter
(thusevokingthePhariseesandSadduceesofMatthew
Missal(ca. 1398,
RoyalMS 2 В VII, fol.264v)totheCarmelite
3:7), is contrasted
by appositionand gestureto theeloquence
Additional
MSS 29704-5, fol. 136v).
andsobriety
oftheBaptist.29
Like theprostrate
London,BritishLibrary,
Salome,itthus
There is a deliberateand strikingallusion to chastity functions
to edifybycontrast.30
and lust in theconfiguration
of saint,Salome, and camel's
theax manon theright-hand
shaft,
Amongthesemotifs,
head.Fora university-based
monkwithreadieraccess to secuwho lops offand casts downoak leaves,is perhapsthemost
lar temptations
thanexistedin thecloister,thiswould have
multivalent.
Atonelevelhe appearstobe convertsymbolically
refreshed
awarenessof,andidentification
intoclean,straight
with,a fundamental ingtheleafytrunks
piers,tamingthedisorvow of profession.
It can also be understood
as a straightfor- derof naturein theprocess.At another,
he carriesJohannine
wardand deferential
advertisement
of one of theunworldly connotations
moredirectlyin otherimagesof the
registered
saint'smoreobviousvirtues.In imageswheretheBaptistis
saint,bothWesternand Byzantine.Axes leaningagainsttrees
clothedin a camel's skin,thehead of thebeastusuallylolls
had long been includedin theiconography
of Johnto evoke
closetoorontheground.Thatitis heredrawnup highbetween thestormy
rhetoric
withwhichhe heraldedtheneworder:"For
thenakedthighs,
itselfperpendicularly
downward, nowtheaxe is laid to therootofthetrees.Everytreetherefore
projecting
withmockingtongueextendedtowardthevanquished,spread- thatbringeth
notforthgood fruit,shallbe cutdownand cast
intothefire"(Matthew3:10; Luke 3:9).31One of theinterior
eagledfemalefigure,
negatessexualitybyinvokingit.The lasciviousSalome,calledbyLudolphofSaxony(d. 1378) "a lewd
facadesculptures
of ReimsCathedral,carvedabout1250-60,
andabandonedgirl"[impudicafiliaetdissolventa],
hereelicits is moreexplicitinshowingtheBaptiststanding
behinda barren
ofa beastwhereshemighthave
treewithan ax actuallyembeddedinitsbase.32The diminutive
onlythegargoylelike
mockery
inthedrawingseemstobe theclosestthatlatermedieval
John,the "virginitatis figure
expectedto stimulatevirilearousal.23
of
the
Golden
and
the
"hostisluxuriae"of
artcomestoillustrating
metthisprophetic
speculum"
Legend,
Englishmanuscript
thisexemplification
of
In itsseculardressandthefactthatitcutsnota barren
Englishmonasticimagination,
tramples
aphor.33
lustas effectively
as Christtramplestheadderand basilisk.24 buta flourishing
tree,theRoyal 10 В XIV figurealso alludes
The idea is restatedat thelowerrightby thelion thatkills a
to theBaptist'sdecapitation
thewaning
and,moregenerally,
the
latter
a
conventional
of
sexual
of
his
thewaxingofChrist's(John3:30).
rabbit,
symbol
promiscuauthority
through
141
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4. London,
FIGURE
British
42130(Luttrell
with
oakfoliage
TheBritish
theBaptist
, MSAdditional
Psalter),
Library
fol.40v,detail
ofJohn
juxtaposed
(photo:
Board:
Library
reproduced
bypermission).
Otherthanthecentralfigure,
themoststriking
aspectof
thedrawing'siconography
is thearborealarch,which,again,
seemstobe uniqueinEnglishart.Thegrowing
archperse is not
in
the
the
master
of
the
Gorleston
Psalter
unparalleled
period:
British
Additional
MS
(ca. 1310-20,London,
49622)
Library,
was particularly
init,andthereareotherexamplesin
interested
stainedglass(forexample,theApostlewindowsat Stanford
in
of
in
ca.
and
even
the
stonework
Northamptonshire 1330-50)
of theJesseTree windowat Dorchesterin Oxfordshire
(ca.
1330-40).34It is also foundin opus anglicanumof theperiod.
Withoutexception,however,theseexamplesare schematic
andnonnaturalistic,
theorganicnatureofreligion
symbolizing
without
reference
tohistorical
orindividualsaintly
topography
character.
In thedrawing,
theoak trunks
andoak leavesreferto
boththewilderness
thatJohnroamedandthesaint'svigorand
It
is
also
strength.35
possiblethattheartistintendedto suggest
theformof theprimitive
hutin whichtheBaptistmighthave
dwelled.If so, thentheimaginativeand devotionalpotential
of thearchwas significantly
enhancedformonasticviewers,
whoseownlivesweretoa largeextentarchitecturally
defined.36
Thebowercan inanyeventbe alignedwiththeidea oforganic,
and specifically
forspiritual
lignescent,
growthas a metaphor
and
fruition
Paul
Binski
development
recentlyexplainedby
withreference
tothirteenth-century
artandarchitecture.37
Jesus
himselfestablishedan implicitcontrastbetweentheBaptist
and theweakestof plants,"a reed [harundinem
] shakenwith
thewind.. . . Amongstthosethatarebornof men,thereis not
a greaterprophetthanJohntheBaptist"(Luke 7:24, 28). The
in a mannerthat
oak expressesthiscontrast
andthisgreatness
viewers
could
have
educated,particularly
clerical,
appreciated.
A broadercontemporary
associationwithflourishing
treesis
of
foundin theuse of Psalm92:13 as thetextof theoffertory
in theSarumMistheMass of thefeastof St. John'sNativity
likethe
sal andvariousmonasticuses: "Thejust shallflourish
he
shall
like
the
cedar
of
Libanus."38
The
tree:
palm
growup
sametextis specifiedas theantiphon
oftheMass ofthefeasts
of bothSt. John'sNativityand Decollationin thesurviving
missalfromSaintAugustine'sAbbey.39
Oak also has a connecin
wasthe
tionwithChrist,
the
of
Isaiahan
who,
spirit
prophecy,
and
with
Tree
of
Life.
raison
the
d'être,
Accordingly,
Baptist's
oak leaves filledthepunched-gold
backgroundof theDouai
PsalterCrucifixion
Douai,Bibliothèque
(ca. 1335-40,formerly
MS 171,fol. 13) and surround
thebreast-picking
municipale,
summit
of
the
and
the
TreeofLifein
at
the
both
cross
pelican
MS
theDe Lisle Psalter(ca. 1310, London,BritishLibrary,
Arundel83 pt. II, fols. 125v, 132).40The LuttrellPsalter(ca.
MS Additional
1340,London,BritishLibrary,
42130) also has
a PelicanofPietyat thecrestof an oak tree,on fol. 178.
Context
Iconographieand Stylistic
The best iconographie,
and stylistic
compositional,
parallels forthedrawingare foundin artpresumedto havebeen
made in theLondonarea and East Anglia,and theinterconilluminated
nectionsthatexistbetweenmanyoftheimportant
books producedin thoseplaces are also evidenthere.While
142
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All use subject to JSTOR Terms and Conditions
FIGURE
5. London,
British
MS2В VII(Queen
Psalter),
Library,
Royal
Mary
detail
theBaptist
inthewilderness
The
fol.213v,
ofJohn
preaching
(photo:
British
Board:
Library
reproduced
bypermission).
theconceptof a naturalistic
arborealarchis unique,instances
of artistsrelatingtheBaptistto oak treesand oak foliageare
not.The Luttrell
Psaltercontainsanotherstriking
exampleon
fol.40v,wheretheoak growsdownwardto meetthestanding
saintfroma pointon theilluminated
border-bar
alongsidethe
text"nos verosurreximus
et erectisumus"(we, however,are
Psalms19:9) (Fig.4). Hereagain,the
risen,andaresetupright:
references
areto Christ'sCrucifixion
andResurrection
andtie
in withtheEucharistie
oftheAgnusDei alluded
connotations
to above.41As noted,theSalome of theHolkhamBible PictureBook,a manuscript
probablymadeinLondon,is formally
close to thatofthedrawing,
anda further
parallelbetweenthe
existsin thefullnessandbreadth
drawingandthismanuscript
of theoak leaves. Small figuresof ax menchoppingat marginalfoliagearefoundin theGorlestonPsalter(fols.93, 102,
139v),wheretheyrelatetoadjacentpsalmtexts,andtheBeatus
page of theSaintOmerPsalter(ca. 1330-35,London,British
Additional
MS 39810,fol.7).42Moregenerally,
lions,
Library,
magpies,eagles,pelicans,andfalconslikethoseofthedrawing
occurin a numberof artistically
East Anglianand
important
southeastern
ifnot
Englishbooksoftheperiod.The menagerie,
itscomposition,
is a conventional
of
one,as is theimpression
busynessthatit gives.The imageryof theSaintOmerBeatus
fol. 48 of theDouai Psalter,
page and thenow-fragmentary
withitslargecollectionofanimalsatPsalm37,is rootedinthe
same aestheticand intellectualinterests,
as are theCreation
in theQueen MaryPsalter(fol. 2), theHolkham
miniatures
BiblePictureBook (fol.2v), andan illustrated
copyofPeterof
nowLondon,BritishLibrary,
MS Royal
Langtoft'schronicle,
20 A II (fol. 1),whichdisplaythesamevitality
andconcernfor
varietaswiththeadditionof a dominant
centralfigure.
A few
ofthedrawing'smotifsareparticularly
closelyparalleledelsewhere.The resemblance
ofpose andpositionbetweenthelion
inthelowerleft-hand
cornerofthedrawingandthesamebeast
in thesceneofJohnpreaching
on fol.213v oftheQueenMary
Psalteris obviousandsuggests(unlesstheQueenMarymaster
inventedit) theexistenceof a modelaccessibleto bothartists
ofthesamePsalteralso includes
(Fig.5). Themarginal
bestiary
an illustration
of a hedgehogwithgrapeson itsspines,which
resemblesthatin the drawing(fol. 97v). And theOrmesby
Psalter(ca. 1310-20, Oxford,Bodleian Library,MS Douce
366) has a magpieclose in pose and appearanceto thatof the
drawingin thelowermarginoffol.58.
Close visual relationshipsalso exist withartin other
media. At a fundamental
level, thephenomenonof a highanimated
quality,subtly
figureof theBaptistin an architecturalframework
is repeatedin a wallpainting
on thenorthside
of thechancelarchat WestonLongvillechurchin Norfolk,
a workdatableto the 1340s or 1350s.43Here,differences
of
are less important
forthecomparison
styleand iconography
thanthequality,grace,and architectonic
settingthefigures
share;no othermonumental
imageofSt.Johnis as close tothe
while
drawingin itsvisual and emotionalambience.Further,
thedrawingmaycontaintheuniqueinstanceofJohnstanding
on Salome,thesame saintis represented
a recumtrampling
bentfigureof KingHerodon an opus anglicanumcope ofthe
in thetreasury
of ToledoCathedral.44
earlyfourteenth
century
The idea of triumph
overa nemesisis thesame andevidently
had somedegreeofcurrency
in Englishartat thistime,as itis
also foundin thefiguresculpture
abovetheprior'sdoorin the
cloisterof NorwichCathedral,builtbetween1297 and 1314.
In thisinstanceJohnstandson theshouldersofa damagedand
as eitherHerod
overpainted
figurethatis notnow identifiable
orSalomebut,as suggestedbythefactthatothersculptures
in
thesame ensemblestandon specificantitypes,
is likelyto be
morethana simpleweightbearer(Fig. 6).45(Later,in thefifteenth
thesecularcollegeofStoke-by-Clare
inSuffolk
century,
obtaineda gildedsilverstatueof St. Johntrampling
on a unithevice of lustsymcorn,thenemesisin thiscase apparently
bolizedby thedowntrodden
beast.46)Birdsand heraldiclions
similartothoseinthedrawingarealso seeninopusanglicanum
of theperiod.47
Lions and lion maskswithlollingtonguesin
are commonin fourteenth-century
and
particular
embroidery
monumental
brassesas well as illumination,
to have
thought
beenmadein and aroundLondon.
The pointof these comparisonsis to demonstrate
the
aestheticand conceptualas well as formaland iconographie
of thedrawingin a recognizedartisticenvironimplantation
mentduringthe firsthalfof thefourteenth
Further
century.
stylisticparallelswithpaintingfromthismilieucan also be
drawn.The mainfigurecannotbe alignedpreciselywithany
in technique
recognizedoeuvre,and, given the differences
143
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theBaptist
above
FIGURE
6. Norwich
Cathedral
(Norfolk),
ofJohn
sculpture
theprior's
doorinthecloister
author).
(photo:
ofcourse,thelackofcolorationandconsequent
(significantly,
limitation
of tonalrange),comparisonswithpaintedminiaturesare notstraightforward.
As alreadysuggested,thesoftnesswithwhichthemainfigureis treatedrelatesitto painting
ofthe1330srather
thanthemorelinearstyleof thepreceding
can be usefully
decades.The head of theBaptistin particular
those
of
the
with
heads
compared
(especially
Baptistand St.
ParvaRetable,paintedabout1330-40
Paul) on theThornham
andprobablyEast Anglian,notingspecifically
thecorrespondencesbetweentheundulating
eyebrows,creasedforeheads,
andrigid,firmly
drawnnoses(Figs. 7-9).48The sinuousnature
oftheheadhair(thoughnotitsunparted
aspect)andthelength
andstriation
ofthebeardalso resembleworkintheHerdringen
7. DetailofFig.1,showing
the
FIGURE
oftheBaptist.
figure
BiblioPsalter(ca. 1330-40, Herdringen,
Fürstenbergerische
thek,MS 8), East Anglianin provenancebutpossiblymade
in London.49
However,further
comparisonswiththeseworks
Missal grouptowhichtheHerdringen
andothersintheTiptoft
Parva
The Thornham
belongsareless satisfactory.
manuscript
in theirsmallerhead-to-body
saintsin particular
aredissimilar
mannered
ratiosand strikingly
poses.
144
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theThornham
Parva
Retable
HamFIGURE
9. HeadofSt.Paul,
from
(photo:
theUniversity
ilton
Kerr
Institute,
ofCambridge:
reproduced
bypermission).
esis (Figs. 7, 10).50Such facialfeaturesas thestraight,
rather
furrowed
abruptnoses(especiallythatofJohntheEvangelist),
brows,M-shapedmouths,andnarroweyeswithheavylidsare
all similar.The structure
and articulation
of theVirginand
Evangelistfiguresalso resemblethoseof theBaptistin three
butnotunnaturally
ways:theirelongatedtorsosandrelatively
small heads,theheads similarlyinclined;thegracefulsway
of theirhips and subtlesuggestionof latentenergy(notably
ofthe
different
fromthehighwaistsandaffected
contrapposto
saintsintheMacclesfield
Psalter,andtheircloserelaprefatory
tionson theThornhamParva Retable); and thehandlingof
with
theirdraperies,
thoseofJohntheEvangelist,
particularly
foldsandflowinghemlines(Fig.
itssoftlymodeledhorizontal
11). ThattheGorlestonfigures
appearmoreelegantis substanandstateofdress.Thelooser,
tiallyowingtotheirillumination
FIGURE
8. Thornham
Parva(Suffolk),
theBaptist,
the
figure
ofJohn
from
of theBaptistin thedrawingis mainlya prodrangy
quality
Thornham
ParvaRetable
Hamilton
KerrInstitute,
theUniversity
(photo:
of uctof itssize, thebarenessof its
bowedlegs,andthe
slightly
: reproduced
Cambridge
bypermission).
look and positionof thependulouscamel's head and hooves.
Noneofthisis toignoreobviousdifferences,
forexampleinthe
For thefigureof the Baptistat least,theclosest availthegarments
of theVirgin
graphictechnique(visiblethrough
able comparisonis probablywiththestandingfiguresof the and Magdalenein particular),
smallersize of thehands,and
addedCrucifixion
scenein theGorlestonPsalter(fol.7), often frizzy,strand-by-strand
treatment
of thehairfoundgenerally
datedabout1325 butplaced as late as 1340 by CarolineHull
in theso-calledItalianateEast Anglianstylein whichtheGorin herlargelyconvincinganalysisof theDouai Psalter'sgen- lestonCrucifixion
is painted.51
Thereis no suggestion
thatthe
145
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FIGURE
10.London,
British
49622(Gorleston
TheBritish
Board:
,MSAdditional
Psalter),
Library
fol.7,Crucifixion
(photo:
Library
reproduced
bypermission).
146
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All use subject to JSTOR Terms and Conditions
arenotso muchdrawnas stabbedin witha broad-nibbed
pen,
is admirably
so thattheyoverflowthelids,thedraftsmanship
andeconomical.The modelingofthelegs andgarcontrolled
mentis finelybalancedand stylish,givingan impressionof
orelegance.
volumethatdoesnotimpairthefigure'ssuppleness
In viewof themonumentality
oftheimageandtherelationof
withthe
itis difficult
to avoida comparison
thefacialfeatures,
ParvaRetable,whoseimprobhoodedBaptistoftheThornham
rightarm,
weaklyrepresented
ablyhighcalfmuscles,stunted,
seem
andgeneralstiffness
awkwardneck-to-torso
relationship,
the
inferior,
highqualityof
despite comparatively
thoroughly
theworkas a whole.The faceof theBaptistin thedrawingis
notagitatedor anguished,but thefigureis givenemotional
withthelamb,whichturnsto
impactthroughits interaction
andSalome,whom
lookatit,themagpie,whichitadmonishes,
it subjugatesand neutralizes.Such a nexusof psychological
figureand is likely
engagementis unusualin a nonnarrative
to have increaseditsaestheticanddevotionaleffectiveness
by
andunifying
thecomposition.
enlivening
simultaneously
Conclusion
The qualityand size of thedrawingin Royal 10 В XIV
artofitsperiod.
makeitan important
additionto thesurviving
ofthe
the
and
As well as itsintrinsic
value, style
iconography
of
an
artistic
context
enhance
current
understanding
drawing
but stillpresents
thathas receivedmuchscholarlyattention
wherethe
of
particularly
significant
problems interpretation,
of
illuminated
and
manuscripts
dating production-provenance
contextand thedetailsandpreareconcerned.Its manuscript
to knowledgeabout
sentationof its imageryalso contribute
devotionalapproachesto JohntheBaptist,a subjectthat,with
theexceptionof studiesof disembodiedheads and faces of
as
thesaint,has notgeneratedas muchscholarlyenthusiasm
As suggestedhere,thedrawits historicalpotentialmerits.52
to thereligiousand
foritstestimony
ingis of specialinterest
of itsmonasticpatronsandusers,outstandaestheticinterests
inglybut not solely in lightof its positionat thehead of a
FIGURE11. Gorleston
theEvangelist scholastictextused in a
Psalter,
,figure
ofJohn
Crucifixion
Thatthemonksof
university
setting.
TheBritish
Board:
(photo:
Library
reproduced
bypermission).
in
rootedinterest
SaintAugustine'sAbbeyhad a historically
andrespectforall aspectsofthemedievalbookanda thorough
artistswereidenticalbut,rather,
thattheiraestheticoutlook, understanding
of theutilityof theseaspectsis well attested
evidence
survivals.53
The
sources,andjudgmentwerecloselyshared.
by
drawingpublishedhereis further
In termsof quality,it is entirely
an
reasonableto place the of theirattitudes
and enthusiasms
during unusuallyactive
of
the
and
the
a
in
such
eleone
of
medievalEngland'smost
as
of
book
figure
Baptist,
drawing whole,
acquisitionby
period
vatedcompany.
for
of
saint's
which
the
the
institutions.
Except
pupils
eyes,
bibliophilie
147
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NOTES
* I amvery
and
toBertie
ed.T.A.Sandquist
a
Historical
Presented
for
detailed
comments
on
to
Freeman
Sandler
Wilkinson,
Essays
gratefulLucy
M.R.Powicke
Thisgratitude
extends
draft
ofthis
andfor
(Toronto,
1969),192-219,
esp.209.
encouragement.
general
paper
anddiscussion
andto
toPaulBinski
fortypically
comment
Biostimulating
11. Barker-Benfield,
StAugustine's
1323;andA. B. Emden,
Abbey,
fourteenth- graphical
onEnglish
Michael
Michael
forthebenefit
ofhisexpertise
toA.D. 1500,3 vols.
ofOxford,
Register
oftheUniversity
forher
I wishalsotoacknowledge
Kathleen
Scott
3:1518-19.
century
manuscripts.
2:1193,
1957-59),
(Oxford,
andDavid 12. Themodern
ofmybroader
work
onmedieval
drawings,
encouragement
corner
is
left
"10B. XIV.p. 182"intheupper
inscription
Institute
Archive
oftheCourtauld
Park
foraccesstotheWallPaintings
inDavidCasey,
onthemanuscript
a cross-reference
totheentry
simply
ofArt,
London.
ACatalogue
(London,
1734).
Library
oftheManuscripts
oftheKing's
1. StAugustine
ofBritish
Medieval
'sAbbey
, Canterbury
, Corpus
Library 13. Itseems
trained
inOxford,
unless
tohavebeenmade
byanartist
unlikely
13,ed.В. Barker-Benfield
2008).OnFindon's
(London,
Catalogues,
Camtowhat
farther
east.Itbearsnoresemblance
"Oxford,
Michael,
Allprevious
seelxxx-lxxxii,
1863-68.
strategies
specifically,
patronage
of
asOxford-produced
illumination
identifies
London,"
109-12,
bridge,
must
nowberead
inlight
onmanuscripts
from
this
monastery
scholarship
theperiod.
research.
ofBarker-Benfield'
s meticulous
2:47-48(Ramsey),
1: ill.199(Tiptoft),
14. Sandler,
Gothic
Manuscripts,
areCambridge,
St.John's
TheSpeculum
volumes
2. Ibid.,
1422-33.
936-37,
Miniatures
oftheFourteenth"TheHistorical
84-86(Tiptoft);
eadem,
Christi
MSS13,14.
MSВ 21,andCorpus
College,
College,
and
605-11;andR.Marks
Psalter,"
BM,111(1969),
Ramsey
Century
Illuminations
: TenCenturies
andS.Panayotova,
TheCambridge
3. P.Binski
1200-1500
TheGolden
N.Morgan,
Manuscript
Painting,
AgeofEnglish
L. F.
intheMedieval
West
toLucy
I owethisparallel
2005),184-85;
(London,
ofBookProduction
72-73,pl.17(Ramsey).
1981),
(NewYork,
ofManuscripts
IlGothic
Freeman
Sandler.
, 1285-1385
Sandler,
, A Survey
Manuscripts
luminated
intheBritish
Isles,5,2 vols.(London,
1986),1:ills.18-20, 15. See,forexample,
ed.В. J.H.Biggs(Oxford,
TheImitation
ofChrist,
1741.
andBarker-Benfield,
StAugustine's
2:18-19;
Abbey,
inLateandCultural
117-18;
andN.Watson,
1997),
Change
"Censorship
4. Sandler,
Gothic
theOxford
Translation
Vernacular
Medieval
, 1: ills.142-43,2:66-67
; andBarkerDebate,
Manuscripts
Theology,
England:
"An
1741-42.
SeealsoL. Dennison,
853.
StAugustine's
70/4
of1409,"
andArundel's
Constitutions
Benfield,
(1995),
Abbey,
Speculum,
6 Master," 16. ForthedateoftheNeville
oftheQueen
Psalter
TheAncient
Illuminator
Mary
Group:
K.
A.
seeparticularlySmith,
ofHornby
Hours,
66(1986),
295-96.
Journal,
Antiquaries
ofLiterate
andtheDesign
ofHornby
Hours
"TheNeville
Devotion,"
AB,
inFourteenth-CenlistisOxford,
Bodleian
MSAshmole
andDevotion
addition
tothis
81(1999),
5. Apossible
Art,
72;andeadem,
Identity
Library,
Books
addedtoan
Women
andTheir
anearly-fourteenth-century
Three
2003),
(London,
1525,fols.141v-81v,
ofHours
tury
England:
hymnal
in
illuminated
Psalter
illuminated
initials
oftheFitzwarin
anddecorated
with140exquisitely
35-36.Forthat
earlier
Psalter
(a manuscript
of
tothefirst
andmajor
onfol.14belongs
and
twocampaigns;
theminiature
Fora summary
oftheprovenance
ofthem
(four
excised).
arguments
AnoftheFitzwarin
seeN.Rogers,
"TheOriginal
Owner
1740.On
related
seeBarker-Benfield,
StAugustine's
Psalter,"
literature,
these),
Abbey,
" 'TheFitzwarin
andL.Dennison,
69(1989),
Fourteenth"SomeEarly
Christ's
MS 1,seeM.A. Michael,
257-60;
Journal,
tiquaries
College,
inEngland
intheFourteenth
Cen: AReappraisal,"
Psalter
andItsAllies'
atChrist's
BM,124(1982),
College,
Cambridge,"
Drawings
Century
ed.W.M.Ormrod
oftheDe
APreliminary
andidem,
for
Symposium,
230-32;
Proceedings
ofthe1985Harlaxton
tury:
Reading
Style:
"Planning
5.Cf.Sandler,
Gothic
42-66andfig.
inTributes
toLucyFreeman
Sandler:
andChild,"
LislePsalter
1986),
Manuscripts,
(Woodbridge,
Virgin
Manuscrits
enluminés
andP.D.Stirnemann,
andС. H.Krinsky
ed.К.A.Smith
Studies
inIlluminated
1:33;andF.Avril
d'origine
Manuscripts,
161-63.
VlIe-XXe
siècle(Paris,
insulaire
association
oftheChrist's
Michael's
1987),
(London,
2007),179-85.
College
inthe 17. Salisbury
work
isstrengthened
with
theMadonna
Master
ed.T.Ayers
TheWest
Cathedral:
byother
drawings
Front,
2000),
(Chichester,
sketch
on
fol.
an
Crucifixion
116v,
including
incomplete
manuscript,
67,204.
on
ofChrist
crucified
similar
tothose
ofthefigures
whose
outline
isvery
andChantry
Monuments
"TheLater
Medieval
18. P.G.Lindley,
Chapels,"
Ithasnotpreviously
beennoted
fols.125v
and132oftheDeLislePsalter.
ArtandArchitecture
inTewkesbury
, ed.R. K.Morris
Abbey:
History,
inBook4 oftheLombard's
that
thissketch
next
toa passage
appears
andR.Shoesmith
2003),163-65.
(Little
Logaston,
PL192,787),
ofChrist
which
seeMigne,
text
thePassion
(for
discussing
andtheChurch
de
D.
ofNotre-Dame
EnguerrandMarigny
of 19. Gillerman,
Forfurther
discussion
a fact
that
theartist
wasa monk.
that
suggests
theFair(University
Art
intheReign
atEcouis:
andPatronage
of
Philip
thefirst
half
ofthefourteenth
illumination
inCanterbury
century,
during
Park,
PA,1994),185-86.
a Theory
for
London:
Towards
seeM.A.Michael,
"Oxford,
Cambridge,
inByzantium
andthe
ofJohn
theBaptist
W.
"TheFaceRelics
20.
A.
Carr,
1
13-14.
130
Gothic
BM, (1988),
'Grouping' Manuscripts,"
theEucharistie
discusses
46(2007),159-77,
Gesta
West,"
,
symbolism
inthe
6. G.F.Warner
andJ.P.Gilson,
ofWestern
Manuscripts
Catalogue
ofJohannine
ofother
iconography.
aspects
W.de
4 vols.(London,
andKing's
OldRoyal
Collections,
1921),1:323.
et
Christum
"In
PL
942:
Sacramenti
21.
217,
conjugio,
quodinter
Migne,
...
in
the
andIlluminations
Birch
andH.Jenner,
Early
Drawings
Gray
refFor
earlier
extitit
est
Johannes
Ecclesiam
contractum,
paranymphus."
interest
thedrawing's
British
Museum
1879),185,indicated
(London,
seeibid.,
as"paranymphus
erences
toJohn
65,922(anonymous,
sponsi,"
onit.SeealsoBarker-Benfield,
St
with
anasterisk
butdidnotcomment
andifso anearly-sixth-century
usage);
Fulgentius
Ruspensis,
perhaps
's
1
322-23
.
Augustine
Abbey,
VicdeSancto
and196,1490(Adamus
1181(Petrus
191,
Lombardus);
intheBritish
Isles:
inL.F.Sandler,
"Illuminated
7. Seetherecent
comments
seeibid.,
IIIwasfond
ofthereference;
Innocent
510,532,943.
217,
tore).
ofEnglish
French
Influence
and/or
theEnglishness
Art,1285-1345,"
Monasticon
monastic
chronicle:
inatleastoneEnglish
Itisalsopresent
Gesta
,45(2006),186.
6:130.
etal.,6 vols.(London,
ed.W.Dugdale
1817-30),
Angličanům,
hasthe 22. See
butnone
survives
inatleast
8. TheSumma
twenty-one
manuscripts,
Giles
at
Chalfont
Saint
(Buckinghamfourteenth-century
examples
tenth
listed
inthetext's
index.
part
and
Idsworth
nowdestroyed),
shire),
(Hampshire),
Elsing(Norfolk,
inJ.A.Weisheipl,
Fourteenth
collated
9. Seethelistofmanuscripts
EnE. W.Tristram,
"Early
Lisle(Buckinghamshire),
and,ingeneral,
Kingston
toDumwith
Reference
'School'
oftheMerton
Special
Wall
Century
Physics
87,89.See
1955),
(London,
Century
glish
Painting
oftheFourteenth
400.
bleton
andHeytesbury"
Oxford
1957),
(Dissertation,
University,
Alabaster
alsoF.Cheetham,
England
(Woodbridge,
Images
ofMedieval
of
universal
than
isolder
andmore
49andfig.
56.Themotif
Mason:A
ofJohn
seeW.A. Pantin,
"TheLetters
this,
10. Onthismatter,
2003),
illumination
Alsatian
thelate-twelfth-century
course:
in
from
StAugustine's,
see,forexample,
Canterbury,"
Fourteenth-Century
Formulary
148
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All use subject to JSTOR Terms and Conditions
inR.Mellinkoff,
inNorthern
Art 35.
Outcasts:
Signs
ofOtherness
European
2 vols.(Berkeley,
2: fig.1.4.
CA,1993),
oftheLateMiddle
Ages,
isdiscussed
with
23. Thiswidely
ofSalome's
recognized
aspect
reputation
DieChorschranke
reference
toLudolph's
VitaChristi
byD. Knipping,
derKathedrale
vonAmiens:
Funktion
undKrise
einesmittelalterlichen
49.Ludolph
alsostated
that
"licentious
(Berlin,
2001),
Ausstattungstypus
aresignified
dis- 36.
passions
bythedancer"
[persaltatricem
{significatur}
solutio
libidinosa].
24. Dugdale
etal.,Legenda
Aurea
2nded.,2 vols.
, ed.G. P.Maggioni,
, 6:130.TheBaptist's 37.
(Sismel,
1998),2:875;Monasticon
Angličanům
inSaint
wasaltogether
AXVth
John
Lateran
forbidden
towomen:
chapel
ed.С.E.Wood- 38.
Guide-Book
tothePrincipal
Churches
ofRome,
Century
ruff
24,27.
(London,
1933),
PL 110,508.
25. Migne,
26. A.Payne,
Medieval
Beasts
59.
(London,
1990),
27. Barker-Benfield,
'sAbbey
anddateof
StAugustine
, 898-99
(provenance
Douce88,fols.
39.
68-154).
28. W.A.Pantin,
"Some
Medieval
Treatises
ontheOrigins
ofMoEnglish
inMedieval
Studies
Presented
toRoseGraham
nasticism,"
,ed.V.Ruffer 40.
Theorigins
ofthisidealie
andA.J.Taylor
(Oxford,
1950),190-91.
inthefirst
inder
C. Stewart,
"Benedikt
see,forexample,
millennium;
'
schriftlichen
Die 'Dialoge
desGroßen
undihre
Gregors
Darstellung
historische
Kunst:
Kultur
undGeschichte 41.
,"inBenediktinische
Wirkung
andE.L.-T.
eines
Erbes
García
,ed.R.Cassanelli
europäischen
(Regens2007),18.
burg,
inperson
29. Innarrative
thePharisees
were
sometimes
shown
intercycles
A Catalogue
theBaptist:
P.A.Newton,
TheCounty
ofOxford:
rogating
Vitrearum
MediiAeviGreat
BritStained
Glass
, Corpus
ofMedieval
andM. Hérold,
"La
ain,1 (Oxford,
1979),4 (Ewelme,
Oxfordshire);
normande
duMâitre
dela Viedesaint
Nou- 42.
Jean-Baptiste:
production
dansl'atelier
vellesrecherches
surl'usagedesdocuments
graphiques
couleur:
dupeintre-verrier
à la finduMoyen
, lumière,
Âge,"inPierre
d'Anne
Études
d'histoire
del'artduMoyen
Prache,
Âgeenl'honneur
472(French
ed.F.Joubert
andD.Sandron
(Paris,
1999),
examples).
is
ofthemagpie's
association
with
theBaptist
30. Thelongevity
negative
inGeertgen
totSintJans'
John
theBaptist
inthe
indicated
byitsinclusion
Wilderness
derStaatlichen
Museen,
Berlin); 43.
(ca.1485,
Gemäldegalerie
VanBeuningen,
Hollanders
seeRotterdam,
Museum
Vroege
Boijmans
ed.F.Lammertse
andJ.Giltaij,
cat.4,pp.86-88.
(Rotterdam,
2008),
"FaceRelics
ofJohn
theBaptist,"
G.
31. Carr,
161-63; Schiller,
Iconography44.
2 vols.(London,
1:135n.21andfigs.
362,
Art,
1971-72),
ofChristian
ofArts,
330-1453
364,365;andLondon,
Byzantium,
RoyalAcademy
ed.R.Cormack
andM.Vassilaki,
cat.233,pp.266,439.
(London,
2008),
inFrance,
1140-1270
32. W.Sauerländer,
Gothic
(NewYork,
Sculpture
Lafaçadedela cathédrale
deReims
,
1972),
pl.230;andP.Kurmann,
2 vols.(Lausanne,
2:pl.462.
1:208-10,
1987),
45.
ofrighteous
andnatural
else33. Although
theaxappears
asa symbol
anger
asina marginal
ofanaxmanwith
thecaption
"iraest
where,
drawing
ina copyofRobert
ofAristotle's 46.
naturalis"
Grosseteste's
translation
Nichomachean
Ethics
AllSoulsCollege,
MS84,fol.160;
, nowOxford,
seeA.G.Watson,
Catalogue
oftheMedieval
Manuscripts
Descriptive
1997),177.Theaxalsoappears
(Oxford,
ofAllSoulsCollege,
Oxford
onanivory
ofabout
associated
with
Grandisson
1330-40
panel
Bishop
ofArts,
Artin
ofExeter;
seeLondon,
AgeofChivalry:
Royal
Academy
1200-1400
ed.J.J.G.Alexander
(London,
1987),
Plantagenet
England,
andP.Binski,
cat.595,p.466.
fols.
34. Gorleston
Psalter,
89v,159,166v,
170v,
175,198v,
199,204v,206v, 47.
R.
The
Medieval
Stained
Glass
Cor207v; Marks,
ofNorthamptonshire,
4 (Oxford,
Medii
AeviGreat
Britain,
summary
pusVitrearum
catalogue,
andpls.18,19;andW.Rodwell,
Dorchester
Ox- 48.
1998),179-80
Abbey
TheArchaeology
andArchitecture
Monastery
fordshire:
ofa Cathedral,
andParish
Church
(Oxford,
2009),84-91(Dorchester).
Thestrength
ofoak(quereusor,occasionally,
wasvariously
robore)
for
PL25,1009
medieval
writers;
see,
emphasized
by
example,
Migne,
28,1033(idem);
79,283(Gregorius
Stridonensis);
(Hieronymus
Mag176,1065(possibly
Folietanus);
nus);108,594(Rabanus
Maurus);
Hugo
209,122
177,158,1080(anonymous);
206,386(Thomas
Cisterciensis);
deInsulis).
and210,583(Alanus
(Martinus
Legionensis);
asa cave,asreflected
inthehymn
John's
abode
wasotherwise
imagined
ofhisNativity,
"Antra
atmatins
onthefeast
deserti"
(TheCavesof
sung
theDesert).
ArtandImagination
inGothic
P.Binski,
Becket's
Crown:
England,
1170-1300
(London,
2004),81-101.
Missale
adusum
etpraeclarae
ecclesiae
ed.F.H.DickSarum,
insignis
inson
col.782:"Justus
utpalma
sicut
florebit,
1861-83),
(Burntisland,
cedrus
estmultiplicatibur."
TheCustomary
oftheCaquaeinLibano
Bradshaw
thedral
Church
82,ed.J.В. L.
ofNorwich,
Society,
Henry
Tolhurst
(London,
1948),137.
TheMissal
'sAbbey,
ed.M.Rule(Cambridge,
ofStAugustine
Canterbury,
93,107.
1896),
nowdestroyed,
isillustrated
inS.C.CockTheDouaiPsalter
Crucifixion,
TheGorleston
Psalter
erell,
(London,
1907),
pl.XVI;andP.Laskoand
N.J.Morgan,
Medieval
ArtinEastAnglia,
1300-1520
1973),
(Norwich,
23-24.
TheLuttrell
Psalter
: Commentary
Cf.M.P.Brown,
[ontheFacsimile
aua simpler
2006),105,where
(and,tothecurrent
Edition]
(London,
issuggested.
thor's
relation
between
andtext
mind,
unconvincing)
Baptist
ofthesaint
surrounded
from
thisregion,
seethefigure
byoak
Away
T.Ayers,
The
instained
atWells
Cathedral;
foliage
glassofca.1330-35
Medii
Vitrearum
Medieval
Stained
GlassofWells
Cathedral,
Corpus
2:color
AeviGreat
Britain,
4,2 vols.(Oxford,
2004),1:249-50,
pl.17.
theaction
refers
tothecasting
down
Onfol.93oftheGorleston
Psalter
oftheproud
described
inPsalm
72.Theaxmanonfol.102cutsanoak.
inthe
Theadjacent
text
isPsalm
Mosesstriking
therock
77,mentioning
"when
heslewthem,
then
wilderness
15,20)andalsothetext
(verses
they
him."
Thatonfol.139voccurs
Itcouldrelate
toboth.
alongside
sought
theepisode
ofMosesstriking
therock
Psalm104,which
alsoinvokes
(verse
41).
SeeR.Rosewell,
Medieval
Wall
inEnglish
andWelsh
Churches
Paintings
Wall
2008),165,fig.180;andTristram,
Painting,
English
(Woodbridge,
75-77andpls.22-24.
156-58
A.G.I. Christie,
Medieval
(Oxford,
1938),
English
Embroidery
known
ofthis
isfound
andpl.CIX.Theonly
widely
iconography
example
inGiovanni
sAltarpiece
theBaptist
delBiondo'
(ca.1360-70,
ofSt.John
andK.Steinweg,
Contini
Bonacossi
seeR.Offner
Collection,
Florence);
A Critical
sec.4,vol.5,
andHistorical
Painting,
Corpus
ofFlorentine
1-12.
Part1(NewYork,
1967),112-14andpl.XXV,
figs.
AnArchitectural
Onthesculpture,
seeE. Fernie,
History
ofNorwich
Cathedral
(Oxford,
1993),174-75.
Taken
W.H.St.John
"Inventories
oftheCollege
ofStoke-by-Clare
Hope,
Institute
in1534and1547-8,"
oftheSuffolk
ofArchaeolProceedings
St.John
17(1919),24,50.Unicorns
alsoaccompany
ogyandHistory,
in
inother,
miniatures
lateimages
madeinEngland.
See,forexample,
fols.
Art
Dunstable
Guild
Luton,
Museum,
5v,6);andK.L.
Register
(e.g.,
Tradition
andInnovation
inLater
Medieval
Scott,
English
Manuscripts
andtheir
Inthiscasethey
arenottrampled,
(London,
2007),134-35.
tovirginity.
symbolism
mayrelate
Medieval
See,forexample,
Christie,
English
Embroidery,
pls.CIX,
Medieval
,ed.D.King
CXIV;andOpus
Embroidery
Angličanům:
English
38andpl.18.
(London,
1963),
andContext
SeeTheThornham
ParvaRetable:
Conservation
Technique,
Medieval
ed.A.Massing
(London,
2003),13-14;
ofanEnglish
Painting,
andS. Panayotova,
TheMacclesfield
Psalter
55.
2008),
(London,
149
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All use subject to JSTOR Terms and Conditions
52.
2:89.
Gothic
49. Sandler,
, 1:ills.214-15,
Manuscripts
andRelated
50. C. Hull,"TheDouaiPsalter
(Dissertation,
Manuscripts"
The
196.Panayotova,
NewHaven,
YaleUniversity,
CT,1994),192-93,
Gothic
Cf.Sandler,
Psalter
1330s."
, 21,says"probably
Macclesfield
, 1:56.
53.
Manuscripts
first
articulated
ofEastAnglian
51. Onthisdivision
illumination,
byOtto
Psalter
TheMacclesfield
seemost
, 17-20.
Pächt,
Panayotova,
recently
and
theBaptist"
ofJohn
"FaceRelics
seeCarr,
Onheadandfacerelics,
is absent
citedat174n. 13,177nn.77,87.Thesubject
theliterature
inMedieval
Biblical
from
C. M.Kauffmann's
Imagery
study,
important
700-1550
2003).
(London,
England,
'sAbbey
StAugustine
inBarker-Benfield,
Inaddition
tothediscussion
,see
's
inSt.Augustine
andLearning,"
"TheArts
andJ.Mitchell,
T.A.Heslop
67-89.
R.
ed.
Gem
,
,
1997),
(London,
Canterbury
Abbey
150
This content downloaded from 138.251.162.207 on Fri, 22 Aug 2014 10:48:46 AM
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