medieval-religion: Scholarly discussions of medieval religion and culture
To omit the Good Thief (Luke 23:39-43), medievally also familiar from the Gospel of Nicodemus (where he accompanies Christ in the Harrowing of Hell), would be a dismal thing to do. Santa Croce in Gerusalemme at Rome appears to have at least two fragments of his cross, the one hanging to the left of the relics of the True Cross here:
http://www.christorchaos.com/images/Picture306.jpg
and this separately displayed relic:
http://www.rosaryworkshop.com/PHOTO-Rome-Crx-8.jpg
Some period-pertinent images of the Good Thief (a.k.a. St. Dismas); those from Crucifixion scenes show him differentiated from his fellow thief by more than mere position in the three crosses:
a) as depicted (in Paradise, betw. the BVM and a cherub in the Gate of Heaven, in a set of images of the Last Judgment) in the probably originally late twelfth-century Last Judgement mosaic on the west wall of the nave (the counter-facade) in the basilica di Santa Maria Assunta in Torcello:
http://tinyurl.com/joau9po
Detail view (the Good Thief and the cherub in the Gate of Heaven):
http://tinyurl.com/jljxelf
b) as depicted (upper register at left) in a Crucifixion scene in a later thirteenth-century Psalter from England (Paris: BnF, ms. Latin 765, fol. 14r):
http://gallica.bnf.fr/ark:/12148/btv1b60005131/f29.item.zoom
c) as depicted (detail of a Crucifixion scene) in the earlier fourteenth-century frescoes (betw. ca. 1312 and 1321/1322) in the monastery church of the Theotokos at Gračanica in, depending on one's view of the matter, either Serbia's province of Kosovo and Metohija or the Republic of Kosovo:
http://tinyurl.com/hljror6
d) as depicted (in Paradise, below the BVM) in the earlier fourteenth century frescoes (betw. 1335-1350) in the Visoki Dečani monastery near Peć in, depending on one's view of the matter, the Republic of Kosovo or Serbia's province of Kosovo and Metohija:
http://tinyurl.com/ywfatd
An incomplete but larger view of this image of the Good Thief is here:
http://tinyurl.com/ydkxvqx
An even larger view (differently incomplete):
http://tinyurl.com/7c59lrp
e) as depicted (upper register at left) in an earlier fourteenth-century fresco (ca. 1340; formerly attributed to Barna da Siena) in the chiesa collegiata di Santa Maria Assunta in San Gimignano (SI):
http://www.wga.hu/art/m/memmi/gimignan/5bay.jpg
f) as depicted (upper register at left) by Pietro Lorenzetti in an earlier fourteenth-century panel painting (1340s) in the Metropolitan Museum of Art, New York:
http://www.metmuseum.org/art/collection/search/438605
http://images.metmuseum.org/CRDImages/ep/original/DP278472.jpg
g) as depicted (at left in the scene at right, smiling) in a mid-fourteenth-century copy, from the workshop of Richard and Jeanne de Montbaston, of the _Legenda aurea_ in its French-language version by Jean de Vignay (1348; Paris, BnF, ms. Français 241, fol. 87r):
http://tinyurl.com/h6y3pm3
h) as depicted (upper register at left) in the early fifteenth-century panel painting of the Crucifixion (ca. 1420; from the now dismembered Rajhrad altarpiece) in the National Gallery in Prague:
http://tinyurl.com/gsrbpcm
Detail view (Good Thief):
http://image.pbs.org/poster_images/assets/404558.JPG.resize.710x399.jpg
i) as depicted (upper register at left) by Hans von Tübingen in an earlier fifteenth-century panel painting (1430) of the Crucifixion in the Österreichische Galerie Belvedere in Vienna:
http://tinyurl.com/hk3pbyw
j) as depicted (at far left) in a mid-fifteenth-century copy of the _Speculum humanae salvationis_ in a French-language translation (Paris, BnF, ms. Français 188, fol. 28v):
http://tinyurl.com/hz9z9cq
k) as depicted (upper register at far right; depiction of Paradise in a scene of the Harrowing of Hell) in a later fifteenth-century copy of Vincent of Beauvais' _Speculum historiale_ in its French-language version by Jean de Vignay (1463; Paris, BnF, ms. Français 50, fol. 237v):
http://tinyurl.com/zvt9f43
l) as depicted (upper register at left) by Giovanni Canavesio in a late fifteenth-century fresco (betw. 1490 and 1492) of the Crucifixion in the chapelle Notre-Dame-des-Fontaines in La Brigue (Alpes-Maritimes):
http://tinyurl.com/h4efwp2
Detail view (Good Thief):
http://tinyurl.com/ha4cbnx
m) as depicted (upper register at left) by Gaudenzio Ferrari in an early sixteenth-century fresco (by 1513) of the Crucifixion in the chiesa di Santa Maria delle Grazie in Varallo Sesia (VC) in Piedmont:
http://tinyurl.com/gmzgtnh
Detail view (Good Thief):
http://tinyurl.com/hc5hwfb
n) as depicted (upper register at left) in the central panel of an earlier sixteenth-century altarpiece (1524) in the Konradikapelle in the Münster in Konstanz:
http://tinyurl.com/zpf4y68
o) as depicted in a detail of the Crucifixion in the earlier sixteenth-century frescoes (betw. 1532-1550 ) in the église paroissiale Saint-Sébastien in Plampinet, a locality of Névache (Hautes-Alpes):
http://tinyurl.com/zleclsr
p) as depicted (upper register) by Laurent Le Sodec in the earlier sixteenth-century great window (1539) in the église Saint-Yves in La Roche-Maurice (Finistère):
http://tinyurl.com/zzvtng6
The window as a whole:
http://www.sprev.org/wp-content/uploads/37.-maitresse-vitre-vue-du-jube-768x1024.jpg
Best,
John Dillon
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