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medieval-religion: Scholarly discussions of medieval religion and culture

Henk,
My typo, Zandlooper, as Dr. Bugslag indicates, is what he¹s looking
for...the one with the double o does seem to be in Belgium...
Judith

On 11/22/10 1:36 PM, "Henk" <[log in to unmask]> wrote:

> medieval-religion: Scholarly discussions of medieval religion and culture
> A Œzandloper¹ (lit. sandrunner) is an hourglass. So not an area in Belgium.
> The hourglass, according to Van der Linden, De Heiligen (the Saints), p 1074
> is the attribute of Hieronymus of Bethlehem or of Philiipus Benitius. But in
> heraldry it stands for the passing of time, eternity, or death (especially
> when winged). This work has no hourglasses or other life-death symbols
> connected to St Monica.
>  
> Henk
>  
> 
> Van: medieval-religion - Scholarly discussions of medieval religious culture
> [mailto:[log in to unmask]] Namens Dr Jim Bugslag
> Verzonden: maandag 22 november 2010 18:43
> Aan: [log in to unmask]
> Onderwerp: Re: [M-R] FW: Essex reliquary: Long hair and spikenard?
>  
> medieval-religion: Scholarly discussions of medieval religion and culture
> Genevra,
> I had occasion recently to consider this question in terms of the monumental
> tomb brass of the twice-married Joan, Lady Cromwell (d.1479) in Holy Trinity
> Church, Tattershall.  The brass was probably commissioned after her death,
> probably c.1490, and she is represented with long, flowing hair, uncovered but
> with a floral band around her head.  After two marriages, I think we can be
> pretty sure that she was no longer a virgin, but I could not say whether some
> flattering allusion to that state was intended.  The problem with such
> iconographic questions is that Emile Male was dead wrong when he wrote about
> medieval artists being constrained by iron-clad laws of representation.  I'm
> currently trying to figure out, for example, why a mid-17th century image of
> St Monica would have her carrying two shields, one carrying the Name of Jesus,
> IHS, the other "een zandlooper", whatever that is (can any of our Dutch
> colleagues hazard a guess at that?).  These do not appear to be "standard"
> attributes of St Monica.
> Cheers,
> Jim
> 
> 
> On 22/11/2010 10:57 AM, Genevra Kornbluth wrote:
> medieval-religion: Scholarly discussions of medieval religion and culture The
> issue is not one of verisimilitude, but one of iconographic significance. In
> western medieval art, long flowing hair (uncovered) normally identifies a
> saint as a virgin or penitent. Covered hair designates a married woman
> (whether to a regular man or to Christ). Hair styled in other ways-- in a bun,
> braids, etc.-- may well follow contemporary fashion. In any case, the
> conventions relating to hair are specific to particular times and places. A
> Bulgarian icon, especially one as late as the one in the link appears to be,
> follows the conventions of a different tradition.
> The question about the Essex reliquary amulet would be, did long unbound and
> uncovered hair retain its medieval significance in this sixteenth-century
> work? Do specific images from the fifteenth or sixteenth century demonstrate a
> shift of meaning?
> Best,
> Genevra
> 
> On 11/22/2010 11:33 AM, Marjorie Greene wrote:
>  
> Here:
> http://simple.wikipedia.org/wiki/Helena_of_Constantinople
> she's uncrowned, holding a big cross, but hair is not flowing (left) and
> crowned, flowing hair, holding a somewhat stylized cross (right).
> I suspect that the hair thing has to do more with ladies' hair styles of the
> time of the creation of the image than with any attempt at verisimilitude.
> MG
>  
> 
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