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medieval-religion: Scholarly discussions of medieval religion and culture A fe w glass images: Chartres, Cathédrale Notre Dame, Bay 50, c1145-55: https://www.flickr.com/photos/22274117@N08/4147052747 and: https://www.flickr.com/photos/22274117@N08/4147814192 Ashbourne, St Oswald, Derbyshire Bay XVII, 5a, 1240’s: https://www.flickr.com/photos/22274117@N08/15339273114 York Minster, CHnII, 6a, c.1290: https://www.flickr.com/photos/22274117@N08/5032614889 Newark, St Mary Magdalene, Nottinghamshire, sII, 4a, early 15thc.: https://www.flickr.com/photos/22274117@N08/26034582814 Gordon Pllumb -----Original Message----- From: John Dillon <[log in to unmask]> To: MEDIEVAL-RELIGION <[log in to unmask]> Sent: Wed, Dec 28, 2016 6:58 am Subject: [M-R] FEAST - Saints for the Day (December 28): The Holy Innocents medieval-religion: Scholarly discussions of medieval religion and culture In the general Roman Calendar and in calendars of other churches influenced by it today (28. December) is the feast of the Holy Innocents. The death of these sacrificial victims for Christ is related at Matthew 2: 16-18. Their feast in Rome seems to be no older than the later fourth century. Its stational church is San Paolo fuori le Mura, which latter is said to hold relics of them. Byzantine-Rite churches celebrate this feast on 29. December. Some late antique and medieval images of the Holy Innocents (including some striking antecedents of the German soldier of World War I with a Belgian baby on his bayonet as portrayed in Allied propaganda): a) as portrayed in relief (panel at top) in an earlier fifth-century ivory plaque (ca. 401-433) in the Bode-Museum in Berlin: http://tinyurl.com/q8al7dg b) as depicted in a fifth-century mosaic in Rome's basilica di Santa Maria Maggiore: http://tinyurl.com/cp6xt3o c) as portrayed in relief on a later sixth-century ivory pyxis in the Musée du Louvre in Paris (photograph courtesy of Genevra Kornbluth): http://www.kornbluthphoto.com/images/LouvrePyxis2b.jpg d) as portrayed in relief on a ninth-century ivory plaque re-used for the upper cover of a late tenth-century Gospels from Metz (Paris, BnF, ms. Latin 9393): http://tinyurl.com/yceywa4 e) as depicted in the later tenth-century Codex Egberti, a book of Gospel pericopes (Trier, Stadtbibliothek, Ms. 24, fol. 15v): http://tinyurl.com/6ujrwe f) as depicted in the late tenth- or very early eleventh-century so-called Menologion of Basil II (Città del Vaticano, BAV, cod. Vat. gr. 1613, p. 281; image greatly expandable): http://digi.vatlib.it/view/MSS_Vat.gr.1613/0303 g) as depicted in a late tenth- or earlier eleventh-century troper from Autun (betw. 996 and 1024; Paris, BnF, ms. Arsenal 1169, fol. 11r): http://gallica.bnf.fr/ark:/12148/btv1b52000516z/f27.item.zoom h) as portrayed in relief (first three segments at left) on a panel from an early eleventh-century choir screen from the church of St. Domenica (Sv. Nediljica) in Zadar, now in the Arheološki muzej - Zadar in that city: http://www.zadar.travel/images/original/ZADAR_Arheoloski_muzej_3_1337099072.jpg i) as depicted in the late eleventh- or mid-twelfth century frescoes in the église Saint-Aignan at Brinay (Cher): http://www.sagaphoto.com/bassedefWM/18PF0320.jpg http://www.art-roman.net/brinay/brinay30x.jpg http://tinyurl.com/6r8jolv http://tinyurl.com/7zlwdnm j) as portrayed in the mid-twelfth-century capital reliefs (ca. 1145; the better preserved portions of a longer frieze) on the central portal of the west facade of the basilique cathédrale Notre-Dame in Chartres: http://tinyurl.com/2ettdp7 k) as depicted on a mid-twelfth-century copper-gilt plaque of German origin with champlevé enamel in the Metropolitan Museum of Art in New York: http://tinyurl.com/pmy4c33 l) as depicted on one of the long sides of a mid- to late twelfth-century copper-gilt reliquary châsse of Limousin origin with champlevé enamel in the Musée du Louvre in Paris: https://www.flickr.com/photos/roelipilami/5487603702 Detail view: http://tinyurl.com/zt42av7 m) as depicted in a later twelfth-century fresco (ca. 1180) in the Panteón de los Reyes in the real basilica colegiata de San Isidoro in Léon: http://tinyurl.com/yl7fhdx Detail view: http://www.wga.hu/art/zgothic/mural/12c2/03catala.jpg n) as portrayed in relief on the late twelfth-century west portal (betw. 1180 and 1190; restored from 1988 to 1995) of the basilique primatiale Saint-Trophime in Arles: 1) http://www.bluffton.edu/~sullivanm/france/arles/sttrophime/0162.jpg 2) https://www.bluffton.edu/~sullivanm/france/arles/sttrophime/0139.jpg o) as depicted in two of four panels of a full-page illumination in the late twelfth-century so-called Bible of Saint Bertin (ca. 1190-1200; Den Haag, KB, ms. 76 F 5, fol. 10v, scs. 2A and 2B): 1) Herod sends his soldiers: http://manuscripts.kb.nl/zoom/BYVANCKB%3Amimi_76f5%3A011v_min_a2 2) The massacre: http://manuscripts.kb.nl/zoom/BYVANCKB%3Amimi_76f5%3A011v_min_b2 p) as portrayed on a late twelfth- or early thirteenth-century capital (ca. 1200) in the iglesia de Santa Cecilia in Aguilar de Campóo (Palencia): http://static.panoramio.com/photos/original/9337683.jpg Detail views: http://www.arquivoltas.com/8-palencia/02-Aguilar%20de%20Campoo-SCecilia2.htm q) as depicted (bottom register) in the earlier thirteenth-century apse mosaic (ca. 1220) of Rome's basilica di San Paolo fuori le Mura (a medievally unusual image of the Innocents, showing them as nimbed martyrs standing side by side in heaven rather than as individual children being slaughtered; for a similar instance, see item zz, below): https://www.flickr.com/photos/28433765@N07/5869352159 Detail view: http://tinyurl.com/2badk6h In addition to being unusual that depiction is also seldom seen. Since basilica's rebuilding in the nineteenth century this section of the mosaic has been hidden from ordinary view by a neoclassical entablature: http://tinyurl.com/28dmykd r) as portrayed in relief in an earlier thirteenth-century stone quatrefoil (betw. ca. 1220 and 1236) on the south portal of the west facade of the basilique cathédrale Notre-Dame in Amiens: http://tinyurl.com/22rtryv s) as portrayed in relief on the lid of an earlier thirteenth-century iron baptismal font (ca. 1225) in the Hohe Domkirche St. Mariä Himmelfahrt in Hildesheim: http://www.flickr.com/photos/28433765@N07/3941761102/lightbox/ t) as portrayed in high relief (bottom register at right) on the tympanum of the mid-thirteenth-century cloister portal (ca. 1250) in the north facade of the basilique cathédrale Notre-Dame in Paris: http://tinyurl.com/2d2pl7h u) as depicted in an earlier thirteenth-century _Bible moralisée_ (ca. 1226-1251; Vienna, ÖNB, cod. 2554, fol. 21r): http://manuscriptminiatures.com/4748/10665/ v) as depicted in a mid- to late thirteenth-century psalter for the Use of Arras (Aix-en-Provence, Bibliothèque Méjanes, ms. 14, fol. XIr): http://www.enluminures.culture.fr/Wave/savimage/enlumine/irht3/IRHT_069509-p.jpg w) as portrayed in high relief on the tympanum of the late thirteenth-century north portal (betw. 1280 and ca. 1285) of the west facade of the basilique cathédrale Notre-Dame in Strasbourg: http://www.bluffton.edu/~sullivanm/strasbourg/westntympdet.jpg x) as depicted in late thirteenth-century copy of French origin of the _Legenda aurea_ (San Marino, CA, Huntington Library, ms. HM 3027, fol.11v): http://digitalassets.lib.berkeley.edu/ds/huntington/images//000976A.jpg y) as depicted in a late thirteenth-century glass window panel in the basilique Saint-Urbain in Troyes (ca. 1280-1300; bay 5): http://tinyurl.com/ygjtj7f z) as depicted in the late thirteenth-century Livre d'images de Madame Marie (betw. ca. 1285 and ca. 1290; Paris, BnF, ms. Nouvelle acquisition française 16251, fol. 24r):- http://tinyurl.com/ydzmsss aa) as portrayed in relief on a fourteenth-century carved wooden panel in the Museo Civico d'Arte Antica (Palazzo Madama) in Turin: https://farm6.staticflickr.com/5228/5832859668_28482103ec_b.jpg bb) as portrayed in high relief by Giovanni Pisano on his late thirteenth- or very early fourteenth-century pulpit (betw. 1297 and 1301) in the chiesa di Sant'Andrea, Pistoia: http://www.geometriefluide.com/foto/PIC1754O.jpg cc) as depicted by Giotto di Bondone in his early fourteenth-century frescoes (betw. 1303 and 1305) in the Cappella degli Scrovegni (Arena Chapel) in Padua: http://tinyurl.com/chva3su dd) as depicted by Duccio di Buoninsegna on a predella panel of his early fourteenth-century Maestà altarpiece (betw. 1308-1311) in the Museo del Opera del Duomo in Siena: http://tinyurl.com/hqy98fp ee) as depicted on two lunettes in the exonarthex in the early fourteenth-century mosaics (betw. 1315 and 1321) in the Chora church (Kariye Camii) in Istanbul: 1) Both lunettes, the second incompletely shown: http://tinyurl.com/85jzr9z Detail views: http://www.pbase.com/dosseman/image/30643814/original http://tinyurl.com/q4gjw5x 2) A further scene on the second lunette: http://tinyurl.com/grsmqnn ff) as depicted by Giotto di Bondone and workshop (attrib.) in an earlier fourteenth-century fresco (ca. 1320) in the lower church of the basilica di San Francesco, Assisi: http://tinyurl.com/gotq7t2 Detail view: http://www.engramma.it/eOS/image/88/franz_08.jpg gg) as portrayed in relief on the earlier fourteenth-century choir screen (ca. 1326-1350) in the cathédrale de Notre-Dame in Paris: http://bobandnellasworld.com/Paris-Spain_2010/Paris/Notre-Dame/t20_0114_l.jpg hh) as depicted by Giovanni di Bonino in a panel of the earlier fourteenth-century glass window (ca. 1334) in the basilica cattedrale di Santa Maria Assunta in Orvieto: http://www.icvbc.cnr.it/bivi/schede/Umbria/orvieto/1duomo15.htm ii) as depicted (upper register) in an earlier fourteenth-century Armenian-language Gospels from Khizan (1335; Paris, BnF, ms. Arménien 333, fol. 4v): http://tinyurl.com/y9zn7oo jj) as depicted in a suboptimally preserved earlier fourteenth-century fresco (betw. 1335 and 1350) in the narthex of the church of the Holy Ascension in the Visoki Dečani monastery near Peć in, depending upon one's view of the matter, either the Republic of Kosovo or Serbia's province of Kosovo and Metohija: http://tinyurl.com/cbhhg4m Detail view: http://tinyurl.com/c566zc8 kk) as depicted by the Master of Waltensburg / Waltensburger Meister / Maister da Vuorz in an earlier fourteenth-century fresco (ca. 1340) in the Pfarrkirche Sankt Zeno in Lüen (Canton Graubünden / Grisons): http://tinyurl.com/38a53x ll) as depicted in a mid-fourteenth-century copy, from the workshop of Richard and Jeanne de Montbaston, of the _Legenda aurea_ in its French-language translation by Jean de Vignay (1348; Paris, BnF, ms. Français 241, fol. 25v): http://manuscriptminiatures.com/4276/8134/ mm) as portrayed (at upper left) in the mid-fourteenth-century tympanum (ca. 1350) of the south portal of the église Notre-Dame-de-l'Assomption at Mont-devant-Sassey (Meuse): http://ekladata.com/hWk518jrXjWur-OL4pYVGo6fDx8.jpg nn) as depicted by Bartolo di Fredi with the assistance of his son Andrea di Bartolo in a late fourteenth-century panel painting (prob. 1380s) in the Walters Art Museum in Baltimore: http://tinyurl.com/pqprjhq oo) as depicted (panel at right) by Jakob Acker the Elder in the late fourteenth-century Anne and Mary window (ca. 1385; Anna-Marienfenster) in the Münster (ex-cathedral of the BVM) in Ulm: http://www.flickr.com/photos/16459025@N03/3423771517/ pp) as depicted (bottom register; view greatly expandable) in a an early fifteenth-century fresco (1407) in the chiesa parrocchiale di Santa Maria Assunta / Pfarrkirche St. Mariä Himmelfahrt in Terlano / Terlan (BZ) in Trentino-Alto Adige / Südtirol: http://tinyurl.com/d52k8vk Detail view: http://www.burgenseite.com/faschen/terlan_ritter_5.jpg qq) as depicted in an earlier fifteenth-century _Bible historiale_ (ca. 1430; Den Haag, KB, ms. KB, 78 D 38 II, fol. 145v): http://manuscripts.kb.nl/zoom/BYVANCKB%3Amimi_78d38%3Adl2_145v_min rr) as depicted in a mid-fifteenth-century missal for the Use of Nantes (ca. 1450; Le Mans, Bibliothèque municipale, ms. 223; fol. 16v): http://www.enluminures.culture.fr/Wave/savimage/enlumine/irht5/IRHT_082500-p.jpg ss) as depicted by Beato Angelico in a mid-fifteenth-century panel painting (betw. 1450 and 1453; formerly in the church of the Santissima Annunziata in Florence) in Florence's Museo nazionale di San Marco: http://saints.bestlatin.net/images/gallery/innocenti_angelico.jpg tt) as depicted by the Elmelunde Master in a later fifteenth-century vault painting (ca. 1480) in Keldby kirke in Keldby (Vordingborg Kommune), Sjælland: http://www.flickr.com/photos/28577026@N02/2921673716 http://tinyurl.com/c5r7b32 uu) as depicted by Matteo di Giovanni in late fifteenth-century mosaic panels (ca. 1481) in the floor of the cattedrale metropolitana di Santa Maria Assunta in Siena: Overview: http://tinyurl.com/j7ognzq Detail views: http://tinyurl.com/y8k8gf http://tinyurl.com/yeujfbg http://tinyurl.com/ybhkpn9 vv) as depicted by Matteo di Giovanni in two very similar late fifteenth-century panel paintings: 1) in the chiesa di Sant'Agostino in Siena (1482): http://www.wga.hu/art/m/matteo/innocent.jpg 2) in the Museo nazionale di Capodimonte in Naples (1488): http://tinyurl.com/yaeg39l ww) as depicted in a late fifteenth-century breviary for the Use of Besançon (before 1498; Besançon, Bibliothèques municipales, ms. 69, p. 209): http://www.enluminures.culture.fr/Wave/savimage/enlumine/irht5/IRHT_083439-p.jpg xx) as depicted by the Elmelunde Master in a late fifteenth- or early sixteenth-century vault painting (ca. 1500) in Elmelunde kirke in Elmelunde (Vordingborg Kommune), Sjælland: http://tinyurl.com/d229sdw Note the mother wounding the soldier above the eye with a cross-shaped dasher for a butter churn, a motif certainly appropriate for a Danish audience. yy) as portrayed in late fifteenth- or early sixteenth-century gilt and polychromed carved wooden figures (betw. 1498 and 1504) on the great altarpiece of the catedral primada de Santa María in Toledo: http://tinyurl.com/ogrujwz zz) as portrayed in relief (received into Heaven) on an early sixteenth-century roof boss (1509) in the transepts of the Cathedral Church of the Holy and Undivided Trinity in Norwich: http://tinyurl.com/hz27tjb aaa) as depicted (at upper left) in an earlier sixteenth-century glass roundel (ca. 1532) in the Rijksmuseum in Amsterdam: https://www.rijksmuseum.nl/nl/collectie/BK-NM-12969 bbb) as depicted by Theofanis Strelitzas-Bathas (Theophanes the Cretan) and sons in an earlier sixteenth-century fresco (betw. 1535 and 1540) in the katholikon of the Great Lavra on Mt. Athos: http://www.omhksea.org/wp-content/uploads/2012/11/02.1.jpg Best, John Dillon ********************************************************************** To join the list, send the message: subscribe medieval-religion YOUR NAME to: [log in to unmask] To send a message to the list, address it to: [log in to unmask] To leave the list, send the message: unsubscribe medieval-religion to: [log in to unmask] In order to report problems or to contact the list's owners, write to: [log in to unmask] For further information, visit our web site: http://www.jiscmail.ac.uk/medieval-religion ********************************************************************** To join the list, send the message: subscribe medieval-religion YOUR NAME to: [log in to unmask] To send a message to the list, address it to: [log in to unmask] To leave the list, send the message: unsubscribe medieval-religion to: [log in to unmask] In order to report problems or to contact the list's owners, write to: [log in to unmask] For further information, visit our web site: http://www.jiscmail.ac.uk/medieval-religion