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St Catherine of Alexandria, 25th November


John Dillon <[log in to unmask]>


medieval-religion - Scholarly discussions of medieval religious culture <[log in to unmask]>


Thu, 26 Nov 2015 19:12:27 +0000





text/plain (203 lines)

medieval-religion: Scholarly discussions of medieval religion and culture

Further period-pertinent images of St. Catherine of Alexandria:

a) as depicted in the earlier eleventh-century mosaics (restored between 1953 and 1962) in the narthex of the church of the Theotokos in the monastery of Hosios Loukas (St. Luke of Stiria) near Distomo in Phokis: 

b) as depicted in an earlier thirteenth-century painted icon on wood (standing, with scenes from her Passio) in the Holy Monastery of the God-trodden Mount Sinai, St. Catherine (South Sinai governorate):

c) as depicted in an earlier thirteenth-century fresco (1208) in the chapel of Deir Mar Musa al-Habashi (Monastery of St. Moses the Ethiopian) near Al-Nabk (Nebek; Rif-Dimashq governorate) in Syria:

d) as depicted in the earlier thirteenth-century Sts. Margaret and Catherine window (ca. 1220-1227) in the basilique cathédrale Notre-Dame in Chartres:
Following a somewhat different arrangement of the panels:

e) as depicted in an earlier thirteenth-century window (ca. 1220-1230) in the choir of Köln's Basilika St. Kunibert:

f) as depicted in an earlier thirteenth-century fresco (1233/1234) from the chapel of St. Nicholas in the Penteli caves in northern Attika, now in the Byzantine and Christian Museum in Athens:

g) as depicted as depicted in a panel of a mid-thirteenth-century glass window (ca. 1245-1250; w. 202) in Strasbourg's cathédrale Notre-Dame:

h) as depicted in the mid-thirteenth-century frescoes (1259) in the church of Sts. Nicholas and Panteleimon at Boyana near the Bulgarian capital of Sofia:

i) as depicted in a later thirteenth-century Cistercian psalter (ca. 1260; Besançon, Bibliothèques municipales, ms. 54, fol. 11r):

j) as depicted in a later thirteenth-century psalter for the Use of Reims (Carpentras, Bibliothèque municipale Inguimbertine, ms. 77 (\1), fol. 178v):

k) as depicted in a late thirteenth-century Book of Hours for the Use of Thérouanne (ca. 1280-1290; Marseille, Bibliothèque municipale, ms. 111, fol. 148r):

l) as depicted in an initial in a late thirteenth- or early fourteenth-century copy of Clemence of Barking's _La vie sainte Katherine_ (London, BL, MS add. 70513, fol. 246r):
NB: Texts of the poem from this and two other witnesses are available at no. 13 here:

m) as depicted on one side of a fourteenth-century double icon from Veria in northern Greece, now in the Byzantine and Christian Museum in Athens:

n) as portrayed (at left; at right, St. Lucy) flanking St. Flavian of Rome in a fourteenth-century fresco in the lower church of the basilica di San Flaviano in Montefiascone (VT) in northeastern Lazio:

o) as depicted in a fourteenth-century fresco on an arch soffit in the chiesa di San Salvatore in Canzano (TE) in northern Abruzzo

p) as depicted (at left; at right, St. Irene) in the earlier fourteenth-century frescoes (betw. ca. 1311 and ca. 1322) in the church of St. Nicholas Orphanos in Thessaloniki:
Detail view:

q) as depicted (at right; at left, St. Mary Magdalene) by Simone Martini in an earlier fourteenth-century fresco (ca. 1318-1320) at the entrance to the cappella di San Martino in the lower church of the basilica di San Francesco in Assisi:

r) as depicted (in this detail view, upper register at right) by Simone Martini in his earlier fourteenth-century Polyptych of Santa Caterina (1319) in the Museo Nazionale di San Matteo in Pisa:

s) as portrayed by the workshop of Orcagna in an earlier fourteenth-century marble relief (ca. 1320-1330) in the Walters Art Museum, Baltimore:

t) as depicted in an earlier fourteenth-century French-language legendary of Parisian origin with illuminations attributed to the Fauvel Master (ca. 1327; Paris, BnF, ms. Français 183, fol. 100v):

u) as depicted (upper register at left) by Barna da Siena in an earlier fourteenth-century panel painting (betw. 1330 and 1350) of Catherine's mystical marriage with Christ, now in the Museum of Fine Arts, Boston:

v) as depicted (at right; at left, St. Augustine of Hippo) in an earlier fourteenth-century glass window (ca. 1340) in the entrance hall -- an enclosed porch -- of the Basilika Mariä Himmelfahrt in Gurk (Land Kärnten):

w) as depicted by Bernardo Daddi in an earlier fourteenth-century panel painting (ca. 1340) in the Museo dell'Opera del Duomo, Florence:

x) as depicted by Pietro Lorenzetti in a mid-fourteenth-century panel painting (betw. 1342 and 1345) in the Metropolitan Museum of Art, New York:

y) 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 version by Jean de Vignay (1348; Paris, BnF, ms. ms. Français 241, fol. 316r):

z) as depicted (lower register, far left) by Paolo Veneziano and Giovannino Veneziano in their mid-fourteenth-century Coronation of the Virgin altarpiece in the Pinacoteca comunale in San Severino Marche (MC):

aa) as portrayed (before and after restoration) in a mid- or later fourteenth-century sandstone sculpture (betw. 1350 and 1362) in the Kreuzkapelle of the Michaelerkirche in Vienna:

bb) as depicted (treading the emperor underfoot) in a later fourteenth-century fresco (?ca. 1360-1370) in the Pfarr- und Wallfahrtskirche Zu unserer lieben Frau in Mariapfarr (Land Salzburg):

cc) as depicted in the later fourteenth-century frescoes (1360s and 1370s; restored in 1968-1970) in the church of St. Demetrius in Marko's Monastery at Markova Sušica (near Skopje) in the Former Yugoslav Republic of Macedonia:

dd) as portrayed on a late fourteenth-century silver gilt reliquary pendant of French origin (betw. 1370 and 1395) in the Victoria and Albert Museum in London:

ee) as depicted (disputing with philosophers) by  Cenni di Francesco di Ser Cenni in a later fourteenth-century panel painting (ca. 1380?) in the Metropolitan Museum of Art, New York:

ff) as depicted by Giovanni di Benedetto and workshop in a late fourteenth-century Franciscan Book of Hours from Milan (ca. 1385-1390; Paris, BnF, ms. Latin 757, fol. 362v):

gg) as depicted (at right; at left, St. Nicholas of Myra) in a late fourteenth- or early fifteenth-century panel painting (ca. 1395-1400 or ca. 1405) by Gentile da Fabriano in the Staatliche Museen in Berlin:

hh) as portrayed in a late fourteenth- or earlier fifteenth-century ivory statuette from the Rhineland now in Paris in the Musée du Louvre (photographs courtesy of Genevra Kornbluth):

ii) as depicted (scenes, starting here and going forward) in the earlier fifteenth-century Belles Heures of Jean de France, Duc de Berry (ca. 1407; The Cloisters Collection, Metropolitan Museum of Art, New York, ms. 1954 [54.1.1], fols. 15r-20r):

jj) as depicted (scenes from her legend) in an earlier fifteenth-century fresco (betw. 1428 and 1431) by Masolino da Panicale in the cappella di Santa Caterina in Rome's basilica di San Clemente:

kk) as depicted in the earlier fifteenth-century Hours of Marguerite d'Orléans (ca. 1430; Paris, BnF, ms. Latin 1156b, fol. 175r):

ll) as depicted (at right; at left, St. Dorothea) by the Master of the Darmstadt Passion in an earlier fifteenth-century panel painting (ca. 1440) in the Musée des Beaux-Arts in Dijon:

mm) as depicted by the court workshop of Frederick III in the mid-fifteenth-century Prayer Book of Frederick III (1447-1448; Vienna, ÖNB, cod. 1767, fol. 289r):

nn) as depicted with a donor in a mid-fifteenth-century glass window panel (ca. 1450) from the église Saint-Étienne in Elbeuf (Seine-Maritime), now in The Cloisters Collection, Metropolitan Museum of Art, New York:

oo) as depicted (at left, treading the emperor underfoot; at center, St. Nicholas of Myra; at right, St. Lawrence of Rome) in the mid-to-later fifteenth-century frescoes (ca. 1450-1475) of Nørre Tranders kirke, Nørre Tranders (Aalborg Kommune), Nordjylland:
Detail view (Catherine):

pp) as portrayed in relief on a wing of a later fifteenth-century altarpiece made in Cologne, since 1931 in Sankt Peters Klosters kyrka, Lund:

qq) as portrayed in a later fifteenth-century polychromed wooden reliquary bust (ca. 1465) of northern Netherlandish origin in the Metropolitan Museum of Art, New York:

rr) as depicted in a later fifteenth-century panel painting (1467) by Michael Pacher in the Tiroler Landesmuseum Ferdinandeum in Innsbruck:

ss) as depicted in a later fifteenth-century panel painting by Carlo Crivelli (ca. 1470; from his now dismembered Montefiore altarpiece) in the Polo Museale di San Francesco at Montefiore dell'Aso (AP) in the Marche:
Detail view:

tt) as portrayed in high relief in a later fifteenth-century polychromed terracotta plaque from Utrecht (ca. 1480) in the Victoria and Albert Museum, London:
A better view:

uu) as depicted (treading the emperor underfoot) by Thomas of Villach in a later fifteenth-century panel painting (ca. 1480-1490) in the (Stifts-)Pfarrkirche St. Salvator und Allerheiligen in Millstatt (Land Kärnten):

vv) as depicted by Vittore Crivelli in a late fifteenth-century panel painting (1481) in the Victoria and Albert Museum, London:

ww) as depicted (lower register, far left) by Sandro Botticelli in the central panel of his Barnabas altarpiece (c1487) in Galleria degli Uffizi, Florence:
Detail view:

xx) as portrayed in high relief in the late fifteenth-century lower choir stalls (1491-1492) in the catedral metropolitana de San Salvador in Oviedo:

yy) as portrayed in a late fifteenth- or early sixteenth-century polychromed wooden statue in Jelling Kirke, Jelling, Syddanmark:

zz) as depicted in a late fifteenth- or early sixteenth-century icon in the Simonopetra monastery on Mt. Athos:

aaa) as depicted on a panel of the late fifteenth- or early sixteenth-century chancel screen in St Mary's Church, North Tuddenham (Norfolk):

bbb) as depicted in a late fifteenth- or earlier sixteenth-century drawing by Albrecht Dürer in the Metropolitan Museum of Art, New York:

ccc) as depicted (treading the emperor underfoot) in a late fifteenth- or earlier sixteenth-century glass roundel of southern Netherlandish origin in the Metropolitan Museum of Art, New York:

ddd) as depicted in an earlier sixteenth-century glass window panel of local origin in the Museum Schnütgen in Köln:

John Dillon
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