medieval-religion: Scholarly discussions of medieval religion and culture
As some will have noticed -- and then been too kind to point out -- item h) in the previous post is incomplete. It is also erroneous in a couple of places, as it's actually text from a post for another saint that I had intended to use as a stub for an image of of Leo I in the same manuscript. Having later decided not to use that image, I cleverly forgot to remove this matter. Here's a corrected version:
h) as depicted (celebrating Mass) in an historiated initial "L" in a fourteenth-century copy, from the diocese of Girona, of a Catalan-language version of the _Legenda aurea_ (Paris, BnF, ms. Espagnol 44, fol. 128v [continue clicking on the image for increasingly higher resolution]):
http://gallica.bnf.fr/ark:/12148/btv1b52506309k/f262.item.zoom
The central position of Leo's hand in this image suggests that what is depicted is an initial stage of the miracle story of his severed hand.
Best again,
John Dillon
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From: medieval-religion - Scholarly discussions of medieval religious culture <[log in to unmask]> on behalf of John Dillon <[log in to unmask]>
Sent: Thursday, November 10, 2016 12:37:22 AM
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Subject: [M-R] FEAST - A Saint for the Day (November 10): pope St. Leo I
medieval-religion: Scholarly discussions of medieval religion and culture
An activist pope who promoted the doctrine of Petrine succession and who vigorously championed his views of proper Christian belief, Leo (a.k.a. Leo the Great; d. 461) persuaded Attila the Hun not to attack Rome in 452 but was unable to prevent the Vandal sack under Gaiseric in 455. Doctrinally, he is most remembered as the author of the Tome of Leo, one of the founding documents of Chalcedonian orthodoxy. Jacopo da Varazze's later thirteenth-century _Legenda aurea_ offers an anecdote in which Leo, while celebrating Easter Mass at Santa Maria Maggiore, was kissed on the hand by a women and became desirous of her; racked with guilt, he cut off the hand but was made whole by the BVM who appeared to him as he was praying. Today is Leo's feast day in the Roman Calendar. Byzantine-Rite churches celebrate him on 18. February.
A leaf from a fragmentary seventh- or eighth-century north Italian manuscript of Leo's sermons (Salzburg, Universitätsbibliothek, Cod. M II 274):
http://tinyurl.com/2844ydd
Some period-pertinent images of pope St. Leo I:
a) as depicted (at far left) in a later eighth-century fresco (betw. 757 and 767) in the nave of Rome's chiesa di Santa Maria Antiqua:
http://www.rai.tv/dl/img/2012/10/1349112791697Roma-SantaMariaAntiqua.jpg
Detail view (Leo):
http://tinyurl.com/yk44drf
b) as depicted in the later tenth- or very early eleventh-century so-called Menologion of Basil II (Città del Vaticano, BAV, Vat. gr. 1613):
http://digi.vatlib.it/view/MSS_Vat.gr.1613/0434
http://tinyurl.com/pgsv5sm
c) as depicted (at left; at center and at right, respectively: popes St. Gregory I and Silvester I) in an eleventh-century fresco in the diakonikon of the cathedral of Hagia Sophia (now Sv. Sofija) in Ohrid:
http://tinyurl.com/pbu6oj8
d) as depicted in a mid-eleventh-century mosaic in the cathedral of St. Sophia in Kyiv (lower portion restored with oil painting in the nineteenth century):
http://tinyurl.com/c3t5xeu
e) as depicted (grayscale view) in the later twelfth-century frescoes of the originally eleventh-century church of Ag. Anargyroi in Kastoria (Kastoria prefecture) in northwestern Greece:
http://tinyurl.com/35nqluy
f) as depicted (at right; at left, St. Peter) in a probably thirteenth-century fresco in the rupestrian church of San Nicola at Casalrotto, a locality of Mottola (TA) in Apulia:
http://farm9.staticflickr.com/8457/8008263225_ed5094e198.jpg
http://tinyurl.com/5zz72y
Full-length views:
http://img.travel.ru/images2/2006/05/object89145/020506-13.jpg
http://www.flickr.com/photos/ormus_75/2921632483/sizes/l/
g) as depicted (the miracle of his severed hand) in a late thirteenth-century copy of French origin of the _Legenda aurea_ (San Marino, CA, Huntington Library, ms. HM 3027, fol. 69v):
http://digitalassets.lib.berkeley.edu/ds/huntington/images//000949A.jpg
h) as depicted (martyrdom) in an historiated initial "L" in a fourteenth-century copy, from the diocese of Girona, of a Catalan-language version of the _Legenda aurea_ (Paris, BnF, ms. Espagnol 44, fol. 227r [continue clicking on the image for increasingly higher resolution]):
i) as depicted in the earlier fourteenth-century frescoes (betw. ca. 1312 and 1321/1322) of the triumphal arch in the monastery church of the Theotokos at Gračanica in, depending on one's view of the matter, Serbia's province of Kosovo and Metohija or the Republic of Kosovo:
http://tinyurl.com/yjxmo4e
j) as depicted (upper register at center) in the earlier fourteenth-century frescoes (betw. 1313 and 1318; conservation work in 1968) by Michael Astrapas and Eutychios in the church of St. George at Staro Nagoričane in the Former Yugoslav Republic of Macedonia:
http://tinyurl.com/ja8grrg
Detail view (Leo):
http://tinyurl.com/jlfnagj
k) as depicted (the miracle of his severed hand) in an earlier 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. 145v):
http://tinyurl.com/yhwuv6v
l) as depicted (at right; at left, pope St. Silvester I) in the Litanies section of a later fourteenth-century miscellany of mostly French-language devotional texts (betw. 1351 and 1400; Paris, BnF, Français 400 [Colbert 1432], fol. 32v):
http://gallica.bnf.fr/ark:/12148/btv1b105258207/f66.item.r=.zoom
m) as depicted (meeting Attila) in an historiated initial "D" in the later fourteenth-century Hungarian _Képes Krónika_ / _Chronicon pictum_ (betw. 1358 and 1373):
http://tinyurl.com/2rkma8
n) as depicted in an historiated initial "E" in a later fourteenth-century Office lectionary produced in northern Italy (1377; Bourges, Bibliothèque patrimoniale et d'étude des Quatre-Piliers, ms. 19, fol. 24r):
http://www.culture.gouv.fr/Wave/savimage/enlumine/irht8/IRHT_146498-p.jpg
o) as twice depicted (right margin: facing Attila [in the left margin]; at the sack of Rome) in pen-and-ink drawings in a later fourteenth- or earlier fifteenth-century abridgement of Godfrey of Viterbo's _Pantheon_ (Paris, BnF, ms. Latin 4935, fol. 13r):
http://gallica.bnf.fr/ark:/12148/btv1b8455934w/f35.item.r=.zoom
p) as depicted in an historiated initial "L" in the very late fourteenth- and early fifteenth-century Breviary of Martin of Aragon (Paris, BnF, ms. Rothschild 2529, fol. 180v):
http://gallica.bnf.fr/ark:/12148/btv1b52000996s/f362.item.zoom
q) as depicted (the miracle of his severed hand) in an earlier fifteenth-century copy of the _Legenda aurea_ in its French-language version by Jean de Vignay followed by the _Festes nouvelles_ attributed to Jean Golein (ca. 1401-1425; Paris, BnF, ms. Français 242, fol. 126r):
http://gallica.bnf.fr/ark:/12148/btv1b8426005j/f267.item.zoom
r) as depicted (right-hand column; left-hand column: St. Aegidius / Giles) in the early fifteenth-century Hours of René of Anjou (ca. 1410; London, BL, MS Egerton 1070, fol. 101r):
http://www.bl.uk/manuscripts/Viewer.aspx?ref=egerton_ms_1070_f101r
s) as depicted (appealing to Genseric not to sack Rome) by Maître François in the first volume of a later fifteenth-century copy of St. Augustine's _City of God_ in its French-language version by Raoul de Presles (ca. 1475; Den Haag, Museum Meermanno, ms. 10 A 11):
http://tinyurl.com/24ma3zz
t) as depicted (second from left; at left, Prosper of Aquitaine) in a mid-fifteenth-century copy of Giovanni Colonna's _Mare historiarum_ (betw. 1447 and 1455; Paris, BnF, ms. Latin 4915, fol. 287r):
http://gallica.bnf.fr/ark:/12148/btv1b6000905v/f643.item.zoom
u) as depicted in grisaille by Jean le Tavernier in the mid-fifteenth-century Hours of Philip of Burgundy (ca. 1451-1460; Den Haag, KB, ms. 76 F 2, fol. 311r):
http://manuscripts.kb.nl/zoom/BYVANCKB%3Amimi_76f2%3A311r_min
v) as depicted (meeting Attila) by Raphael in the Vatican's Stanza di Eliodoro (1514):
http://www.wga.hu/art/r/raphael/4stanze/2eliodor/4meetin.jpg
Best,
John Dillon
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