Medieval art shows a clear predilection for typology (O. T.
foreshadowing N. T.) A good example is the so called "Cross of Godefroid de
Claire" (British Museum), decorated with five O.T. scenes that were related
to the Cross and/or the Passion of Christ: The brazen serpent (Numbers 21:
8), Elijah with the Widow of Zarephath (I Kings 17 : 8); Joshua and Caleb
carrying grapes from the Promised Land (Numbers 13 : 23); The Greek TAU
depicted on the Israelites' doors (Exodus 12 : 7) and Jacob blessing Ephraim
and Nanasseh (Genesis 48 : 13-14).
Another example: the first iconographical program for the portals of
Santiago de Compostela cathedral was a typological one: the North portal
(the O.T.) had (it was demolished) scenes that foreshadowed the Passion and
Redemption (The Original Sin, David, Abraham...) while the South (the N.T.)
was conceived as the fullfilment of the prophecies and, expectedly, the
sculptures are mostly related to Christ (Epiphany, Temptation, Passion...)
I think, but have not the time to check this point, that Dante wrote
some pages concerning the four different ways a christian can understand the
Bible. (Otfried, I think is your turn...)
With the best regards
Carlos
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
|