Ars: časopis Ústavu Dejín Umenia Slovenskej Akadémie Vied (44.2011)

Ry^.- DEUKERi - LEEEÍGER - ÆEEREE /P^7 zzz zzzzE

of blood, but in each case the signihcance is saving,
salvation and healing. A second typological coordina-
tion places the Haemorrhoissa scene alongside the
représentation of Peter raising a spring and baptiz-
ing two soldiers in the waterT" Both scenes seem to
be united by the récognition of the divine and the
conversion of pagans to Chnstianity. Finally, in a
third typological model, the Haemorrhoissa scene
can also be placed with the représentation of Christ

EEzzzzz Ar ARz/HzEz (—Roma sotterranea cristiana, 6). Vatican
1987, pp. 309-312.
^ Fot example in an image on the Celsus' sarcophagus. On
this sarcophagus, see KNIPP 1998 (see note 23), pp. 90-
139; RAFANELLI, L. M.: Rb^H/zzb^zzzfy RizzT. GAz'Aizzr)/
MzzgbAw zzzzk Ař ^zř Awgřn? A EzzEy AicArz? 7/zz/y. (Diss.f
New York 2004, p. 369. Kuryluk asserts that a marble relief
from circa 400 AD, which is presently kept at the Vatican,
also combines a représentation of the Haemorrhoissa with
the scene featuring Peter. - KURYLUK, E.: bTzwzzhz zzzzk RH
U/cA. RfzEory, hy^^^^zzz, zzzzk Arzv/z/n? T zz ^Azzř^Tzzzzzgř. Cam-
bridge 1991, p. 95. The story of Peter would appear on the
one hand to be based on the miracle by Moses and, on the

cursing the olive treev The drying up of the tree is
then connected with the "drying up" of the blood.
Where the Haemorrhoissa's "How" remains hidden
from sight, these typological parallels provide a sense
of a link with fluidity.
Not only visualising the issue of blood was prob-
lematic, the invisibility of the healing power was also
a difhculty. How to show just what had happened
in the vibrant connection between hngers and gar-
ment, how to express the held of energy that became
manifest between the two? In rendering the event as
a single moment, one aspect of the body language
came to the fore as the perfect medium to visualise
this: the play of hands. We hâve already seen how
in the mural m the catacomb of Peter and Marcel-
linus the Haemorrhoissa reaches out to Christ's
garment with one hand, while holding the other to
her face in a gesture of silent sadness and despair,
[esus, however, immediately removes her sadness by
placing his own hand on her head, as an immédiate
response to her hand even though in the Gospel
time elapses between the two moments of touch.
An ivory relief, a detail of the T'Hentury Brescia
Casket, also consolidâtes the healing interaction in
the play of hands, not only by making both pairs of
hands so clearly the centre of the composition, but
also by uniting them in mutual dialogue [Fig. 5] A
Positioned in a circle, they dehne the space in which
the interaction is to take place, hlling the pre-exist-
ing void with healing power; and the circle as the
perfect visualisation of an invisible power. In this
connection, Baert speaks of 'A HhA? ro%/2<?rAw
/G/a? z% /oz/A rhA/y H A<? ÁW<?7"
gf A<? Azfy tz/A z? ÆwA H Ai? čw/n?/%Ay yf A<?
Ahy", and sees in this a hermeneutic connection to
other, to contain éléments of another miracle story in which
the apostle baptises the centurion Cornelius; see on this is-
sue KNIPP 1998 (see in note 23), pp. 124-125; MATHEWS
1993 (see m note 23), p. 87; and WILPERT, J.: EzzyEE AAz
AzEzz %zzv<?zEf JWčwA z /Swzzzz/W/Ez Az7 zzE<?A^rztEzz zzzzEnz. Vatican
1938, pp. 71-73, 85. As the two scenes also exhibit a close
iconographie resemblance, this typological connection with
the Haemorrhoissa needs to be further explored.
" As in the so-called Či/Hzzz LzzrrAbzzgzzr Ne. 174. — KURYLUK
1991 (see m note 26), p. 95; WILPERT 1938 (see m note 26),
pp. 173-178.
^ SCHILLER 1971 (see m note 17), p. 178.

150