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

of the better-known saints wete to be discussed in
unusuaüy long cycles, such in the cases of Augustine"
or Bernard of Clairvauxd Thus, the painters were
forced to create new images without relying on con-
crète prototypes. Furthermore, the lack of pictorial
tradition was a problém not only from the produc-
tion side. Since the manuscript consists of pictures
exclusively, without the füll texts of the legends
(only one-Une are written in rubrics beside the
images), the individual image types had to be easiiy
decipherable by the future audience.
Certainly, there existed illuminated manuscripts
with great amount of images. Creating large amount
of more-or-less similar images, applying pictorial
stereotypes was a task if detailed illustration was
needed for longer texts, such as the Bible or the
collection of legends. Let me mention the so-called
B/M?, an unusual codex type, of which three
copies are known. Two of these were made at the
same time at the end of the 12^ Century for Sancho
el Fuerte (1194 — 1234), the king of Navarre, prob-
ably compiled by the provost Petrus Fernandus, the
king's chancellord A characteristic feature of the
codex is that only single lineš of text accompany the
füll- and half-page images. Two thirds of the codex is
devoted to the Old Testament, and only one-ninth to
the New Testament, while a hfth of the codex is as-
signed to the saints. A total of 173 saints are featured
in a hierarchical arrangement. ' In this manuscript,
the returning scenes, such as the martvrdoms, are

' The majority of depictions of St. Augustine show him as a
schoiar or as an author, since most are found accompanying
his works. The majority of scenes consist of the events in the
life of Augustine: the beginning of the cycle is generally a sé-
riés of conversion épisodes based on the followed
by the activities of Augustine as bishop (arguing with heretics,
writmg the Rřg%Az, and contemplating the Tnnity), and hnally
the scenes of burial and /TtwiA/A. In contrast, the cycle in the
H%g<?yA is given a completely individual
face, with special emphasis on the posthumous miracles. Cf.
COURCELLE, ]. et P.: Tw?çgfàpA7 A rA/AH^wAA. L&f ryAt
2% ATM AA. Paris 1965; COURCELLE, J. et P: Aw<?g7zpA7
A AA. Paris 1968.
^ Bernard was never depicted in an extensive cycle before the
15* Century. The cycle in the Lťgř/iAzyy also
appears to be a unique création. See PAFFRATH, A.: BřřwAA
LgAw 1E— AygřA/A A A% B7/ArytA
Air ZawA Köln 1984; PAFFRATH, A.: BrnA^A
CAAM^ P. DA D^fiA/A/Tg At A Ar B?7A%A%


7. 4/. LyAr A TAAwtř ThAkg/AL^r-
TLr DřAA Rtprc.' LE HURDY 7P77 (A<? 74).

regularly repeatlng the same patterns. This répétitive
technique was applied in many manuscripts; let me
just shortly mention in Central European context
BGwA. Bergisch Gladbach 1990; DAL PRÀ, L.: Bernardo di
Chiaravalle. Realtà e interpretazione nell'arte italiana. In: DAL
PRA, L. (ed.): Bgy^^rA A CB/^wyAA AAh/M A/ ATH
AATTBB třrcA. Milano 1990, pp. 29-88.
BUCHER, E: TA BAAr. New Haven - London
1970.
^ Amiens, Bibliothèque Municipale, Ms. Lat. 108; Schloss
Flarburg, Fürstlich Oettinger-Wallernsteinsche Bibliothek,
Ms. 1, 2, Lat. 4°, 15; the third example is a copy of one of
the previous ones — New York, Public Library, Spencer Col-
lection, Ms. 22.
^ The codex does not follow the sequence of its sources (Ado's
Martyrologium and other collections). However, the editor
did not realize that the sequence of the codex is hierarchical
and supposed that the primary principle is the division of
male and female saints, while the secondary is chronological.
— BUCHER 1970 (see in note 7), p. 24. On the contrary, it is

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