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

7 0. TA A 7^ř PrřArřrror A
Py)^ LhA^;t. Rřýw.' LELMRDV 7P73 přř 7// 74).

We could produce a long list of similar events,
but these few p^pical examples sufhciently convey
the power of these image types. It would be a mis-
take, however, to think the image prpes, when pitted
against the text, always prevailed. The pamter strove to
faithřully interpret the legends, but was limited by the
expressive powers of the visual medium: not all events

On the transformation that accompanies the translation of
the text into the visual idiom, see BERLINER, R.: The Free-
dom of Medieval Art. In: (DyíTň? Ar Př^vAbL, 28,1945, pp.
263-288. Clearly it would be artiňcial to reformulate the ima-
ges into texts, and then compare them to the Originals. Visual
expression had greater freedom than textual, and elements
were painted that would háve been unacceptable in words.
The impact of the images was not primarily intellectual, and
what does not work in words may work for the eyes and the
émotions. - Ibidem, p. 265 ff.
' " The legend of Emeric offers a close example in the scene of
the smful Conrad, who kneels half-naked before the pope.

lent themselves to visual depiction or could be widely
understood in a visual formA At the same time, we
cannot underestimate the convenience of an already
established image type. In the legend of Francis of
Assisi, the moment when he is accepted by the bishop
of Assisi is a turning point. While Francis is usually
represented standing in this scene, the painter of the
depicted him kneeling in
front of the bishop [Fig. 7). This modification rep-
resents a new pictorial solution in the iconographie
tradition of the saint, but the codex is full of depiction
of similar gestures: figures kneeling before a cleric,
even a preláte, are a favorite compositional typeA
There is no question that a visual language built
from a relatively small set of tools has its own limits.
The sélection of a given image type does not always
allow for expression of multiple layers of meaning.
When Giles gives a tunic to the ailing beggar, this act
also heals him. This is not expressed by the image,
however, smee the act is represented as a gesture of
alms giving [Fig. 8]a" In Pavia, Augustine not only
appears before the pilgrims, but also heals ail of
them. This aspect is completely lost in the pictureA
This is precisely why sometimes different image types
were used for similar situations: the makers of the
legendary wanted to emphasize different elements.
For example, motifs of temptation couid be repre-
sented by two figures lying next to each other or by
a gesture of embrace, which dérivés from the image
type of two people meeting. Sometimes temptation
was also expressed by the type used for exorcisms,
or by the motif of dancing hgures^ — it ail depended
on what was to be conveyed.
The image types are to a certain degree hexible.
When Mary Magdaleně procures forgiveness for a
-Vat. Lat. 8541, fol. 79v; LEVÁRDY 1973 (see m note 14),
Ag. 132.
3° Vat. Lat. 8541, fol. 94r; LEVÁRDY 1973 (see m note 14), Ag.
155.
3i Hermitage, 16931; LEVÁRDY 1973 (see m note 14), Ag.
120.
33 In the legends of Bernard (Vat. Lat. 8541, fol. 88v; LEVÁR-
DY 1973 (see in note 14), Ag. 142), St. Paul the Hermit (ibi-
dem, fol. 98r; ibidem, Ag. 161), Andrew (ibidem, fol. 20v; ibi-
dem, Ag. 40) and Benedict (ibidem, fol. 86r; ibidem, Ag. 139).

190