DOI Heft:
No. 1
DOI Artikel:Markiewicz, Maria: Iconography of the Paradise Tapestry in the old Polish Royal Collections
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.17137#0019
8. Detail of Fig. 1: Poseidon.
seen as a New Adam; the parrot on the other hand, a symbol of Immaculate Conception25,
situated above the head of Eve, points to tlie New Eve-Mary who will treat down the
serpent-satan lying at Her feet. The peacock, a common symbol of Immortality26 in the
Early -Christian art, stands at the feet of Adam, thus stressing once more his new significance.
In this interpretation, and according to the tradition of the Middle Ages, the Tree of Life has
probably the meaning of the cross.
Some of the images situated in the background of the tapestry complement the narrative
of the analysed scenę. The first one is the creation of Eve with the serpent and lion lying beside
(Fig. 4). It is commonly known that the lion as well as the serpent adopt different symbo-
lical meanings, e.g.: the lion may be the symbol of Christ or of Anti-Christ; the serpent — that
of satan. It seems that there is no need to search especially for the solution of these symbols
in the Physiologuses or bestiaries; the following ąuotation from the Psalm (91, 13) is cruite
satisfactory, namely: „Super aspidem et basiliscum ambulabis et coneułcabis leonem et draco-
nem". So, it is the announcement of the part which is to be played by the New Eve being born.
The second scenę, in turn, is the maj-riage of Eve interpreted often as union of believers
in Church27. Since I cau-kł not determine the kind of the bird, whichstands beside Eve.
itr is~ not possible to interpret the deeper meaning of this scenę.
We shall consider now the representation of the Original Sin. In the Middle Ages as
well as in the Renaissance this scenę occupies the head position in the iconography of the
Genesis. Particularly in the Middle Ages the scenę is charged with a mystical meaning; its
content is expressed by the words: „O felix culpa"; the Original Sin is seen as the prelimi-
nary act of the deed of the Redemption28. Although more seldom, we can meet this scenę
25. E. Wernicke, Handbuch der kirchlichen Kunst und Archaeologie, Leipzig 1883, p. 514.
26. The sarcophagi in Ravenna would be the best example. The peacocks appear there, connected in most cases with the
Tree of Life. It is characteristic that they Iose later their initial meaning although they are also to be sporadically
seen as symbols in Middle Ages as well as in Renaissance but their meaning is different.
27. L. Reau, Iconographie de VArt Chrelien, Paris, 1957, II, p. 82.
28. Escbc, op. cit.
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seen as a New Adam; the parrot on the other hand, a symbol of Immaculate Conception25,
situated above the head of Eve, points to tlie New Eve-Mary who will treat down the
serpent-satan lying at Her feet. The peacock, a common symbol of Immortality26 in the
Early -Christian art, stands at the feet of Adam, thus stressing once more his new significance.
In this interpretation, and according to the tradition of the Middle Ages, the Tree of Life has
probably the meaning of the cross.
Some of the images situated in the background of the tapestry complement the narrative
of the analysed scenę. The first one is the creation of Eve with the serpent and lion lying beside
(Fig. 4). It is commonly known that the lion as well as the serpent adopt different symbo-
lical meanings, e.g.: the lion may be the symbol of Christ or of Anti-Christ; the serpent — that
of satan. It seems that there is no need to search especially for the solution of these symbols
in the Physiologuses or bestiaries; the following ąuotation from the Psalm (91, 13) is cruite
satisfactory, namely: „Super aspidem et basiliscum ambulabis et coneułcabis leonem et draco-
nem". So, it is the announcement of the part which is to be played by the New Eve being born.
The second scenę, in turn, is the maj-riage of Eve interpreted often as union of believers
in Church27. Since I cau-kł not determine the kind of the bird, whichstands beside Eve.
itr is~ not possible to interpret the deeper meaning of this scenę.
We shall consider now the representation of the Original Sin. In the Middle Ages as
well as in the Renaissance this scenę occupies the head position in the iconography of the
Genesis. Particularly in the Middle Ages the scenę is charged with a mystical meaning; its
content is expressed by the words: „O felix culpa"; the Original Sin is seen as the prelimi-
nary act of the deed of the Redemption28. Although more seldom, we can meet this scenę
25. E. Wernicke, Handbuch der kirchlichen Kunst und Archaeologie, Leipzig 1883, p. 514.
26. The sarcophagi in Ravenna would be the best example. The peacocks appear there, connected in most cases with the
Tree of Life. It is characteristic that they Iose later their initial meaning although they are also to be sporadically
seen as symbols in Middle Ages as well as in Renaissance but their meaning is different.
27. L. Reau, Iconographie de VArt Chrelien, Paris, 1957, II, p. 82.
28. Escbc, op. cit.
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