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DOI Artikel:Kalinowski, Lech: The English Romanesque art exhibition at the Hayward Gallery: An iconographical gloss
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.20542#0156
4. Virgin and Child, second ąuarter of 12th century, Lon-
don, Yictoria and Albert Museum
of the double-wiinged Archangel Michael fighting
victoriously with the snajke-deviil. An analogous.
hut not identical, arrangement of two related
scenes on the enamel plaąue, c. 1150—1160, in the
Yictoria and Albert Museum, M. 209. 1925 (N°
19 Schiller, o.c., p. 155, Fig. 478: ,,Es handelt
sich hier um eine wahrscheinlich einmalige Darstellung...”
F. A v r i 1, Interpretation symboliąue du combat de Saint
Michel et du dragon [in:] Millenaire monastiąue de Mont
Saint-Michel, III: Culte de Saint Michel et pelerinages
au Mont, Paris [1971], pp. 39—52, here p. 42: ,,Pour so-
uligner le parallelisme des deux figurations. 1’artiste a
dote 1’Archange de ąuatre ailes, deux d’entre elles etant
275), combines the eastern representation of des-
census (Anastasis) with the western type of aseen-
sus (Ascension) in a kind of presage of the Last
Judgement iconography, the devil — a counter-
part of St Michael — uising a pronged fork 19.
Amoing the exhi;bited objects the Crucijizion
iis also ooinfirointed with the ascended Christ im
a mandorlai, supported by two angels flymg abo-
ve and two genuflecting below, all four with out
wings, on the Heribert erosier, walrus ivory,
Anglo-Saxon, first half of llth century, Cologne,
Hohe Domkirche (N° 179), and with Christ in
Majesty with four Evaingelist symbols on the
portable alt ar, whalebone, c. 1130—1140, London,
Trusteeis of the British Museum. 1963, 11—7.1 (N°
202).
It ds unnecessary to underline once morę the
iconographic independence of the Psalter in En-
glish art. Suffice it to mcmii on how two long
establiished and distinct subjects .are put together
to assume a particular didactic meanling. In the
illustration of Psalm 1 in the Psalter and the
Book oj Hours, c. 1070—1180, Weistminster Ab-
bey (?), Parts, Bibliotheąue nalionale. Ms latin
10433 (N° 68), the Fali of Adam and Eve, placed
below the dominant figurę of Christ of the Last
Judgement, stands leiss for a hiistorical event than
for ia point of iinStruction: that deatih caime thro-
ugh the transgression of 0'Ur First Parents, and
that the Last Judgement would never take place
were it not for their original sin.
The generał didactic and moralis-ing naturę of
Romanesąue art is well exemplifi>ed by the death
of a sinner on a lunette i(Magneisian limestone),
c. 1170—1180, from York Minster, in York, York-
shire Museum (N° 166). Its anitithetical counter-
part is to be scen in the smali Schaffhausen win-
dow tympanum, c.1200, from Allerheiligen prio-
ry, in Allerheiligen Museum, where a similar ico-
nographic composition has been adapted to re-
present the death of a good imam 20. In both ca-
ses the personified soul of the horizointally stret-
ched body of the dying is dragged out of his
mouth by the force of a devil and an angel res-
pectively.
In the context of the Biblieal scenes special
attention ishould be paid to the way of foreshado-
ecartees horizontalement et les deux autres ressemblees
verticalement, ce qui confere a la scene du combat apo-
calyptiąue la formę d’une croix”.
20 R. Frauenfelder, Die Kunstdenkmdler des
Kanton Schaffhausen, I: Die Stadt Schaffhausen, Basel
[1951] (Die Kunstdenkmaler der Schweiz), p. 139, Fig.
175.
150
don, Yictoria and Albert Museum
of the double-wiinged Archangel Michael fighting
victoriously with the snajke-deviil. An analogous.
hut not identical, arrangement of two related
scenes on the enamel plaąue, c. 1150—1160, in the
Yictoria and Albert Museum, M. 209. 1925 (N°
19 Schiller, o.c., p. 155, Fig. 478: ,,Es handelt
sich hier um eine wahrscheinlich einmalige Darstellung...”
F. A v r i 1, Interpretation symboliąue du combat de Saint
Michel et du dragon [in:] Millenaire monastiąue de Mont
Saint-Michel, III: Culte de Saint Michel et pelerinages
au Mont, Paris [1971], pp. 39—52, here p. 42: ,,Pour so-
uligner le parallelisme des deux figurations. 1’artiste a
dote 1’Archange de ąuatre ailes, deux d’entre elles etant
275), combines the eastern representation of des-
census (Anastasis) with the western type of aseen-
sus (Ascension) in a kind of presage of the Last
Judgement iconography, the devil — a counter-
part of St Michael — uising a pronged fork 19.
Amoing the exhi;bited objects the Crucijizion
iis also ooinfirointed with the ascended Christ im
a mandorlai, supported by two angels flymg abo-
ve and two genuflecting below, all four with out
wings, on the Heribert erosier, walrus ivory,
Anglo-Saxon, first half of llth century, Cologne,
Hohe Domkirche (N° 179), and with Christ in
Majesty with four Evaingelist symbols on the
portable alt ar, whalebone, c. 1130—1140, London,
Trusteeis of the British Museum. 1963, 11—7.1 (N°
202).
It ds unnecessary to underline once morę the
iconographic independence of the Psalter in En-
glish art. Suffice it to mcmii on how two long
establiished and distinct subjects .are put together
to assume a particular didactic meanling. In the
illustration of Psalm 1 in the Psalter and the
Book oj Hours, c. 1070—1180, Weistminster Ab-
bey (?), Parts, Bibliotheąue nalionale. Ms latin
10433 (N° 68), the Fali of Adam and Eve, placed
below the dominant figurę of Christ of the Last
Judgement, stands leiss for a hiistorical event than
for ia point of iinStruction: that deatih caime thro-
ugh the transgression of 0'Ur First Parents, and
that the Last Judgement would never take place
were it not for their original sin.
The generał didactic and moralis-ing naturę of
Romanesąue art is well exemplifi>ed by the death
of a sinner on a lunette i(Magneisian limestone),
c. 1170—1180, from York Minster, in York, York-
shire Museum (N° 166). Its anitithetical counter-
part is to be scen in the smali Schaffhausen win-
dow tympanum, c.1200, from Allerheiligen prio-
ry, in Allerheiligen Museum, where a similar ico-
nographic composition has been adapted to re-
present the death of a good imam 20. In both ca-
ses the personified soul of the horizointally stret-
ched body of the dying is dragged out of his
mouth by the force of a devil and an angel res-
pectively.
In the context of the Biblieal scenes special
attention ishould be paid to the way of foreshado-
ecartees horizontalement et les deux autres ressemblees
verticalement, ce qui confere a la scene du combat apo-
calyptiąue la formę d’une croix”.
20 R. Frauenfelder, Die Kunstdenkmdler des
Kanton Schaffhausen, I: Die Stadt Schaffhausen, Basel
[1951] (Die Kunstdenkmaler der Schweiz), p. 139, Fig.
175.
150