DOI issue:
Recenzje i przeglądy
DOI article:Kalinowski, Lech: The English Romanesque art exhibition at the Hayward Gallery: An iconographical gloss
DOI Page / Citation link:https://doi.org/10.11588/diglit.20542#0157
wing the New by the Old Testament. The 12th
■ceintuiry witnessed .a gradu a 1 trainsition from a
symbolic system of the coordiinatiom of relevaint
seenes to a historieal one. To exemplify this chan-
ge: on the whalebome (panel, the last ąuarter
of the 12th century, in Liverpool, Merseyside
County Museurn, M 8016 (N° 219), one New
Testament scene, the Presentation of Christ in
the Tempie, om a lairge rniddle panel, is prefigu-
red by fouir seenes of Biblical isacrifice and offe-
ring from the Old Testament: Moses receining
the Tahles of the Law and the Sacrifice of Isaac
albove, and the Offering of the Paschal Lamb and
the Priest Melchisedech offering Bread and Winę
beloiw. This order is symbolic. By contr ast, on the
three famous ciboria, the Morgan Ciborium in
the Pierpont Morgan Litbrairy i(N° 278), the Bal-
four Ciborium im the Victo,riia and Albert Mu-
seuim (N° 279), and the Warwick Ciborium, of
which oinly the foowl exiists, ibidem (N° 280), the
New Testament seenes folloiw one another in
ehronological order so ais to oreate a continuous
narrative, each scenie prefigured by only one of
its Old Testament types. We learn that a major
typological cycle of the New and Old Testament
seenes existed im the great Norman Chaipter-ho-
use at Worcester by the late twelfth or early
thiirteenth century, painted on the vaults or, as
recently isuggested by Neil Stratford, in the sta-
ined glass Windows, where three Old Testament
seenes accompamied one New Testament event21.
Further evideince of otheir extensive typologi-
cal oycles in English art, lilke those at Bury St
Edmunds, Canterbury and Peterlborough, not to
mention the liter ary testilmony of the Pictor de
carmine, raises the ąuestion of the degree to which
examples in English art and Latin tituli eompo-
sed in England may have comtriSbuted to the emer-
gemce of the canoinical system of later medieval
21 The inscription and their implications are expo-
sed by N. Stratford, Three English Romanesąue
enamelled ciboria (Burl. Mag., CXXVI, No 973 (April
1984)), pp. 204—216.
22 F. R 6 r i g, Der englische Einjluss in der mit-
telalterlichen Typologie Osterreichs [in:] Osterreich und
die angelsechsische Welt. Kulturbegegnungen und Ver-
gleiche, Festschrift fur Karl Baschiera, ed. by O. Hi e-
t s c h, Wien-Stuttgart [1961], pp. 268—282; R. Haus-
s h e r r, „Der typologische Zyklus der Chorfenster der
Oberkirche von S. Francesco zu Assisi” [in:] Kunst ais
Bedeutungstrager. Gedenkschrift fur Gunter Bandmann,
ed. by W. Busch, R. Haussherr and E. Trier,
Berlin [1978], pp. 95—128. However Haussherr leans to-
ward the dating of the English typological cycles about
5. Virgin and Child, 9th century, Baltimore, The Walters
Art Gallery
Continental typology initiated at Klosterneuburg
by Nieolaus of Verdun 22.
Turning to the iconography of the siaimts, the
earliest known representation of the murider of
1200, and agrees with the opinion of M. M. Gautier that
the iconographic programme of the ciboria is based on
Mosan tradition. The Worcester cycle was executed in
about the third ąuarter of the twelfth century, as pro-
ved by N. Stratford, Notes on the Norman Chapter-
house at Worcester [in:] Medieual Art and Architecture
at Worcester Cathedral, The British Archaeological As-
sociation Conference Transactions for the year 1975, I
[1978], pp. 51—70 and Three English Romanesąue enamel-
led ciboria (Burl. Mag., CXXVI, (April 1984)), p. 212. On
the datę of the Peterborough choir stalls see A. Sto-
nek review of L. Freeman S a n d 1 e r, Peterborough
Psalter in Brussels and other Fenland Manuscripts, Lon-
don [1974] (Zeischrift flir Kunstgeschichte, 43 (1980)), pp.
211—218, here p. 212.
151
■ceintuiry witnessed .a gradu a 1 trainsition from a
symbolic system of the coordiinatiom of relevaint
seenes to a historieal one. To exemplify this chan-
ge: on the whalebome (panel, the last ąuarter
of the 12th century, in Liverpool, Merseyside
County Museurn, M 8016 (N° 219), one New
Testament scene, the Presentation of Christ in
the Tempie, om a lairge rniddle panel, is prefigu-
red by fouir seenes of Biblical isacrifice and offe-
ring from the Old Testament: Moses receining
the Tahles of the Law and the Sacrifice of Isaac
albove, and the Offering of the Paschal Lamb and
the Priest Melchisedech offering Bread and Winę
beloiw. This order is symbolic. By contr ast, on the
three famous ciboria, the Morgan Ciborium in
the Pierpont Morgan Litbrairy i(N° 278), the Bal-
four Ciborium im the Victo,riia and Albert Mu-
seuim (N° 279), and the Warwick Ciborium, of
which oinly the foowl exiists, ibidem (N° 280), the
New Testament seenes folloiw one another in
ehronological order so ais to oreate a continuous
narrative, each scenie prefigured by only one of
its Old Testament types. We learn that a major
typological cycle of the New and Old Testament
seenes existed im the great Norman Chaipter-ho-
use at Worcester by the late twelfth or early
thiirteenth century, painted on the vaults or, as
recently isuggested by Neil Stratford, in the sta-
ined glass Windows, where three Old Testament
seenes accompamied one New Testament event21.
Further evideince of otheir extensive typologi-
cal oycles in English art, lilke those at Bury St
Edmunds, Canterbury and Peterlborough, not to
mention the liter ary testilmony of the Pictor de
carmine, raises the ąuestion of the degree to which
examples in English art and Latin tituli eompo-
sed in England may have comtriSbuted to the emer-
gemce of the canoinical system of later medieval
21 The inscription and their implications are expo-
sed by N. Stratford, Three English Romanesąue
enamelled ciboria (Burl. Mag., CXXVI, No 973 (April
1984)), pp. 204—216.
22 F. R 6 r i g, Der englische Einjluss in der mit-
telalterlichen Typologie Osterreichs [in:] Osterreich und
die angelsechsische Welt. Kulturbegegnungen und Ver-
gleiche, Festschrift fur Karl Baschiera, ed. by O. Hi e-
t s c h, Wien-Stuttgart [1961], pp. 268—282; R. Haus-
s h e r r, „Der typologische Zyklus der Chorfenster der
Oberkirche von S. Francesco zu Assisi” [in:] Kunst ais
Bedeutungstrager. Gedenkschrift fur Gunter Bandmann,
ed. by W. Busch, R. Haussherr and E. Trier,
Berlin [1978], pp. 95—128. However Haussherr leans to-
ward the dating of the English typological cycles about
5. Virgin and Child, 9th century, Baltimore, The Walters
Art Gallery
Continental typology initiated at Klosterneuburg
by Nieolaus of Verdun 22.
Turning to the iconography of the siaimts, the
earliest known representation of the murider of
1200, and agrees with the opinion of M. M. Gautier that
the iconographic programme of the ciboria is based on
Mosan tradition. The Worcester cycle was executed in
about the third ąuarter of the twelfth century, as pro-
ved by N. Stratford, Notes on the Norman Chapter-
house at Worcester [in:] Medieual Art and Architecture
at Worcester Cathedral, The British Archaeological As-
sociation Conference Transactions for the year 1975, I
[1978], pp. 51—70 and Three English Romanesąue enamel-
led ciboria (Burl. Mag., CXXVI, (April 1984)), p. 212. On
the datę of the Peterborough choir stalls see A. Sto-
nek review of L. Freeman S a n d 1 e r, Peterborough
Psalter in Brussels and other Fenland Manuscripts, Lon-
don [1974] (Zeischrift flir Kunstgeschichte, 43 (1980)), pp.
211—218, here p. 212.
151