Sign in to use this feature.

Years

Between: -

Subjects

remove_circle_outline

Journals

Article Types

Countries / Regions

Search Results (3)

Search Parameters:
Keywords = Anglo-Norman

Order results
Result details
Results per page
Select all
Export citation of selected articles as:
29 pages, 19863 KB  
Article
The Woman and the Dragon—The Formation of the Image of the Mulier Amicta Sole in the Revelation of St. John in Western Medieval Art
by Sergi Doménech García
Religions 2023, 14(1), 18; https://doi.org/10.3390/rel14010018 - 22 Dec 2022
Viewed by 8282
Abstract
This article aims to study the visual tradition of the Woman Clothed with the Sun from chapter 12 of the Book of Revelation in medieval times, in particular the formation, continuity and variations of the various iconographic types. For this purpose, we firstly [...] Read more.
This article aims to study the visual tradition of the Woman Clothed with the Sun from chapter 12 of the Book of Revelation in medieval times, in particular the formation, continuity and variations of the various iconographic types. For this purpose, we firstly approach the main sources, both the Book of Revelation and the exegesis or interpretation of the Church Fathers. Secondly, we analyse the first preserved representations (ninth to twelfth centuries) that correspond to examples of the Italian and French tradition and the Beatus from the Iberian tradition, works that, most likely, followed original models from the first centuries of Christianity that have now disappeared. This section is followed by the study of representations from between the thirteenth and fifteenth centuries and the importance of the Anglo-Norman Apocalypses. The article closes with an iconological section in which the importance of the mulier as an ecclesiological symbol and, subsequently, its Marian interpretation is pointed out. Full article
(This article belongs to the Special Issue Medieval Christian Religion and Art)
Show Figures

Figure 1

17 pages, 5352 KB  
Article
The Edge of Heaven: Revelations 12:7-9 and the Fall of the Rebel Angels in Anglo-Norman Apocalypse Illustration
by Edina Eszenyi
Arts 2022, 11(2), 41; https://doi.org/10.3390/arts11020041 - 4 Mar 2022
Viewed by 7766
Abstract
The article examines the War in Heaven scene depicting the Fall of the Rebel Angels in the 1200s Anglo-Norman group of illustrated Apocalypse manuscripts, key in the development of Apocalypse illustration as far as quality, quantity, and art historical heritage are concerned. The [...] Read more.
The article examines the War in Heaven scene depicting the Fall of the Rebel Angels in the 1200s Anglo-Norman group of illustrated Apocalypse manuscripts, key in the development of Apocalypse illustration as far as quality, quantity, and art historical heritage are concerned. The iconography of the crucial War in Heaven scene shows a variety in the manuscript group; the compositions, divided into three well-defined groups at Satan’s pivotal moment of defeat, are depicted in three principal compositional types: one manuscript group focuses on the narrative of the battle, the second fuses the battle and its victorious result, and the third type focuses on the victory itself. The article establishes further subgroups on the basis of compositional similarities, and results occasionally strengthen or weaken existing theories about the traditional grouping of the manuscripts. The highlighted iconographical similarities provide new material for the reconsideration of the manuscripts’ artistic relations and dating. Full article
(This article belongs to the Special Issue A 10-Year Journey of Arts)
Show Figures

Figure 1

19 pages, 8937 KB  
Article
The Anglo-Catalan Connection: The Cult of Thomas Becket at Terrassa—New Approaches
by Carles Sánchez Márquez and Joan Soler Jiménez
Arts 2021, 10(4), 82; https://doi.org/10.3390/arts10040082 - 30 Nov 2021
Cited by 1 | Viewed by 4161
Abstract
The wall paintings adorning the south transept apse of Santa Maria at Terrassa are among the most notable surviving items pertaining to the iconography of St. Thomas Becket. Recently found documents in which diplomatic archives reveal English connections are essential for understanding the [...] Read more.
The wall paintings adorning the south transept apse of Santa Maria at Terrassa are among the most notable surviving items pertaining to the iconography of St. Thomas Becket. Recently found documents in which diplomatic archives reveal English connections are essential for understanding the quick reception of the Becket cult in the Crown of Aragon. The presence of an Anglo-Norman canon—Arveus or Harveus (Harvey)—and his position of scribe during the second half of the twelfth century when Reginald, probably also of English origin, was prior there—seem to be the likely source of inspiration for this project. These English connections, which are essential for understanding the quick reception of the Becket cult in the Crown of Aragon, stemmed from the endeavours undertaken some years earlier south of the Pyrenees by the abbot of Saint-Ruf at Avignon, Nicholas Breakspear, who subsequently became Pope Adrian IV. Full article
(This article belongs to the Special Issue St. Thomas Becket in Art: Image, Patronage and Propaganda)
Show Figures

Figure 1

Back to TopTop