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Other titles in the Dover Fine Art, History of Art series:
Religious Art in France of the Thirteenth Centuryby Emile Male
Synopses & Reviews
This classic by a noted art historian focuses on French cathedrals of the 13th century as the apotheosis of the medieval style. Topics include iconography, bestiaries, illustrated calendars, the gospels, secular history, and many other aspects. "The most illuminating, the most informing, and the most penetrating book on the subject." — Bernard Berenson. 190 black-and-white illustrations.
Book News Annotation:
<:st>Reprint of M<^a>le's classic study originally published in 1913 ( and cited, with his work on the 14th C.; in .
Annotation c. Book News, Inc., Portland, OR (booknews.com)
Classic by noted art historian focuses on French cathedrals of the 13th century as apotheosis of medieval style. Iconography, bestiaries, illustrated calendars, gospels, secular history, many other aspects. 190 black-and-white illustrations.
Classic by noted art historian focuses on French cathedrals of the 13th century as apotheosis of medieval style. Iconography, bestiaries, illustrated calendars, gospels, secular history, many other aspects. 190 black-and-whlite illustrations.
Includes bibliographical references (p. 407-410) and indexes.
Table of Contents
ALPHABETICAL LIST OF ILLUSTRATIONS
I. GENERAL CHARACTERISTICS OF MEDIÆVAL ICONOGRAPHY
I. Mediæval Iconography is a script.
II. It is a calculus.
The mystic numbers.
III. It is a symbolic code.
Art and the Liturgy.
II. METHOD USED IN THIS STUDY OF MEDIÆVAL ICONOGRAPHY-THE MIRRORS OF VINCENT OF BEAUVAIS
THE MIRROR OF NATURE
I. To the mediæval mind the universe a symbol.
Sources of this conception.
"The "Key" of Melito."
II. Animals represented in the churches ; their meaning not always symbolic.
Symbols of the Evangelists.
Window at Lyons.
Frieze at Strasburg.
Influence of Honorious of Autun ; the Bestiaries.
III. Exaggerations of the symbolic school.
Symbolism sometimes absent.
Flora and fauna of the thirteenth century.
THE MIRROR IF INSTRUCTION
I. Labour and learning ; their part in the work of redemption.
Representations of the labours of the months ; illustrated calendars.
II. Instruction ; the Trivium and Quadrivium.
Martinus Capella and the Seven Arts.
Influence of his book on mediæval Literature and Art.
III. Representations of Philosophy.
Influence of Boethius.
The Fate of Man.
The Wheel of Fortune.
THE MIRROR OF MORALS
I. Representations of the Virtues and Vices in mediæval Art.
The Psychomachia of Prudentius and its influence.
II. The Virtues and Vices seen under new forms in the thirteenth century.
"The twleve Virtues and the twelve Vices at Notre Dame at Paris, Chartres and Amiens."
III. The Active and the Contemplative Life.
Statues at Chartres.
I. THE MIRROR OF HISTORY. THE OLD TESTAMENT
I. The Old Testament regarded as a figure of the New Testament.
Sources of the symbolic interpretation of the Bible.
The Alexandrian Fathrs.
The Glossa Ordinaria.
II. Old Testament types in Tours
III. Old Testament types of the Virgin.
The porch at Laon.
Influence of Honorius of Autun.
IV. The Patriarchs and the Kings.
Their symbolic function.
V. The Prophets.
Attempts in mediæval Art to give plastic form to the Prophecies.
VI. The Tree of Jesse.
"The Kings of Judah on the façade of Notre Dame at Paris, at Amiens, and at Chartres."
The symbolic medallions in Suger's windows at St. Denis.
The statues of the north porch at Chartres.
II. THE GOSPELS
I. The life of Christ only partially represented in mediæval art.
Reason for this.
Representation of the Church Calendar only.
Influence of the Liturgy.
The Christmas and Easter cycles.
II. Symbolic interpretation of the New Testament.
The first and the second Adam.
The Marriage at Cana.
III. The Parables.
Parables of the Wise and Foolish Virgins and of the Good Samaritan.
Their symbolic significance.
Parables of Dives and Lazarus and of the Prodigal Son.
III. APOCRYPHAL STORIES ; OLD AND NEW TESTAMENT
I. Legends relating to the Old Testament.
The death of Cain.
II. Legends relating to the New Testament.
The Gospel of the Infancy.
The Gospel of Nicodemus.
III. Apocryphal stories of the Infancy.
The ox and the ass.
The Magi and their journey.
Miracles of the Child in Egypt.
IV. Apocryphal features in the public life of Christ.
The marriage at Cana.
V. Legends of the Passion and the Resurrection.
Legends of the Cross.
The descent into Limbo.
VI. Some traditional features in works of art ; their origin.
"Probable "Guide to Painting" in the thierteenth century."
VII. Legends of the virgin.
Cult of the Virgin in the thirteenth century.
Birth of the Virgin.
SS. Anne and Joachim.
Marriage of the Virgin.
The Annunciation ; details of apocryphal origin.
"Death, burial and coronation of the Virgin."
VIII. Miracles of the Virgin.
Story of Theophilus.
The De Gloria Martyrum of Gregory of Tours.
Explanation of windows at Le Mans.
IV. THE SAINTS AND THE GOLDEN LEGEND
I. The Saints.
Their place in the life of the Middle Ages.
II. The Golden Legend ; its character and its charm.
III. The artists' interpretation of the Golden Legend.
Endeavour to express holiness.
IV. Characteristics of the saints.
Emblems and attributes.
Reaction of art on legend.
V. Characteristics of saints and the craft guilds.
VI. The favourite saints of the Middle Ages.
Their apocryphal history ; the pseudo-Abdias.
Attributes of the apostles.
VII. Local saints.
VIII. Saints adopted by the whole of Christendom.
IX. Influence of relics on the choice of saints.
X. Choice of saints by donors.
XI. Influence of pilgrimages on the choice of saints.
"St. James, St. Nicholas and St. Martin."
V. ANTIQUITY. SECULAR HISTORY
The great men of antiquity rarely represented in the cathedrals.
Aristotle and Campaspe.
Virgil in the basket.
The Sibyl as the sybol of antiquity.
The sibyl Erythraea alone represented in the thirteenth century.
Reasons for this.
II. Symbolic interpretation of classical myths.
III. History of France.
Kings of scenes in the history of France.
Baptism of Clovis.
Story of Charlemagne (window at Chartres).
Life of St. Louis.
VI. THE CLOSE OF HISTORY-THE APOCALYPSE-THE LAST JUDGMENT
I. The Apocalypse.
The artists' sources of inspiration.
The Spanish and the Anglo-Norman apocalypse ; influence of the latter.
II. The Last Judgment ; its representation and sources.
Importance of the Elucidarium of Honorius of Autun.
The Second Coming of Chirst.
The Resurrection of the Dead.
St. Michael and his
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