Parker, Elizabeth C. & Little, Charles T., "The Cloisters Cross: its art and meaning"
Parker, Elizabeth C. & Little, Charles T., "The Cloisters Cross: its art and meaning"
Publisher: Metropolitan Museum of Art | 1994 | ISBN: 0810964341 | English | PDF | 316 pages | 33,12 Mb
Publisher: Metropolitan Museum of Art | 1994 | ISBN: 0810964341 | English | PDF | 316 pages | 33,12 Mb
The twelfth-century English Cloisters Cross, now in the Metropolitan Museum of Art in New York, is one of only three complete medieval ivory crosses extant. This comprehensive study examines the history of the cross, its complex and ornate iconography, its function, liturgical context and intellectual setting. The authors also examine the cross's possible theological and artistic connections with the abbey of Bury St. Edmunds, and its place in English Romanesque art.
Foreword
William D. Wixom
Author's Preface
Chapter 1. Introduction: The Cross and Its History
The Material of the Cross and Its Date; The Construction and Carving of the Cross; The Missing Corpus; The Missing Terminal and the Caiaphas Plaque; The State of Research
Chapter 2. Word and Image: The Iconography of the Cross
The Front of the Cross—The Tree of Life; The Large Inscriptions; The Central Medallion: Moses and the Brazen Serpent; The Titulus, and the Dispute Between Pilate and Caiaphas; The Good Friday Plaque; The Easter Plaque; The Ascension Plaque; The Missing Terminal
The Back of the Cross—The Prophets; The Evangelist Symbols; The Allegory of the Agnus De; 'Rota in Medio Rotae'
Chapter 3. The Function of the Cloisters Cross
Early Observances and the Insular Tradition; The Cross as Agent of Salvation; The Transitional Character of the Cloisters Cross
Chapter 4. The Liturgical Context
The Liturgy for Holy Week—The Early Days of Holy Week; Good Friday; Holy Saturday; Easter Sunday
The Testimonia and the Liturgy—The Testimonia and the Central Medallions; The Testimonia and the 'Cham Ridet' Couplet; The Testimonia and the Titulus
Chapter 5. The Intellectual Setting
Anselm's Contribution—The Church and Judaism: Official Attitudes; Crispins 'Disputatio'; Anselm's Doctrine of Atonement; Penitence in Early Monastic Piety
The Victorine Contribution—St. Victor and Bible Studies; Hugh of St. Victor's Sacramental Theology; Hugh's Allegorical Vision of the Cross; The Tropological Vision of the Cross
Chapter 6. The Bury St. Edmunds Connection
Stylistic Evidence; Liturgical Evidence; The Identity of the Artist; The Artist as Scholar; Links to the Victorines; Links to St.-Denis
Chapter 7. Epilogue: The Place of the Cross in English Romanesque Art
Appendix I: The Inscriptions on the Cross
Appendix II: The Oslo Corpus
Notes to the Text
Bibliographic Abbreviations
Selected Bibliography of the Cloisters Cross
List of Illustrations of the Cloisters Cross
List of Comparative Images
General Index
Photograph Credits
William D. Wixom
Author's Preface
Chapter 1. Introduction: The Cross and Its History
The Material of the Cross and Its Date; The Construction and Carving of the Cross; The Missing Corpus; The Missing Terminal and the Caiaphas Plaque; The State of Research
Chapter 2. Word and Image: The Iconography of the Cross
The Front of the Cross—The Tree of Life; The Large Inscriptions; The Central Medallion: Moses and the Brazen Serpent; The Titulus, and the Dispute Between Pilate and Caiaphas; The Good Friday Plaque; The Easter Plaque; The Ascension Plaque; The Missing Terminal
The Back of the Cross—The Prophets; The Evangelist Symbols; The Allegory of the Agnus De; 'Rota in Medio Rotae'
Chapter 3. The Function of the Cloisters Cross
Early Observances and the Insular Tradition; The Cross as Agent of Salvation; The Transitional Character of the Cloisters Cross
Chapter 4. The Liturgical Context
The Liturgy for Holy Week—The Early Days of Holy Week; Good Friday; Holy Saturday; Easter Sunday
The Testimonia and the Liturgy—The Testimonia and the Central Medallions; The Testimonia and the 'Cham Ridet' Couplet; The Testimonia and the Titulus
Chapter 5. The Intellectual Setting
Anselm's Contribution—The Church and Judaism: Official Attitudes; Crispins 'Disputatio'; Anselm's Doctrine of Atonement; Penitence in Early Monastic Piety
The Victorine Contribution—St. Victor and Bible Studies; Hugh of St. Victor's Sacramental Theology; Hugh's Allegorical Vision of the Cross; The Tropological Vision of the Cross
Chapter 6. The Bury St. Edmunds Connection
Stylistic Evidence; Liturgical Evidence; The Identity of the Artist; The Artist as Scholar; Links to the Victorines; Links to St.-Denis
Chapter 7. Epilogue: The Place of the Cross in English Romanesque Art
Appendix I: The Inscriptions on the Cross
Appendix II: The Oslo Corpus
Notes to the Text
Bibliographic Abbreviations
Selected Bibliography of the Cloisters Cross
List of Illustrations of the Cloisters Cross
List of Comparative Images
General Index
Photograph Credits
Elizabeth C. Parker is Professor of Art History, Fordham University, New York.
Charles T. Little is Curator of Medieval Art, The Metropolitan Museum of Art, New York.
Charles T. Little is Curator of Medieval Art, The Metropolitan Museum of Art, New York.
Parker, Elizabeth C. & Little, Charles T., "The Cloisters Cross: its art and meaning"
