The Index of Medieval Art is pleased to continue a series of blog posts that delve into the history of the organization through interviews with senior scholars in the field of art history. The “Guest Book Series” takes its name from the Index guest books, which have been signed by scores of art historians who have consulted the Index files over the past century. We’ve enjoyed reading their recollections, and warmly thank Alison Stones, Professor Emerita, University of Pittsburgh, and Index friend for her time and responses.
Please tell us a little about yourself and your work. Where did you study? What inspired you to become a medievalist?
In the Fall of 1969, I emerged as a not-quite Ph.D. from the Courtauld Institute (that happened a year later in December 1970/January 1971) to begin what would turn out to be a life-long academic career in the United States. My academic background was in French and German literature, followed by a medieval art and architecture specialty at the Courtauld where I worked with the inimitable Christopher Hohler, and with David Ross at Birkbeck, with musicology from Ian Bent at King’s and Heraldry with Nick Norman at the Wallace Collection.
When was your first visit to the Index in Princeton? Where was the Index located? With whom did you work there? Do you remember anything especially interesting about your visit?
By 1969 I already had many friends in the US, notably Adelaide Bennett at the Index, Paula Gerson then at Fordham, James Marrow at Binghamton, and Bob Deshman at Toronto, Canada. All of them had worked alongside me in London, so the transition to the US was easy for me and all of them made me feel welcome there. The Index, under Rosalie Green, was among my first stopping places and continued over the years to be a haven for my research on French illuminated manuscripts, from the days of the invaluable old card system up to the new innovations of the 21st century. Adelaide and I would argue back and forth over the limitations and benefits of “Index-Speak” which invited us to hone our descriptive (and analytical) skills, and more recently it was a pleasure to encounter my former student Judith Golden among the ranks of the Index staff. One simply learned so much there!
Under Colum Hourihane came the era of the Index conferences, not-to-be missed sessions of innovative research, captured with regularity in the impressive series of publications produced under his editorship. I was privileged to attend many of these conferences and to participate in Iconography at the Index: Celebrating Eighty Years of the Index of Christian Art (1997),[1] Between the Picture and the Word: The Book of Kings (Morgan 638) in Focus (2004),[2] as well as the festschrift volume Tributes to Adelaide Bennett Hagens: Manuscripts, Iconography, and the Late Medieval Viewer (2017).[3] Naturally, these essays all depended heavily on research conducted at the Index, where I must admit that my preference was still the old card system rather than the new, online version. Thankfully, the Index conferences are ongoing, and now available online with a livestream link. From the presentations to the interaction that follows, one learns so much!
Do you have any observations about the evolution of the Index files and database over the last three decades? Where do you think Index work should go next?
As to future directions for the Index, I wish it could become a repository for the many online medieval databases (my own included) that risk becoming defunct once their creator retires. I appreciate the logistical issues and the problems of different software, but so much creative work is out there, and risks being lost. This in addition to the very valuable repository of information and images that make the Index such an indispensable tool for all medievalists. Long may it continue to flourish and many thanks for all I have learned there!
[1] Alison Stones, “Nipples, Entrails, Severed Heads and Skin; Devotional Images for Madame Marie,” in Image and Belief: Studies in Celebration of the Eightieth Anniversary of the Index of Christian Art, ed. Colum Hourihane (Princeton: Department of Art & Archaeology and Princeton University Press, 1999), 48–64.
[2] Alison Stones, “Questions of Style and Provenance in the Morgan Picture Bible,” in Between the Picture and the Word: The Book of Kings (Morgan 638) in Focus: A Colloquium in Honor of John Plummer, ed. Colum Hourihane (Princeton: Department of Art & Archaeology and Princeton University Press, 2004), 112–121.
[3] Alison Stones, “Tobit: A Recently Rediscovered Cutting from the Brussels-Rylands Bible,” in Tributes to Adelaide Bennett Hagens: Manuscripts, Iconography, and the Late Medieval Viewer, eds. Pamela A. Patton and Judith K. Golden (London: Harvey Miller Publishers, 2017), 335–353.
NB: This satirical post was shared on April Fool’s Day, 2024.
Although some scholars have claimed to see something like pizza in a wall painting at Pompeii, most historians trace the origins of modern pizza to sixteenth-century Naples. However, researchers at the Index of Medieval Art have discovered previously unrecognized medieval evidence of pizzerias in manuscripts dating at least two centuries earlier.
These early pizza-making scenes depict workers baking crusts, as in the miniature of a fifteenth century Book of Hours (Princeton University Library, MS Garrett 54). Notice how the pizza chef thrusts a long-handled peel with a round crust into a roofed pizza oven. Other steps in the preparation of crust have been identified in the iconography of pizzerias, including a hybrid figure tossing a circle of dough into the air to give the pizza its custom shape. Tossing dough in the air has long been the preferred method in pizza preparation to thin out the crust and give it its signature stretchy, glutinous finish.
Our research found that the toppings for pizza throughout the medieval period would have run the gamut. The typical meats and vegetables that popularly eaten today would have featured on pizza in the Middle Ages, too…with one major exception: the edible berry of the plant Solanum lycopersicum, more correctly identified as the Amoris pomum and commonly called the “the tomato.” Tomato sauce on pizza was strictly prohibited due to the prevalence of the belief that the love apple is the devil’s fruit. But pizza was always a highly customizable dish, and pizza mongers were apt to use any combination of sauces with any number of toppings to suit their palates. Pineapple and anchovies on pesto with casu martzu was a particular favorite among both penitents and unrepentant heretics alike.
You can imagine our surprise at finding in one late fifteenth-century Neapolitan cookbook, known as the “Cuoco Napoletano,” a recipe for a type of blood sausage known as cervellato (manuscript inscribed “Cirvelato de carne de porco ho di vitelli”) with a mention of its use in pizza preparation. Legendarily, and much like today, sausage was a favorite topping among medieval consumers of pizza, and the following leaf in the cookbook describes such usage in great detail. Or are you a fan of fungi on your pies? Mushrooms too made it onto the menus of pizza chefs, and some illustrations in medieval manuscripts show the fleshy morsels lined up and ready to chop.
Whether deep-dish or thin with extra cheese, pizza was prized in the Middle Ages. Pizza to go wasn’t out of the ordinary, either, but the pie would have to be fiercely guarded by its consumer. Eating a slice, or “wolfing ’za” as the medieval collegiate vernacular would have it, was often a perilous, two-handed operation. In one medieval image, you’ll notice that a large man chowing down on a delicious slice folded in one hand was required to wield a club with his free hand to ward off would-be pizza poachers!
It was also a seasonal favorite. Such early forms of a pizza would have been regarded as the perfect addition to any menu on the first day of April.
(And by the way, April Fool!)
We are very pleased to announce that Kyriaki Giannouli has joined the Index remotely for a three-month, part-time research opportunity to help incorporate key works on Mount Athos (Greece) into the database!
Kyriaki is a doctoral candidate specializing in Byzantine History at the University of Ioannina and a professional conservator of paintings. Her research focuses on examining the significance of Greek landscapes within the travelogues of Western Holy Land pilgrims from the 12th to the 17th centuries. She is an expert in Byzantine portable icons, frescoes, coins and seals and has hands-on experience in creating specialized conservation reports and working with databases.
At the Index, Kyriaki has started working on enamel and metalwork backfiles and has already made digitally available several objects on Mount Athos, including a fourteenth-century chalice from Vatopedi monastery (Index system number mar20240205001) and an eleventh-century book cover from Lavra monastery (Index system number mar20240212001). Her position requires her to examine the Index legacy records, update the metadata, identify new color images, and incorporate them into the online database. This will allow scholars worldwide, who are not able to travel to use the print Index on the Princeton campus, to access these images and their metadata. We are very excited and grateful to have Kyriaki join us in this collaboration!
This position is part of a multi-year project focusing on Mount Athos-related collections at Princeton (https://athoslegacy.project.princeton.edu/) and has been generously funded by the Seeger Center for Hellenic Studies with the support of the Dimitrios and Kalliopi Monoyios Modern Greek Studies Fund and Art & Archaeology Department at Princeton University.
The Index of Medieval Art was delighted to offer its second Wintersession, “Exploring and Creating a Byzantine Icon: Then and Now,” on January 23rd, 2024. Its fifteen participants included Princeton staff, faculty, undergraduate and graduate students. In the first part of the workshop, they learned about the history and creation of Byzantine icons. In the second, they had the opportunity to create their own icons using modern artistic materials.
Index Art History Specialists Maria Alessia Rossi and Jessica Savage led the workshop, opening with a presentation on the Index resources and delving into some questions about iconography using large reproductions of the icons from Mount Sinai, generously loaned by Visual Resources, as a basis. The group discussed the iconographic details in works of art, exploring the subject matter in icons that generate tags in the Index database. Jessica invited the students to observe the figures and scene in a twelfth-century Sinai icon of the Annunciation (Index system no. 57527), looking for major and minor details in the painting, as small as an octopus swimming underwater. Alessia introduced participants to the way Byzantine icons were displayed and their devotional practices by examining a folio from the Hamilton Greek Psalter (Index system no. 103381).
The first guest lecturer, local icon painter Maureen McCormick, showed the participants how to make the binder for egg tempera paint by mixing egg yolk and … No, not water … rather, white wine! Maureen showed the class all the tricks of the icon painter, including where to buy authentic pigments, how to grind them, and how to literally use one’s breath to “blow” gold leaf onto a red clay bole sample, which formed the nimbus of a saint. A short Instagram reel was made by Kirstin Ohrt, Communications Specialist in the Department of Art & Archaeology, to show Maureen’s breathtaking lesson in action, and you can check it out here: https://www.instagram.com/artandarchaeologyprinceton/reel/C2ud3gZLAJW/.
The afternoon session was led by Department of Art & Archaeology graduate student and icon painter, Megan Coates, who spoke about her own work with icons, as well as their importance for memory and communication. As part of an organized hands-on activity, participants created their own Byzantine icons using templates designed by Megan or choosing their own models from books or memory. Acrylic paint, brushes, drawing materials, gessoed panels, as well as gold and silver leaf materials were supplied by the Princeton Office of Campus Engagement. The outcomes were astonishing!
It was a pleasure to observe the participant’s ideas and skillful process unfold as they engaged in the long-treasured art of icon-making. One participant Sigrid Adriaenssens, Professor of Civil and Environmental Engineering, wrote to us after Wintersession and said, “Thank you so much for organizing this workshop. It opened a whole new world to me that I didn’t know existed at Princeton. I really enjoyed learning about the Index, icons, and how they are made. The speakers Maureen and Megan were also very interesting and exciting to listen to!” Another participant, Zi (Zoe) Wang, visiting doctoral candidate and researcher at Princeton from the Central Academy of Fine Arts in Beijing, said she felt transported by the instrumental music we played during the hands-on activity. Zoe said about the experience, it was like “immersing myself in meditation.” We couldn’t agree more!
Are you interested in learning more and researching icons at the Index? Here are some general tips for starting an Index search about Byzantine icons, especially if you do not know exactly which icon you are looking for!
However, these results might be too broad, so if you want to refine them you can keyword search the word “Byzantine” on the upper right search window of the database, and then filter by these other controlled terms we just mentioned, such as Work of Art Type “panel” or Medium “wood.” But if you want even narrower results, or if you know the iconography you are interested in, such as the iconography of an angel, or searching for angels by name, as in the case with the Annunciation image, you can filter by the Subject “Gabriel the Archangel.”
If you have any questions about starting research with the Index resources, fill out our inquiry form and we will be in touch: https://ima.princeton.edu/research-inquiries/.
Finally, this Wintersession workshop could not have been possible without the generous support of the Princeton Office of Campus Engagement, the Department of Art & Archaeology, and the Index of Medieval Art. Thank you to all who helped plan and participated in this event!
As editorial staff at the Index continue cataloging our physical backfiles, which contain over 200,000 photographs of works of art in sixteen media categories, we are happy to announce that at last, all our print records of gold glass objects have been fully digitized in the Index database! In gold glass, an image in gold leaf is fused between layers of glass. Gold glass was a favored art form in Hellenistic Greece and during the Roman period, often decorating the bases of feasting vessels, such as bowls, cups, and plates, with hidden pictures that would slowly be revealed during the consumption of food and wine. The newly digitized “Gold Glass” backfiles document over 650 objects from about 60 locations. Most examples are identified as vessels, medallions, or plaques (Fig. 1).
The glittering portraits on these glass objects, now mostly fragmentary, are usually bust length and often show whole families. These are classified under the Index subject “Family Group,” while the subject “Married Pair” is used for images depicting a bride and groom, sometimes crowned by Christ. Gold glass objects are frequently associated with marriage celebrations, and several pieces retain the names of the men and women depicted with inscriptions of good wishes. Frequently, this inscription is the Latin drinking toast “PIE ZESES” (“Drink to live,”), either in full or abbreviated, although a fourth-century gold glass fragment from Rome, now in the British Museum, bears the more sentimental words “DVLCIS ANIMA VIVAS” (“Sweet soul, may you live [long]”) around the heads of the newlyweds (Fig. 2).
Several gold glass objects contain other paired figures, especially Peter and Paul the Apostles, as the patron saints of Rome, and Adam and Eve, commonly represented in the Fall of Man scene. Old Testament narratives and figures, such as Moses, Abraham, Daniel, and Jonah were popular, and Christian miracles were also frequently depicted on vessels. The Index database contains just over fifty miracle scenes executed in the gold glass medium, including the Raising of Lazarus, the Miracle of Loaves, and the Wedding at Cana, suggesting that healing themes held some favor among patrons. The objects may also have served a commemorative function.
Some surviving gold glass objects contain Jewish iconographic motifs, including the Temple implements, such as the menorah, shofar, etrog, and Torah Ark. These implements can be found in the Index database by browsing the Subject list, or by searching for “gold glass” as a term and filtering by the Style/Culture “Jewish.” Mythological figures and narratives from the classical world were also favored subjects to depict on gold glass vessels. The Herculean labors, sea-nymphs, and cupids can be identified on some fragments. Other well-represented motifs in the medium include the “Good Shepherd,” which has iconographic connections to the ancient Greek ram-bearing cult figure Kriophoros. There remains much to discover and assess about images in gold glass and their meanings, production, and patronage throughout the late antique, Roman, and Byzantine periods, making the Index an essential study tool. Now, with increased access, more researchers can learn how this rather fragile art form documents fashion, commerce, rituals, and historical names and epigraphs from ancient daily life (Fig. 3).
The Index gold glass backfiles received significant attention by Ryan Gerber, our 2019 summer intern from the Rutgers School of Communication, who is now a Marquand Art Library Collections Specialist. Gerber inventoried the collection and wrote about his impressions in a blog post called “A Face in Gold Glass.” After Henry D. Schilb, Index Art History Specialist in Byzantine Art, finished adding the collection with the help of Gerber’s inventory, he noted that many gold glass objects recorded in major nineteenth century catalogs did not survive into the modern era. Thus, the publications that earlier Index catalogers used in their research may have contained the last known record of an object’s existence. Schilb said, “it was surprising to learn that many of the gold glass objects entered into the Index files have been lost to time, and at least one of them was apparently reduced to dust in the collection where it was last recorded. Not surprisingly, we have also simply lost track of several examples that were originally cataloged by Indexers before the Second World War.” With too little information to go on, the Index cataloger can sometimes upload only a drawing from the catalog and record only a “Last Known Location” for objects presumed lost to history. When we just don’t know where something is, we indicate this in the database by giving “Unknown” as the current location with a “Last Known Location” to identify the place where an item was last known to exist. This can apply to items that we know to have been destroyed, but it also applies frequently to items that are either simply lost or are now in unidentified, private collections. Although the Index can sometimes discover an object’s true current location, that bit of data can sometimes elude us, so we always welcome intelligence from anyone who might have a good lead!
It is a great achievement when we can complete an entire category in the backfiles with newly researched information, including updated location names, fuller iconographic descriptions, and new or updated terms from Index vocabularies to expand the findability of work of art records. We ought to be clear, however, that we do not claim to have recorded every known example of any medium or type of object. That must remain an ongoing project. Nevertheless, the whole Index team is thrilled to make the gold glass corpus of the original Index card catalog fully available in the database. If you want to see for yourself, you can browse “gold glass” records by Medium more fully here: https://theindex.princeton.edu/s/list/ListMediums.action. You can also reach out to us with any inquiry here: https://ima.princeton.edu/research-inquiries/. Please let us know how the Index can improve the records we have, or find out how the Index can serve your own research needs.
Cheers!
Further Resources
Garrucci, Raffaele. Vetri ornati di figure in oro: Trovati nei cimiteri dei cristiani primitivi di roma. Rome: Tipografia Salviucci, 1858.
Deville, Achille. Histoire de l’art de la verrerie dans l’antiquité. Paris: Morel, 1871.
Vopel, Hermann. Die Altchristlichen Goldgläser: Ein Beitrag zur altchristlichen Kunst- und Kulturgeschichte. Freiburg im Breisgau: J. C. B. Mohr, 1899.
Morey, Charles Rufus. The Gold-Glass Collection of the Vatican Library: With Additional Catalogues of Other Gold-Glass Collections, ed. Guy Ferrari. Vatican City: Biblioteca apostolica vaticana, 1959.
Meek, Andrew. New Light on Old Glass: Recent Research on Byzantine Mosaics and Glass. London: British Museum Press, 2013.
Howells, Daniel Thomas. A Catalogue of the Late Antique Gold Glass in the British Museum. London, British Museum Press, 2015.
We are excited to announce a short-term graduate opportunity at the Index of Medieval Art! This is a two to three-month remote, part-time research opportunity to help incorporate key works of art on Mount Athos into the Index database. The position would require the student to examine the Index legacy records, update the metadata, identify new color images, and incorporate them into the online database. They will be trained in Index norms in cataloging works of art, describing the iconography, transcribing inscriptions, and adding bibliographic citations.
The position is part of a new multi-year project, Connecting Histories: The Princeton and Mount Athos Legacy, that aims to create an international team of faculty, staff, and students that will explore and bring awareness to the rich, complex, and remarkable historical and cultural heritage of Mount Athos, and its connection to Princeton. This opportunity offers a stipend of $2,500 and has been generously funded by the Seeger Center for Hellenic Studies, with the support of the Dimitrios and Kalliopi Monoyios Modern Greek Studies Fund and Art & Archaeology Department at Princeton University.
The deadline for applications is December 1, 2023. For more details about eligibility criteria and the application process, please visit the “Announcements” page on the Connecting Histories website.
It’s May again, the month that marked the traditional beginning of summer in the Middle Ages. Much as it still is today, this seasonal turn was celebrated with festivals that set aside the toil of spring in favor of games and leisure. In medieval iconography, this time of the year is also captured in a variety of courtship scenes belonging to a genre known as “courtly love.” Such scenes sometimes represented the month of May with depictions of couples playing a game of chess or setting out on horseback for the sport of falconry and hunting, as well as holding merry engagements around fountains or flowing springs. The typical zodiac sign associated with the month of May was Gemini, usually represented by a pair of either twins or lovers, which epitomized the idea of two for this time of year: a double, a match, and a mirror image.
The iconography of mirror and fountains is similar in its ability to emanate personal reflections of a viewer, which made them desirable themes to utilize in courtly imagery. While the idea of gazing at your “twin,” perhaps framed in a window or seated across a chessboard, was celebrated in the Middle Ages, looking at your own reflection for too long, or for the wrong reasons, was frowned upon. A classic warning appears in the tale adapted from Ovid’s Metamorphoses of the mythological Greek hunter Narcissus, who so loved his own reflection that he became fixated on it for life, rejecting all offers of love.
The Narcissus theme is represented in a late fifteenth century miniature in an English manuscript of the Confessio Amantis (“Confessions of a Lover”) by John Gower (d. 1408). The artist depicts a kingly Narcissus wearing a crown, a vair-lined garment, and a jeweled girdle while staring at his own reflection in a fountain (Fig. 1). Narcissus stands in a fenced enclosure surrounded by a unicorn, a collared dog, and a stag. The presence of the stag evokes an Aesopian fable with a similar message, usually called the “Stag and its Reflection” (or the “Proud Stag”), in which a stag admires his antlers in a pool for too long and is caught by the hunter. Like its captive animal companions, the stag echoes Narcissus’s enmeshment in his self-image and ties him to the fountain.
In the popular medieval romance known as the Roman de la Rose, by Guillaume de Lorris (fl. ca. 1230), the “Lover” (Amans) encounters the Fountain of Narcissus and is similarly drawn to look at the reflection of his face in the water (Fig. 2). Like Narcissus, the Lover in the Roman de la Rose is taken with his own beauty in the pool and leans over to admire it; but unlike that of Narcissus, the pool is also the “Fountain of Love,” which destined all who looked in to fall in love. Thus, the Lover’s self-reflection is deeper and more altruistic than his external features, allowing him to overcome the curse of vanity and experience an ideal transformation.
Among the most interesting imagery related to mirrors, fountains, and love is that on Gothic mirror cases, also called valves de miroir. Over seventy examples currently exist in the Index of Medieval Art database, and you can find them by browsing for “Mirror Case” under Work of Art Type. Such mirror cases would twist open to reveal a polished metal disk for personal reflection, while imagery on the closed case told an allegorical story linked with chivalric lore. Mirrors have been part of society since antiquity when they were first made of highly polished stones. The mirror is an essential tool in the iconography of the Toilet of Venus, and it also became both a virtuous attribute for the self-aware personification of Prudence and a sign of vice for that of Vanity. Yet the images carved on Gothic ivory mirror cases rarely warn about the dangers of selfish looking. Instead, they often present scenes of youthful love. On a mirror case in the Walters Art Museum, within the arched portcullis of a castle, a man cups the chin of a woman in a gesture called “chin-chucking” (Fig. 3).
On the Walters ivory mirror back, other young people engage in friendly activities while a group of disabled or elderly persons parade toward the waters of the allegorical “Fountain of Youth” seeking an immortalizing dip. A similar procession of four pairs of men and women meeting at a central two-tiered fountain issuing streams of water appears on a double-sided ivory comb in the Victoria & Albert Museum, made ca. 1400 (Fig. 4). Here, the couples do not gaze into the fountain, nor do they bathe in its restorative waters, but the fountain separates the groups into symmetrical pairs, suggesting an impending connection. The glossy surfaces of mirrors and fountains, with a myriad of possible reflections—of a person’s vanity or deep self-knowing, the promise and capture of love, or the hope of love as a soothing, restorative balm—made these water features the appropriate gathering places for courtly lovers.
The month of May can resemble December for those of us on the academic calendar. The buzz of the semester diminishes to a low hum; there are fewer events, fewer emails to answer, and fewer faces around campus as people take time away from university life. Some might take a break from their work to review their activities and reconnect to individual goals and missions. These yearly transitions can also be times of reflection. Wherever this summer takes you, for work or on trips to faraway lands, we wish you good health and safe travels!
Select Subjects of “Love” Interest in the Index of Medieval Art
The following iconographic headings can be accessed in the Index of Medieval Art Subject List:
Married Pair —The iconographic depiction of a husband and wife together, identified or not.
Marriage—A scene of matrimony or wedlock celebrating the union of two people as they become spouses.
Castle of Love—The “Castle of Love” allegory is associated with the iconography of chivalry and courtly love and is often represented on fourteenth-century ivory mirror cases and caskets. Also known as the Siege (or Attack) on the Castle of Love, it typically includes the God of Love (Eros or Cupid) holding a bow and arrow and positioned on the top of a castle while women, couples, and lovers defend the tower, sometimes by tossing roses on battling equestrian knights below.
Courting—Index subject incorporating various scenes of courtly love, including crowning lovers, or couples chin-chucking, also used in combination with scenes of falconry, hunting, or chess.
Couple—The term to describe a pair of people, usually a man and woman depicted as lovers.
Falconry—Also known as “Hawking.” The sport of hunting with predatory birds is especially associated with the iconography of the Labors of the Month for April and May and scenes of courtship with figures and couples holding the birds of prey.
Fountain of Love—An allegorical fountain for courting lovers as described by the fourteenth-century French composer Guillaume de Machaut.
Fountain of Youth—An allegorical fountain or spring which, according to legend, had the power to restore youth to anyone who bathes in its waters.
Labors of the Month, May—The occupation for the month for May, usually represented by an outdoor scene of courting or the sports of hunting and falconry, often by equestrian couples. Variants of this scene include the courting lovers walking in a landscape, sometimes holding hawks, falcons, flowers, or branches, or sometimes depicted in a scene of merriment involving musicians.
Mirror—A polished surface, often held by a handle or decorative frame, and reflecting a clear image of what it is pointed at. Attribute of the vice personification of Vanity. Sometimes held by the goddess Venus.
Sexual Activity—The subject for figures engaging in any explicitly sexual activity. Often suggested by two people lying down in close proximity to each other, possibly nude, possibly embracing each other, and sometimes in a bed.
Further Reading
Camille, Michael. The Medieval Art of Love: Objects and Subjects of Desire. New York: Abrams, 1998.
Hult, David F. “The Allegorical Fountain: Narcissus in the ‘Roman de la Rose.’” Romanic Review, 72, no. 2 (1981): 125–50.
Lewis, C. S. The Allegory of Love: A Study in Medieval Tradition. Oxford: Oxford University Press, 1973.
Peklar, Barbara. “The Imaginary Self-Portrait in the Poem Roman de la Rose.” Ars & Humanitas 11, no. 1 (2017): 90–105.
Other Resources
The British Museum. “A ‘Greatest Hits’ of medieval myths on a casket | Gothic Ivories 1 | Curator’s Corner S7 Ep4.” YouTube Video, 11:57. June 23, 2022. https://youtu.be/IA0sWopdLxs.
Gothic Ivories Project at The Courtauld Institute of Art, London. Accessed February 14, 2023. http://www.gothicivories.courtauld.ac.uk/.
The Index staff is pleased to announce the relaunch of the Index’s digital image collections, which have recently undergone a massive upgrade. The updated platform hosts ten collections of images generously donated to the Index and made freely accessible to the public through the Index website. These unique documentary resources include more than 50,000 images of medieval art and architecture and reflect the varied interests and travels of their twentieth-century photographers. They represent a range of subjects, techniques, and media, including English medieval embroidery, medieval and Byzantine manuscripts, European choir stall sculpture and stained glass, and Gothic and Romanesque architecture.
Although the images in these collections have not been cataloged with the same level of detail as those in the iconographic database, every effort has been made to assign them basic information regarding location, date, and in many cases, iconographic subjects. The latter can be found in browse lists that include a variety of iconographic topics, including saints and martyrs, animals, zodiac, occupations, and secular and religious scenes, all updated to follow the current subject standards of the main Index database. Browsing these subject lists reveals much about each collection. For instance, the subject list for the “Opus Anglicanum” database—an image collection of medieval English needlework on ecclesiastical and secular textiles—includes numerous saints especially venerated in England, with multiple scenes for Margaret of Antioch, Nicholas of Myra, and Thomas Becket.
Browsing the subject list of another collection, the Elaine C. Block database of misericords, reveals the wide variety of drôleries that decorated the wooden under-seat structures: fantastic creatures, battling animals, and figures playing in sports and games, engaged in occupations, or enacting proverbial lessons. John Plummer’s database of medieval manuscripts includes large numbers of biblical and apocalyptic images, including scenes with Christ, David, and the Virgin Mary, and other popular saints found in late medieval prayer books. The subjects in Plummer’s collection closely resemble those found in Jane Hayward’s collection, perhaps reflecting the shared interests of two scholars were curators at major collections in New York City during the second half of the twentieth century.
The Gabriel Millet collection comprises the study and teaching images of that scholar, an important archaeologist and historian of the early twentieth century who specialized in Byzantine art. Subjects represented here include multiple biblical figures and scenes, but also Byzantine generals and emperors and several text subjects, such as the Chronicle of Manasses and the biblical psalms by number.
The Gertrude and Robert Metcalf Collection of Stained Glass is a documentary treasure for the study of Gothic stained glass. The Metcalfs, who were both stained glass artists and experienced photographers, took more than 11,000 images of stained glass from European monuments, covering sites in Austria, England, France, Germany, and Switzerland. Their images of stained glass windows are a fascinating record of a fragile artistic medium, captured during fragile times. Their travels coincided with the dawn of World War II in Europe over the years 1937 and 1939, and they produced a body of documentary evidence that became critical to postwar restoration efforts. A look at the Metcalf subject list reveals many of the expected themes in medieval iconography, but also significant iconographic cycles for several French bishops, such as Austremonius and Bonitus of Clermont, Germanus of Auxerre, and Martialis of Limoges.
Geographically, the collections cover country and city locations in four continents—Europe, Africa, Asia, and North America—from obscure sites to famous ones, and they include many types of repositories, from in-situ locations to museums, libraries, and private collections. To better accommodate browsing by region, locations in all the collections have been formatted to begin with the country. Each collection is introduced with general information about its history, scope, and image use policies. It has been satisfying to edit and release these collections—now with more consistent information and a more secure digital platform—knowing that they are now more useful to scholars. Your feedback on the collections is welcome via this form.
Continuing a series of blog posts introducing the new features of our online database.
The Index of Medieval Art database catalogs more than 26,000 subjects. For a long time, you could explore this vast taxonomy only by browsing the subject headings in alphabetical order. To make the data more accessible, the Index has developed a Subject Classification browse tool, which allows researchers to discover Index holdings by browsing through various categories of our hierarchical classification of subjects.
In this network, subjects are grouped under five top-level headings:
By browsing the contents of these categories, researchers can learn more about Index subjects as grouped by theme. Researchers interested in the “History” category, for example, will encounter individual subjects, such as the names of historical figures and their associated scenes within a medieval society, grouped under classifications such as “Heraldry,” “Donors,” “Founders,” and “Nobility.” Other groups in this category include “Those Who Pray” (including representations of religious clergy, pilgrims, missionaries, hermits and heretics), “Those Who Fight” (with admirals, generals, officers, etc.), “Those Who Rule” (with emperors, empresses, doges, despots, prefects, etc.), and “Those Who Work” (including medieval occupations by type, such as philosophers, physicians, and scholars).
The category “Religious Subjects” contains diverse subject matter, mainly figures and scenes, but also objects and rituals, not only for the three Abrahamic faiths of Christianity, Judaism, and Islam, but also for several other ancient religions, such as Greek, Roman, and Egyptian mythology. The unsurprisingly large iconographic groups for the Life of Christ and the Life of the Virgin Mary, which include the names of individual biblical figures and saints as well as biblical scenes, live in this part of the network and represent a wealth of catalogued examples in the database. Under “Religious Subjects,” biblical scenes are also grouped by their numbered books and chapters. These classifications allow researchers who are broadly interested in the iconography from a biblical source, such as the Genesis narrative, to access “Biblical Books” then “01. Genesis, Book,” and then go to a specific category. For example, the category “Genesis, Chapter 04” lists subjects of related figures and scenes appearing in Genesis 4, such as those for Adam, Eve, Cain, and Abel. Each biblical book with associated iconography in the database can be browsed for associated subject headings, including the subjects for the Psalms (following the Vulgate numbering 1–150). Researchers pursuing iconography related to texts other than the Bible will want to browse the “Literature and Legends” category, accessed from “Non-Biblical Texts” under “Society and Culture,” which contains subjects relating to the Trojan War, the Aeneid, the Legend of the Argonauts, and Arthurian Legend, among others.
The “Society and Culture” category contains a wide variety of subject terms for representations of medieval daily life. Here you will find types of work, garments, objects, utensils, musical instruments, and furniture that the Index has identified in medieval works of art, plus an array of occupational activities, such as travel, sports, eating and feasting, and hunting scenes. Exploring the category “Sports and Games” might yield unexpected names of pastimes enjoyed in the Middle Ages. Subject terms for games such as “Chess” or “Draughts” are familiar, but others, such as “Whirligig,” might invite a deeper look.
The “Nature” category is a treasure trove for anyone interested in medieval representations of animals, plants, geography, and astronomy. Here you will also find fascinating mythological creatures and hybrid figures alongside visualizations of the seasons, climate, and natural disasters. The “Symbol, Concept, and Ornament” category contains subjects for the more abstract topics in the Index collection. It currently organizes representations of allegories by name and personifications by type, including human characters for the arts, nature, places, time, virtues and vices. This category also includes maps and diagrams, monograms of individual figures, and various kinds of figured, floreate, and foliate ornament.
More a network than a strict hierarchy, the Subject Classification tool is designed to be flexible in its groupings, because the Index of Medieval Art recognizes that medieval iconography does not always fit into predetermined categories or may fit into many categories. For example, Charlemagne, the Carolingian King of the Franks and later Emperor of the Romans was also revered as a saint in some locations, so he appears in multiple parts of the network, including:
When clicking on the lowest-level subject heading, in this case “Charlemagne,” a new page will appear displaying this subject heading’s authority record. The authority record provides an array of useful information, including a Note field at the top offering a definition of the subject, or biographical details, followed by expandable fields containing select bibliographic citations, External References (cross-references to other authorities) and See Froms (alternative names and spellings of the subject). At the bottom of each subject authority is the Associated Works of Art field, an expandable field containing links to all the medieval works of art that feature this iconography.
The authority record’s Subject Classifications field presents the lowest network category, or categories, to which the subject belongs. In the example of “Charlemagne,” it is the name of the individual figure. In other instances, the Subject Classifications for a particular subject might appear on the authority as a broader grouping term. For example, the subject authority for “Drinking Horn” will use the subject classification “Utensils and Objects D–H,” and the subject for “Robin” will use the classification “Birds H–Z.” As noted in the example for biblical books, the subject classifications can also contain names of textual sources, including legends and other narratives.
The evolution of the Subject Classification tool is ongoing, allowing for continuous discovery by both those who use it and those who are building it. As branches of the network spread, new and surprising associations emerge, revealing the richness of the Index’s subject taxonomy. We hope you will enjoy browsing the iconographic headings with this new database tool, which is openly accessible to anyone who visits the browse page of the Index of Medieval Art database.
The Index of Medieval Art Subject Classifications comprises a browsable network that organizes and associates subject terms from our vast taxonomy of medieval iconography. These classifications are descriptive and not prescriptive of medieval works of art cataloged into the Index collection. What follows is an outline of the top three levels of classifications to give Index researchers the broadest overview of subject content.
Heraldry
Heraldic Symbols
Heraldry of Miscellaneous Figures and Families
Identified Heraldry A–Z
Legendary Heraldry A–Z
Historical Figures
Donors A–Z
Founders A–Z
Nobility
Those Who Fight
Those Who Pray
Those Who Rule
Those Who Work
Animals
Birds A–Z
Hunting and Other Scenes
Insects and Invertebrates
Mammals A–Z
Marine Creatures
Reptiles and Amphibians
Astronomy and Astrology
Constellations
Planets and Other Celestial Objects
Sun and Moon
Zodiac
Geography and Geology
Landscape
Minerals and Gems
Mountains
Natural Elements
Rivers
Sea and Ocean
Weather and Natural Disasters
Mythological Creatures and Hybrids
Animal Hybrids
Hybrid Figures
Mythological and Religious Creatures
Plants
Plants and Flowers A–Z
Trees and Their Fruits A–Z
Time
Months
Seasons
Times of the Day
Biblical Books
Genesis, Book–Maccabees, Book
Matthew, Book–Apocalypse, Book
Christianity
Angels and Devils
Christian Legends
Christian Objects and Rituals
Christian Religious Orders and Offices
Death and Afterlife
Divine Manifestations
Images and Attributes of Christ
Life of Christ
Life of the Virgin Mary
New Testament Apocrypha
New Testament Figures
Old Testament Apocrypha
Old Testament Figures
Saints
Types of the Virgin Mary
Greek and Roman Mythology
Mythological Figures A–Z
Mythological Narratives
Islam
Muslim Objects and Rituals
The Life of Muhammad
Judaism
Jewish Biblical Figures and Narratives
Jewish Objects and Rituals
Other Ancient Religions
Egyptian Deities
Gnosticism
Mithraism
Zoroastrianism
Architecture
Cities A–Z
Identified Buildings A–Z
Models of Buildings and Cities
Unidentified Buildings and Structures A–Z
Drollery
Drolleries and Grotesques
Figure Types
Ethnic, National, Religious, and Social Types
Figure Types A–Z
Human Hybrids
Hybrid Figures
Imaginary Figures
Labors of the Month
Months
Furniture
Bed, Bench, Lectern, Throne, etc.
Garments and Accessories
Hats, Headgear, Jewelry, etc.
Human Activities
Eating and Feasting
Hunting and Other Scenes
Medicine and Medical Practices
Occupational A–Z
Social Activities
Sports and Games
Travel and Commerce
Non-Biblical Texts
Literature and Legends
Objects and Rituals
Christian Objects and Rituals
Jewish Objects and Rituals
Muslim Objects and Rituals
Utensils and Objects
Musical Instruments A–Z
Utensils and Objects A–Z
Warfare
Arms and Armor
Military Figures
Military Scenes
Allegories and Personifications
Allegories
Personifications of Arts
Personification of Christological, Symbolic, and Literary Concepts A–Z
Personifications of Nature
Personifications of Places
Personifications of Time
Personifications of Vices
Personifications of Virtues
Maps and Diagrams
Alchemical, Alphabetical, Geometric, Astronomical Diagrams, etc. and Maps
Monogram
Monograms of Individual Figures A–Z and Symbols
Ornament
Animal, Figured, Floreate, and Foliate Ornament
By Jove! This year a special planetary alignment will occur on December 21st, also the Winter Solstice, when earth’s northern pole is at its greatest tilt away from the Sun. During this “Longest Night,” the planets Saturn and Jupiter will be within a tenth of a degree to one another, appearing to form a single “star.”
While an alignment of Saturn and Jupiter happens about every 20 years, when it happens in 2020 it will be one of the closest alignments of these two planets for over 800 years, and by some accounts since the year 1226.[1] The 1226 Saturn-Jupiter conjunction coincided with several historical milestones. In France, the reign of Louis IX, the only French king to be canonized by the Catholic Church, began following the death of his father Louis VIII. In Norway, the cleric Brother Robert translated the popular chivalric romance of Tristan and Iseult into Old Norse at the request of King Haakon IV. In the Kingdom of Georgia, the Sultan Jalal ad-Din Mingburnu, last ruler of the Khwarezmian Empire, captured Tbilisi in the Battle of Garni. The mendicant friar, preacher, and later saint Francis of Assisi died on October 3rd. And according to Canadian astronomer and historian Vibert Douglas, the Mongol emperor Genghis Khan abruptly ended his military campaign in China, possibly owing to the phenomenon of five separate planetary conjunctions over the years 1226 and 1227.[2]
In the Middle Ages, the seven “planets”—Saturn, Jupiter, Mars, Venus, Mercury, and the sun and moon—were important celestial bodies in the heavenly realm. Each was thought to have a distinctive personality, an idea still reflected in Gustav Holst’s orchestral suite The Planets, composed between 1914 and 1916. Holst calls Jupiter “The Bringer of Jollity” and Saturn—colloquially also known as “Father Time”—“The Bringer of Old Age.” These names doubtless influenced the artistic expression in the series of dance performances for Holst’s Planets by the Princeton University Ballet in 2018 linked above.
Jupiter, the largest planet in the solar system, was initially named after the ancient Roman god of thunder, and its planetary neighbor Saturn, the god of agriculture and harvest, was also Jupiter’s father. In Greek mythology they are Zeus and Cronus and were sometimes represented by medieval artists as luminous pointed stars, or solid spheres in concentric circles of earth-centered astronomical diagrams, as in this later copy of a Byzantine geocentric model of the cosmos (Fig. 1).
Representations of the planets are found in the artistic traditions of many cultures in which astronomy was an important science, including the Mesopotamian, Egyptian, Hellenistic, Indian, Byzantine, Islamic, and Chinese spheres. A possible early figuration of the planet Saturn can be seen on this ancient papyrus fragment in the Metropolitan Museum of Art as an Egyptian deity (Fig. 2). A much later figuration of the planets is found in this sixteenth century “Book of Felicity” (Matali’ al-saadet) made for Sultan Murad III (r. 1574–1595), now in the Bibliothèque nationale de France, which contains images of the “exaltation” and “dejection” of the planets—that is, when they are in apogee and perigee (Fig. 3). On folio 33v, Saturn’s exaltation in Libra is represented by the zodiacal scales, and his dejection in Aries shows him falling headfirst onto the back of a ram. The lower two vignettes similarly depict Jupiter’s exaltation in Cancer by pairing him with the zodiacal crab, and his dejection in Capricorn by tumbling onto a goat.[3]
In western European art, the planets were presented both as heavenly bodies and in symbolic form. In this late medieval manuscript of the Confessio Amantis (“The Lover’s Confession”) by John Gower, a small miniature of the planetary system, prefacing the part on Astronomy, contains the sun and moon with human faces among five gold and starry planets, the uppermost two labeled with their Latin names “Saturnus” and “Iubiter” (Fig. 4).
In Dante’s Divina Commedia, the spheres of heaven were represented by planets; Saturn was the seventh sphere and Jupiter the sixth. In this illustration of Paradiso 22, the scene of the “Heaven of Saturn” is portrayed by Beatrice and Dante welcoming five nude souls descending a ladder from a glowing red star with seven points (Fig. 5). Reading the Paradiso, we know that this level of heaven was reserved for the contemplanti, or the founders of monastic orders, “men who were kindled by that heat which brings to birth the blessed flowers and blessed fruits.”[4]
In other medieval works the planets of the cosmos (and sometimes their children!) were personified as human figures.[5] In some of the earliest examples, planets were depicted as crowned figures, triumphant generals, or wearing laurels, rayed headpieces or wings; such types appear on Roman coins and as bust-length personifications in illustrated poems known as carmina figurata.[6]
Some representations evoked the temperaments often associated with each planet. Associated with the ambivalent nature of melancholy, Saturn was often configured as an old man with a handheld sickle (or a more “modern” scythe) and with a cloak draped over his head, but he can also hold a shovel, a wheel, and small nude figure, which he raises up as if to devour, a reference to the Greek myth in which he swallowed his children.[7] Jupiter was seen as a protective deity: his iconography varies from the classical, bearded archetype of “Zeus Pater” (Zeus the Father), who brandishes lightning bolts, a celestial wheel, or other symbols of his power, to his personification as a bishop in a late fifteenth-century astronomical miscellany in the Getty Museum.[8]
In classical mythology it was held that Jupiter drove Saturn away from his celestial throne. A marginal scene in this ninth century Homilies of Gregory Nazianzen depicts this dramatic argument of the ancients (Fig. 6). Saturn is pursued by Jupiter both wielding an axe, illustrating the First Invective against Julian the Emperor, “… let Jove rebel against Saturn, following his sire’s example; that sweet stone and bitter slayer of tyrants …”[9] In an early eleventh century manuscript of Rabanus Maurus’s encyclopedic De Universo, one miniature depicts Saturn with a scythe, nearly as tall as he, and Jupiter holds a symbolic pair of attributes: an eagle for deified justice and a serpent representing the age-old struggle for it (Fig. 7).
Two highly emblematic representations of the planets Jupiter and Saturn appear in the Rheinish manuscript of the Von Dem Gang des Himmels und Sternen (“The Course of the Heavens and Stars”), forming its own “planetary conjunction” at the close of the book (the miniatures are on facing pages). Both planets, Saturn personified as a simple farmer and Jupiter as city patrician, are decorated with imagery from a number of astrological and zodiacal sources, including their corresponding symbols for Libra and Cancer (Figs. 8 & 9).
The Index of Medieval Art database includes much more in the way of celestial imagery, including subjects related to the iconography of the other planets, stars, zodiac symbols, and constellations. The database also can be keyword searched for other named astronomical objects, such as “Star of Bethlehem.” These examples appear in a wide variety of works of art, including almanacs, calendars, astrological treatises, constellation maps, zodiac cycles, and a variety of narrative and allegorical works, and across different media, cultures, and periods.
The planetary motions of Saturn and Jupiter have been described by astronomers, such as Newton, Kepler, and Laplace, as “The Great Inequality,” meaning that while Jupiter’s mean period of motion is continually increasing, Saturn’s is continually diminishing and falling further behind.[10] Thus, both planets have long been approaching each other in the same direction, yet with enormous discordance.
The year 2020 has had its own prelude of tumultuous moments leading up to this great planetary conjunction. As the globe still grapples with a challenging year, it’s easy to imagine this alignment of Saturn and Jupiter as a sort of “clash of the titans,” but when we look west in the sky just after sunset, let us recall that this special occurrence, a most rare ballet of the planets, also marks a new season that will bring more light to our days.
[1] O’Neill, Mike. “Don’t Miss It: Jupiter, Saturn Will Look Like Double Planet for First Time Since Middle Ages.” SciTechDaily, 23 Nov. 2020, https://scitechdaily.com/dont-miss-it-jupiter-saturn-will-look-like-double-planet-for-first-time-since-middle-ages/; Strickland, Ashley. “Jupiter and Saturn Will Look like a Double Planet Later This Month.” CNN, Cable News Network, 3 Dec. 2020, https://www.cnn.com/2020/12/03/world/jupiter-saturn-conjunction-2020-scn-trnd/index.html; Levenson, Michael. “Jupiter and Saturn Head for Closest Visible Alignment in 800 Years.” The New York Times, The New York Times, 6 Dec. 2020, https://www.nytimes.com/2020/12/06/science/space/jupiter-saturn-align-christmas-star.html.
[2] Douglas, A. Vibert, “Historical Significance of Five Conjunctions, 1226–27,” Journal of the Royal Astronomical Society of Canada 65 (1971): 129–132.
[3] See also this exquisite engraved and inlaid brass tray with personifications of planets made by Mamluk craftsmen and commissioned by a Sultan in Yemen in the early fourteenth century (Metropolitan Museum of Art, 91.1.60). For more on astronomy and astrology in the medieval Islamic world, see this essay by Marika Sardar: https://www.metmuseum.org/toah/hd/astr/hd_astr.htm.
[4] Paradiso 22, 47–48 accessed at Barolini, Teodolinda. “Paradiso 22: Controlled Orphism.” Commento Baroliniano, Digital Dante. New York, NY: Columbia University Libraries, 2014. https://digitaldante.columbia.edu/dante/divine-comedy/paradiso/paradiso-22/. See also the Princeton Dante Project https://dante.princeton.edu/pdp/, with recent news and developments on the project here, https://humanities.princeton.edu/2020/11/29/2020-rapid-response-grant-literary-visualizations-reconstructs-imaginations-of-dantes-readers/.
[5] Discussion of the planets and their characteristics, temperaments, and affinities are found in many almanacs, planet books, and other cosmological treatises. See especially the classic Warburgian study by Raymond Klibansky, Erwin Panofsky, and Fritz Saxl, Saturn and Melancholy: Studies in the History of Natural Philosophy, Religion, and Art (London: Nelson, 1964). Reissued by McGill-Queen’s University Press, 2019.
[6] The Index database records three examples of planetary carmen figuratem, all in the British Library, MS. Cott.Tib.B.V (fol. 44v), MS. Cott.Tib.C.I (fol. 33r), and MS. Harley 647 (fol. 13v).
[7] Klibanksy, Panofsky, and Saxl, Saturn and Melancholy, 197.
[8] For the Jupiter-Bishop on horseback see Getty Museum, MS. Ludwig XII 8 (83.MO.137), fol. 49v. See also the Art Stories post by Bryan C. Keene, “Written in the Stars: Astronomy and Astrology in Medieval Manuscripts,” Getty Iris Blog (30 April 2019), https://blogs.getty.edu/iris/written-in-the-stars-astronomy-and-astrology-in-medieval-manuscripts/.
[9] See lines 120–121: Gregory Nazianzen, “Julian the Emperor” (1888). Oration 4: First Invective Against Julian. The Tertullian Project, 14 Dec. 2020, http://www.tertullian.org/fathers/gregory_nazianzen_2_oration4.htm.
[10] Wilson, Curtis, “The Great Inequality of Jupiter and Saturn: From Kepler to Laplace,” Archive for History of Exact Sciences 33, no. 1/3 (1985): 15–290.