Cloisters Cross
From The Art and Popular Culture Encyclopedia
(Difference between revisions)
| Revision as of 07:29, 9 August 2021 Jahsonic (Talk | contribs) ← Previous diff |
Current revision Jahsonic (Talk | contribs) |
||
| Line 1: | Line 1: | ||
| {{Template}} | {{Template}} | ||
| - | A '''speech scroll''', also called a '''banderole''' in [[Western art history]], is an illustrative device used to denote speech, song, or, in rarer cases, other types of sound. | ||
| - | Developed independently on two continents, the device was in use by European painters during the [[Medieval]] and [[Renaissance]] periods as well as by artists within [[Mesoamerica]]n cultures from as early as 650 BC until after the 16th century [[Spanish conquest of Mexico|Spanish conquest]]. | + | The '''Cloisters Cross''', also referred to as the '''[[Bury St Edmunds]] Cross''', is a complex 12th-century ivory [[Romanesque art|Romanesque]] [[altar cross]] in [[The Cloisters]], part of the [[Metropolitan Museum of Art]] in New York. The cross is carved from [[walrus ivory]]. |
| - | + | ||
| - | While European speech scrolls were drawn as if they were an actual unfurled scroll, Mesoamerican speech scrolls are merely scroll-''shaped'', looking much like a [[question mark]]. | + | |
| - | ==European banderoles== | + | |
| - | + | ||
| - | In contrast to the abstract nature of Mesoamerican speech scrolls, Medieval European speech scrolls or '''banderoles''' appear as actual scrolls, floating in apparent three-dimensional space (or in actual space in sculpture). They first become common at the start of the [[Gothic art#Painting|Gothic period]]. Previously, as in [[Byzantine art]], spoken words, if they appeared at all, were usually painted alongside a figure; these are called [[titulus (inscription)|tituli]]. However, earlier works using banderoles are the [[Liuthar Gospels|Aachen Gospels]] of Otto III (c. 975) and the 12th-century English [[Romanesque art|Romanesque]] [[Cloisters Cross]]. The latter work demonstrates the use of banderoles as attributes for [[Old Testament]] [[prophet]]s, to distinguish them from the book-carrying [[Four Evangelists]] of the [[New Testament]] and other Christian saints, a convention appearing in Italy in the 13th century. It may be seen in the ''[[Santa Trinita Maestà]]'' by [[Cimabue]] ([[Uffizi]], 1280–90), [[Duccio]]'s ''[[Maestà (Duccio)|Maestà]]'' (1308–11), and other works. The convention had a historical appropriateness, as the Old Testament was originally written on [[scroll]]s, whereas nearly all surviving New Testament manuscripts are [[codices]] (like modern books). They may also be used for the words of angels, especially [[Gabriel]]'s greeting to Mary in [[Annunciation]] scenes. During the 14th century, quotations in banderoles increasingly allowed artists to include more complex ideas in their works, though for the moment usually in Latin, thus greatly restricting the audience that could follow them. | + | |
| - | + | ||
| - | Unlike Mesoamerican speech scrolls, European speech scrolls usually contain the spoken words, much like a modern-day [[speech balloon]]. The majority of these are in religious works and contain Biblical quotations from the figure depicted – Old Testament prophets for example, were often shown with an appropriate quotation from their work. Because the words are usually religious in nature, the speech scroll is often written in Latin even when appearing in [[woodcut]] illustrations for books written in the [[vernacular]]. This would also enable the illustration to be used in editions in other languages. | + | |
| - | + | ||
| - | European speech scrolls may at times be seen in secular works as well and may also contain the name of a person to identify them. On carved figures the words would usually be painted on the scroll and have since worn away. In some Late Gothic and Renaissance works, and in architectural decoration, very elaborate empty banderoles seem to be for decorative purposes only. | + | |
| - | + | ||
| - | The European speech scroll fell out of favor largely due to an increasing interest in [[realism (visual arts)|realism]] in painting; the [[halo (religious iconography)|halo]] had a similar decline. | + | |
| - | ==See also== | + | |
| - | :''[[Banderole (pennant)]]'' | + | |
| - | *[[Speech balloon]] | + | |
| - | *[[Master of the Banderoles ]] | + | |
| - | * [[Saint Anne and Angel]] (detail) - [[Bernhard Strigel]] (1506/1507) | + | |
| {{GFDL}} | {{GFDL}} | ||
Current revision
|
Related e |
|
Featured: |
The Cloisters Cross, also referred to as the Bury St Edmunds Cross, is a complex 12th-century ivory Romanesque altar cross in The Cloisters, part of the Metropolitan Museum of Art in New York. The cross is carved from walrus ivory.
Unless indicated otherwise, the text in this article is either based on Wikipedia article "Cloisters Cross" or another language Wikipedia page thereof used under the terms of the GNU Free Documentation License; or on research by Jahsonic and friends. See Art and Popular Culture's copyright notice.
