Abstract

Since early-Christian time an iconography has developed around the Haemorrhoïssa which is related to the conventions of Christ's miracles of healing. In the transition from word into image, an intense energy is released with regards to touching, the gaze and space. These iconographical characteristics become sensors of a far broader range of topics, for in the Middle Ages the Haemorrhoïssa was also the bearer of patterns of sensitivity for uterine taboos which were connected to magic, textile and types of stones.