Abstract

Among sensory markers for sanctity, it was the sight of the holy that most often inspired faith in the early Middle Ages. Shouts, prayers, and hymns might have greeted a miracle, and a wondrous odor confirmed the presence of an incorrupt body; but in most miracle stories it was “things seen” that turned the heart toward faith. This primacy of the visual settled a burden of proof squarely upon the early-medieval artist : how could the body of the saint, if not continually working miracles, be shown to be holy? More reliable sights were needed, and the shrine of the saint was called upon to supply them