The impact of the Byzantine emperor Heraclius on western arthistory has been neglected so far. We elaborate here that this figure, besides his historical and liturgical identity as restorer of the holy cross relic to Jerusalem, became also an important catalyst for eschatological models. Heraclius has been personified as the eschatological emperor and was described as the conqueror of Chosroës, the Antichrist. This image-making of the Byzantine emperor in the West was not only adopted by the crusaders, but became also (...) exemplified by important high-medieval dynasties . The franciscans attend the memory of Heraclius to the later Middle Ages by means of their special devotion to the cross and the holy sepulchre . In this context Heraclius became depicted in 14th- and 15th-century franciscan wallpaintings in Tuscanian churches as a part of the so-called legend of the True Cross. (shrink)

In the tenth book of Ovid’s Metamorphoses there is a moving story which explores the relationship between the artist and his work of art. It is the myth of the sculptor Pygmalion. The story of the Cypriot artist for whom the ivory statue of his ideal woman came to life knew a very widespread transmission. The myth inspired authors and artists to reflect about love, idolatry, lifeless matter, the artist vis-à-vis the one Creator, and so on. The secondary literature which (...) has been published on the reception of this metamorphosis is proportionately plentiful. However, it mainly takes Pygmalion as its starting point. Scant attention has been paid to the other figure: the woman, who is silent in Ovid’s tale, but increasingly became the mouthpiece for a Western vision of the image of women. The Middle Ages ascribed to Pygmalion all the vices they could come up with. Already in the early Christian period there was mention of a Cypriot artist who had intercourse with a statue of Aphrodite. He was adduced as an exemplum warning of the madness of idolatry in Antiquity. With the development of humanism these Christian interpretations are swept away and the simple love-story comes into its own again. Pontormo paints the female figure as a woman of flesh and blood who gazes, not towards the kneeling Pygmalion, but towards the viewer and the painter. For various reasons this painting fits into the so-called paragone, which was in full swing at this time: the struggle for rank between the arts of sculpture and painting. For the art of painting can do what the art of sculpture cannot: paint skin, suggest movement, paint the art of sculpture itself, etc. The influence of the Pygmalion myth reaches a peak in the eighteenth century. Rousseau gives the female figure what Voltaire, in his poem of love for an actress, had not: a name. She is Galathea, after the nymph, the image of perfect inner and outer beauty. The beloved thus acquires an identity? Well, she does speak, in any case. Rousseau’s musical play – in the eighteenth century the arts of the stage recognize new challenges in the Pygmalion theme – endswith the words of the beloved: “c’est moi” , “ce n’est pas moi” , “aussi moi” . This points to a complete amalgamation of the beloved with her creator. Diderot subscribes to the same body of ideas, and again relates them to the paragone. But for him it is sculpture, and not painting, which provides the ultimate access to Nature, and thus to the Divine. For the third dimension is the most direct emanation of the internal image of the artist, his muse, in reality. For him, Falconet’s Pygmalion et Galathée is the sculpted group which on all fronts revives the supremacy of the discipline. He even claims that Falconet is the eighteenth-century Pygmalion. In the nineteenth century we see the first signs of change. Galathea begins to reject Pygmalion. In literature she is portrayed a the cold and unattainable woman. From the point of view of gender we see indeed that women’s self-image had come to a crisis. She could not mirror herself in the past. The woman of the nineteenth century had to put an end to a male ideal image. Christina Rossetti’s poems express this impasse. Galathea – who had in the meantime herself become a “metaphor” for the plastic arts – becomes the fitting cue to mark the beginning of the new, “modern” art. Rodin has her looking away from Pygmalion in disgust. Goya portrays himself as the sculptor who, as it were, rapes Galathea. This moribund Galathea was intended to express criticism of the academic “dictatorship” of mimesis, but also the social responsibility of the artist in a society wracked by civil war. Paul Delvaux reads another subjection into his Pygmalion . The domination of the artist by his mother, who segregates him from the female sex. He puts himself in Galathea’s place as a helpless torso; his mother embraces him. Here we pick up the trail of the psycho-analytical archetypes in the myth. They are not so clearly established as in the case of Narcissus, for example, but they relate to the feminine attributes which the beloved has personified throughout the ages: from lust-object to frigidity. Ever since her awakening, the story of her tranmission has been fed on the evolving images of woman herself. (shrink)

This article was inspired by Georges Didi-Huberman’s keynote lecture “Que ce qui apparaît seulement s’aperçoit” delivered in 2015 at Charles University in Prague during the “Dis/appearing” conference organized by the Internationales Kolleg für Kulturtechnikforschung und Medienphilosophie. Didi-Huberman’s lecture consisted of various reflections concerning the meaning of the image as instances of flaring up and fading away. During his talk, Didi-Huberman used evocative images – recollections – which he had collected over the years; impressions while walking in the streets, melancholic musings (...) about love, and thoughts gathered from literature en route. From this, the article identifies seven cases through which Didi-Huberman has conceptualized images; the nymph, the butterfly, the passer-by, the surface, the dance, the silence, and sophrosyne. These cases attest to the influence of Aby Warburg on the writing of Didi-Huberman and, taken together, identify what these cases of the image have in common; namely, that images occupy an interspace: the fleeting instant of appearance/disappearance. Didi-Huberman explains images – “Dante’s Beatrice and Baudelaire’s fleeting beauty” as “the paradigmatic ‘passer-by.’” Through these cases, this article poetically draws the reader’s attention to what Didi-Huberman calls “non-knowledge”; those fleeting, mobile, paradoxical aspects of images that resist clear categorization and can be thought of as fireflies against the night sky. The article asks: is it possible to characterize this genre? To denominate the collection of thoughts that welcome the image as a witness to the history of thought? The study of images can be understood, following Giorgio Agamben’s interpretation of Aby Warburg’s oeuvre, as “the nameless science.”. (shrink)

Literary sources In the closing days of his life Adam sends his son Seth to Earthly Paradise in order to find the soothing Oil of Mercy. However, Seth receives a twig from the Tree of Life to be planted on Adam's grave. The Jews will use the wood for the construction of Christ's Cross. In 1962 Esther C. Quinn publishes the first monograph on the Seth-personage in the context of the Legend of the Crosswood. In 1977 A.F.J. Klijn studies the (...) Seth-personage as it appears in the commentaries on Genesis, in the apocrypha of the life of Adam, in gnostic writings. While the Jewish apocrypha already considered the Seth-personage as a new Abel and a new Adam, patristics also typified him as a forerunner of Christ. Created after the image of Adam, he also was the pivot in the apocrypha on the life of Adam and Eve after the expulsion and the christian Gospel according to Nicodemus ). Two motives from that have persistently survived: the journey of Seth to Paradise and the Divine knowledge that was attached to two columns. Iconographical sources The fresco-cycle of Agnolo Gaddi in the Santa Croce in Florence at the beginning of the iconographical part of this article is not an arbitrary choice. It is here that the Seth-personage is visualized for the first time in the context of the Legend of the Crosswood. Subsequently it remains firmly bound to the fresco-medium and Franciscan donors in Italy. In this context the iconography of the Legend of the Crosswood is being transformed in function of an exegesis of the history of salvation. The Book of Hours of Catherine of Cleve from the middle of the 15th century is an isolated case, because its iconography of the Crosswood remains exceptional within the Netherlands. In the usual way the mass on Fridays concentrates upon the Cross or the Crucifixion in the text as well as in the iconography, but unusually by means of the long office of Gods Mercy and moreover illustrated by the Legend of the Crosswood culminating in an image of the Man of Sorrows. The choice of the subject might refer to a Franciscan background. From an iconographical point of view it is of considerable value that the Lutwin 14th-century German variant of the Vita Adae et Evae has been illustrated in a 15th-century manuscript. An existing tradition may be assumed, because the same iconography appears in three from the Vitae interpolated scenes in a Bavarian manuscript of the chronicle of Rudolf von Ems. This insertion in the Genesis-part of a worldchronicle allows it to presume that the Seth-personage could be found in 'classical' Genesis iconography. The southern porch of the choir in Schwabisch Gmünd and the northern friezes of the cathedral of Toledo bear witness to this. The second seems to use a Legenda-source. The representation of the Seth-vision seems to be confined to the one of Toledo, although Spanish variants of the Legenda-source have not been discovered as yet. Finally, the Seth-of-the-columns passage, as described in the Vita and included in medieval worldchronicles through Flavius Josephus, symbolizes the transmission of Divine knowledge to humanity. The Geometria Divina that was assigned to Adam, is destroyed by the Flood. This is shown in a miniature in a 14th-century manuscript of Rudolf von Ems, where Adam's column acts as counterpart of Noah's ark. The knowledge of astrology, Seth's learning, lives on. In this way the Chronica Regia Coloniensis wants to found the Holy Roman Empire on these columns: Seth and Adam represented as the 'authors' of the Civitas Dei. (shrink)

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.