<i>Spiritual Seeing: Picturing God's Invisibility in Medieval Art</i> (review)
Carole M. Cusack
210 Reviews various elements out of order. O n the other hand, account Charles VIII's ceremony gives details aspects event that were outside and surrounded actual coronation consecration. Changes to rituals continued after 1500 and, although records ceremonies are easier access, Jackson has apparently no intention publishing a third volume bring edition down thefinalcoronation, X in 1825. This is many ways great pity. Despite Internet, volumes this sort an essential part research library parts world still distant from original sources. Sybil M. Jack Department ofHistory University ofSydney Kessler, Herbert L., Spiritual Seeing: Picturing God's Invisibility Mediev Art, Pennsylvania Press, Philadelphia, 2000, cloth; pp. xv, 265; 8 colour plates, 133 b/w illustrations; R.R.P. US$49.95, £35.00; ISBN 0812235606. beautiful collection eight recent essays by Kessler on t which Byzantine Western Church engaged with question ofthe theological value ofimage-making. Chapter 1, 'The Icon Narrative', discusses relationship between portrait (icona) narrative picture (historia) medieval writings about religious images. In light prohibition images Second Commandment, pictures for Christian theologians accept. However, iconic element entered pictures, as when actions God apparent human affairs, argues there was 'elision difference historia icona' (p. 12) artistic works. also considerable attention use Jewish or Old Testament symbolism referents depiction N e w themes. 2, 'Thou Shalt Paint Likeness ofChrist Himself, 4, 'Configuring Invisible Copying Holy Face', explore greater detail controversy surrounding Mosaic The former essay excellent arguments side both iconoclasts iconodules eighth-century debate, argued variety positions, including 'the Commandment longer force because had revealed himself Christ', (pp. 35-36) 211 sacred objects but prefigurations Incarnation, renders them obsolete. second these two considers archetype physical realisation through examination practice continually copying older Several fascinating discussed, how defenders 'invoked processes art explain invisible archetypes could generate copies free matter they made' 69). lengthiest examinations book 6, 'Real Absence: Medieval Art Metamorphosis Vision', 7, 'Fades Bibliothecae Revelata: Carolingian Seeing', approximately fifty pages length. response Peter Brown's argument transformed at end sixth century. particular late antique (the burial Jacob Ashburnham Pentateuch) later ones Gregory Great Eton College manuscript), see whether convincing. He concludes that, issue depictions Paradise, it is: painters believed depict celestial visions; where artists come suspect art's capacity do this. ninth century saw fundamental distrust materiality pictures. demonstrates tendency contain within 'systems demonstrating [the] limitation corporeal seeing' 127). Thus themselves made clear 'that what faithful walls churches perceived eye not divine presences be apprehended spirit alone' 128). Because so much material featured, natural companion Revelata'. extended examination...
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