How Do We “Read” the Miniatures of the OccitanTrobairitz?
Marianne Sandels
Click to increase image sizeClick decrease size Notes 1. The sixteen portraits of female troubadours are excellently reproduced in colour Riquer , from the chansonniers A, H, I and K. Likewise, this book we find 207 different portraits, also colour, male troubadours, short “instructions” artist manuscript A have been translated into Spanish. No further bibliographical references will be given here for discussed, as they easily found Riquer's book. In Rieger however, corpus edition all trobairitz, with extensive commentary information, there is only one illustration included. 2. Gaunt Kay provide a list Occitan chansonniers, explaining established tradition assigning upper‐case letters sigla parchment manuscripts. Burgwinkle provides an overview especially K, multitude facts reflections. 3. “By mid‐thirteenth century, interest troubadour poetry Italy was apparently sustained largely through written transcription, while Languedoc lyrics were still supplemented by more active oral tradition” (Burgwinkle, : 249). 4. prose texts vidas razos included both modern Spanish . Boutière Schutz complete extant razos. 5. his introduction volume voice Paden states that their chronology “is not merely reflection troubadours” (p. 14). As matter fact, “the trobairitz appeared history later than counterparts disappeared sooner”. Furthermore he refers “golden interlude” between 1180 1230 when aristocratic women seem enjoyed privileged status, at least Provence. special appendix (pp. 23–25) lists datable trobairitz. All those portrayed miniatures considerably earlier late thirteenth four executed. possible exception could perhaps Tibors (“first half 13th c.”). On other hand, scholars who believe her possibly earliest cf. (: 646–651). Generally speaking, discards 55–56) idea any these being “naturgetreues Porträt”. 6. For example, numerous cases on horseback, armour, helmet covering face. Thus elegance horse, warrior‐like appearance heraldry intended “portrait”. 7. Most anonymous “ladies” appear Rigaut de Berbezilh, Arnaut Maruelh Pons Capduelh. However, similar examples, which K where Gaucelm Faidit seen together lady. 8. Cf. (, particular pp. 55–64) 9. translation English cannot really do justice word doneia embraces multi‐faceted social life aristocracy: “A lady interacts [in courtly love] gentleman”. term domnejar explained Cropp 214–217). (However, examples subject, makes instruction chansonnier even interesting.) 10. Several represented seated position A. 11. chapter Vêtement féminin, Demay 91–108) particularly interesting although limited examination seals: “Les dames sont figurées ordinairement debout, quelquefois à cheval, très rarement assises, vêtues deux robes ou, pour parler plus exactement, tuniques et d'un manteau, coiffées la mode du temps, gantées, tenant une fleur main ou un oiseau vol sur le poing. Les reines, toujours portent couronne sceptre; c'est leur seul caractère distinctif” 91–92). 12. Salmen number reproductions professional artists, most them shown motion. Menéndez Pidal 32–35). 13. 104–105). 14. Andersson 269–271 337–338); Boucher 5–6 p. 180): “De nombreux documents graphiques (miniatures, peintures murales, pierres tombales, sculptures) permettent constater l'unité même l'identité costume en Europe occidentale au XIIIe siècle; /…/ cotte, doublet, cotardie, surcot avec amigaut, chape mantel les sexes”; Gutarp 7–8 15. Städtler 132–133), stresses how musical education essential women's participation court culture. 16. 57–58). 17. XXXI–XXXII). Meneghetti 263) fact artists general had certain freedom creating “portraits”. 18. Correspondence (2007) Danish scholar Camilla Luise Dahl, affiliated Middelaldercentret (The Medieval Centre), Nykøbing Falster. 19. Camille 54–55). several chaplet, example: Marcabru, Salh d'Escola, Elias Cairel, Guiraudó lo Ros, Raimbaut d'Aurenga, Vaqueiras, Sordel. comparison Minnesänger culture interesting: Brinker Flühler‐Kreis 132–133, 230, 242, 356, 258 270). Headgear discussed 270) it briefly stated chaplets worn young men festive occasions. 20. sumptuous bronze effigy tomb monument (erected 1291–93) Queen Eleanor Castile Westminster Abbey, London, she crown, long hair flowing around head shoulders (Alexander Binski, 364–365.) She born 1246, married since 1254 Lord Edward, became King Edward England, died 1290. Does exuberant add timelessness? Would kind presentation likely, if alive? 21. 413–421, 419–421). 22. Heraldry frequently used century identify or enhance status woman, aristocracy. Pastoureau 46–48): partir des années 1220–1230, armoiries féminines se multiplient, il semble bien qu'à fin siècle grande majorité femmes issues haute moyenne noblesse possèdent (voir fig 41 45)”. general, either father's husband's arms used, often combination both, sometimes mother's entirely new ones. 23. XXIX–XXX). 24. bio‐bibliographical information about Cercamon mentioned paper, see (), important anthology 120 names, (though two trobairitz). 25. whenever animal human appears shield, natural facing viewer orientation viewer's left. 26. relate corresponding “twin” (They probably produced together, Meneghetti, 261–262.) variation due artistic inspiration anything else (cf. three pairs Azalais Porcairagues, Castelloza Countess Dia). same propensity invert comes Did times “invert” woman man? Interestingly, principal person, Castelloza's towards left, whereas cavaller faces her, orientated right, “normal” position. 27. Careri 44) clear doubt expressed existence lily sceptre, contrary opinion 61). Due deteriorated state always clearly visible details. 28. 91): […] poing”. Illustrations bird follow 98, 99 106. 29. Pinoteau 441). 30. 194–196, 364–365, 380–381 473) has examples. 434) gives striking example powerful angel saint pregnant using sceptre. lying down eloquent gesture touches belly According legend, Saint Taurin, first bishop Évreux, conceived. Obviously, symbol virginity, associated Virgin Mary. contrary, many contexts power. 31. Nissen 119–123 128–129) Norway Sweden. 32. 130–133). Bleu traces ascendency blue relation colours. 33. Dahl 75–82). 270): “Allerdings ist das Bild vom Kleid oft weit entfernt wirklich getragenen Kleid”. [However, pictures clothing very much actually worn.] 34. (:76–77) example. medieval church paintings Denmark, royal persons yellow clothes. sources no evidence whatsoever clothes nobility. wills Middle Ages mention garments, sole piece simple servant. 204–206) decline yellow. addition 131): “Rares sont, après 1200, hommes qui s'habillent jaune, ce aussi dans monde princes que celui routuriers”. It obvious though authentic gold fabrics great cost prestige. Although dated early fifteenth golden gown Margareta, now Uppsala Cathedral, excellent (Geijer al., ). 35. suggestive various uses stripes. 23–25 categories people listed perceived “deviant”. ill. 332 333) good Cantigas Santa María musician striped clothing. An almost emblematic picture culture, 242) shows musicians bright colours, patterns. 36. Many struck difference contemporary Cancioneiro da Ajuda manuscripts María, Alfonso X el Sabio. reproductions, Sabio ( 1989–). manuscripts, Iberian Peninsula, actual performance focus. 246–260). 37. This paper presented XIIth Triennial Congress International Courtly Literature Society, Lausanne Geneva, 29 July–4 August 2007.
Studia Neophilologica