Graphic Glosses and Argumentative Ornament
Herbert L. Kessler
The meanings of even seemingly conventional medieval figurations are articulated by graphic elements that engage the basic principles revealed diverse essays in this volume. A frontispiece Benedictional made for Æthelwold, bishop Winchester from 963 to 984, example, seems at first glance be entirely banal (London, BL, MS Add. 49598, fol. 70r; Fig. 1). Lord enthroned within a double mandorla blessing with his right hand and proffering book left is commonplace Carolingian Ottonian manuscript illumination, invented as way imagine Saviour’s dual nature; but it hardly an adequate representation Triune God, most complex all Christian concepts, titulus, TRINITAS, claims pictures. By complementing, contradicting, articulating, obfuscating figure, compensate theological inadequacy asserting God’s essential ineffability. portrait generates what Ildar Garipzanov has called ‘popup effect’; anchors reader’s gaze while, same time, revealing image’s very incapacity render fundamental mystery ‘verus Deus’ who is, one unus trinus. Words, nomina sacra, diagram, scale hierarchy, materials, colour, ornament not only prolong experience looking central figure Christ ways parallel those which Benjamin Tilghman identifies Book Kells, also engender rumination on God-made-man simulates speculation understanding relationship Only Begotten Son Godhead. Operating like John Evangelist’s metaphor caelum sicut liber involutus (Revelation 6:14), illumination Æthelwold’s thus perfect paradigm concluding meditation issues comprehended collection brilliant important studies; introduces other matters authors do discuss, or touch on, takes beyond towards future application.