Seite - 60 - in Europäische Bild- und Buchkultur im 13. Jahrhundert

60 michaEl a. michaEl taken back to England by John Duke of Bedford during the English occupation of Paris before subsequently being purchased by Louis de Bruges, Lord of Gruuthuse from whence it re-entered the French Royal collection of Louis XII (1462–1515). This record of many hundreds of years of care and respect for the work of this artist suggests a profound contemporary understanding of the quality of his work.18 The layers of meaning which are woven into all these images of the Crucifixion naturally suggest a deep conviction in the truth of Christ’s sacrifice, but one that was developing and changing during the thirteenth century. In the Antiquaries Lindesey Psalter, it is notable that part of this conviction makes a clear reference to the rela- tionship between Judaism and Christianity, through the inclusion of the Old and New Testament figures of Ecclesia and Synagoga (fig. 13). Although this may seem a standard iconography it is worth exploring here in the context of Freedberg’s request that we explore the ‘psychological roots that we prefer not to acknowledge’. This iconography had been usual since at least the ninth century when Ecclesia is found in the Drogo Sacramentary Crucifixion scene (c. 844–855) and, later, is accompanied by personifications of Jerusalem or Synagoga on a series of Carolingian ivories asso- ciated with Metz.19 The text of Pseudo-Isadore’s (De altercatione ecclesiae et synagog- ae), which may have been known at Metz, is often cited as a textual source, but the imagery appears to have become common in both Byzantine and Western Christian culture by the eleventh century.20 That Moses and St Peter are juxtaposed also sug- 18 Léopold Delisle: Recherches sur la librairie de Charles V. Paris 1907, pp. 147 f.; Léopold Delisle / Paul Meyer: L’apocalypse en français au XIIIe siècle (Bibl. nat., fr. 403). Paris 1901, Société des anciens textes français, p. CLXXVIII; George Henderson: The Manu- script Model of the Angers Apocalypse Tapestries. In: Burlington Magazine 127 (1985), pp. 209–218. 19 Elizabeth Leesti: Carolingian Crucifixion Iconography: An Elaboration of a Byzantine Theme. In: Revue d’art Canadienne / Canadian Art Review 20 (1993), pp. 3–15. 20 Benedikt Oehl: Die Altercatio Ecclesiae et Synagogae. Ein antijudaistischer Dialog der Spätantike. Unpublished Doctoral Dissertation, Bonn 2012, pp. 1–6; Nancy Bishop: An Fig. 12: Apocalypse. St John the Evangelist preaching and the Baptism of Drusiana; later owned by Charles V of France. Paris, Bibliothèque nationale de France, fr. 403, fol. 1r, Salisbury(?), c. 1250–1255