Seite - 61 - in Europäische Bild- und Buchkultur im 13. Jahrhundert

61 thE Emotional charGE and humanistic EffEct of thE crucifixion gests a typological prefigurative function for both sets of figures. This is explained by a passage in St Thomas Aquinas’s Summa Theologica, where he states: ‘Thus, from the fact that the Jews observe their rites in which the true faith, which we hold, was foreshadowed of old, there derives this benefit: that we obtain testimony to our faith from our enemies and a symbolic representation of our beliefs…’.21 Christ is also, and notably, placed on a cross that does not conform completely to the lopped- branch form of the cross that appears to be the descendant of the images of the so- called ‘rough-hewn cross’. First seen on the Carolingian ivory attached to the book cover of the Pericopes of Henry II (c. 870?) and in Anglo-Saxon images of the cruci- fixion such as the Arundel Psalter (c. 1073–1099),22 it was a popular iconography from the eleventh to the fourteenth centuries seen on the bronze doors of Bernward of Hildesheim (c. 1015) and the Plock Gates (c. 1150), now at the Cathedral of St So- Iconographical Study of the Appearance of Synagoga in Carolingian Ivories. In: Jews in Medieval Christendom: Slay Them Not, ed. by Kristine Utterback / Merrall Llewelyn Price, Leiden / Boston 2013, pp. 7–24, esp. p. 23. 21 Thomas Aquinas: Selected Political Writings, ed. by Alessandro Passerin d’Entrèves, trans. by J. G. Dawson, Oxford 1959, pp. 154–155. 22 C. Michael Kauffmann: Romanesque Manuscripts 1066–1190. London 1975 (Survey of Manuscripts Illuminated in the British Isles 3), no. 1, pls. 1 f., fig. 5. Fig. 13: The First Peterborough Psalter of Abbot Robert de Lindesey (like fig. 1). The Cruci- fixion with Ecclesia, Synagoga, Moses, St Peter and two Apostles or Prophets. London, Society of Antiquaries, MS 59, fol. 35v, Peterborough, 1220–1222