Seite - 63 - in Europäische Bild- und Buchkultur im 13. Jahrhundert

63 thE Emotional charGE and humanistic EffEct of thE crucifixion don, Worcestershire and elsewhere from the later thirteenth century onwards.25 But the cross gives the impression in the Lindesey Psalter of flowering, thus recalling the image of the Tree of Life in Paradise from the Albani Psalter (Hildesheim, St. Gode- hard, p. 372, end of Psalm 150 and canticle of Isiah, c. 1130?, fig. 15),26 and late thirteenth-century painted wooden crosses such as the crucifix from Tretten I, Øyer (Oppland), Norway, or that in the Capella della Pura, Sta Maria Novella, Florence; both display leafy crocket-like extensions (fig. 16).27 Walter Hildburgh, in an article published in 1932,28 was the first to notice that the Middle English Poem Cursor Mundi contains a passage which suggests that, by the fourteenth century, there was a popular belief known that the cross on which Christ was crucified flowered between midday and compline (fig. 13), but later became ‘dry’. LinE 16858 þar sorfulEst of all þai fant, saint iohn and mari. [þ]E rodE it was wid liEif and Brac LinE 16860 florist wElE sElcuthli, Fra þe middai to þe complEnE þat mani toGht farli.29 Later thirteenth-century English manifestations of the cross which appears to ‘flower’ are made in response to St Bonaventure’s (1221–1274) Lignum vitae, where he states that ‘Since imagination aids understanding, I have arranged the texts in the form of an imaginary tree’.30 A visualisation of this is seen in a copy of the Lignum vitae from Durham Cathedral of third quarter of the thirteenth century (London, The British Library, Harley 5234, fol. 5r, fig. 17) and is also illustrated with an almost identical tree at Bury St Edmunds not long afterwards (London, The 25 Nigel Saul: The Early 14th-century Semi-effigial Tomb Slab at Bredon (Worcestershire): its Character, Affinities and Attribution. In: Journal of the British Archaeological Asso- ciation 170 (2017), pp. 61–71, esp. p. 65. 26 Kauffmann, Romanesque Manuscripts (cit. n. 22), pp. 68–70; Otto Pächt / Charles R. Dodwell / Francis Wormald: The St Albans Psalter. London 1960, p. 268, pl. 91d; Jochen Belper / Peter Kidd / Jane Geddes: Dombibliothek Hildesheim. The St Albans Psalter (Albani Psalter). Simbach am Inn 2008, p. 211. 27 Kaja Kollandsrud: New Light on the Virgin from Veldre, The Virgin from Østsinni and the Crucifix from Tretten. In: Medieval Painting in Northern Europe: Techniques, Analysis, Art History. Studies in commemoration of the 70th birthday of Unn Plahter, ed. by Jilleen Nadolny, London 2006, pp. 76–90, 79; Anna Maria Giusti: Un dipinto Inglese del Duecento in Santa Maria Novella a Firenze. In: Bollettino d’arte 23 (1984), pp. 65–78; Carlo Ludovico Ragghianti: Arte Inglese (?) a Firenze. In: Critica d’arte, ser. 4, 50 (1985), pp. 82–83. 28 Walter L. Hildburgh: A Mediaeval Bronze Pectoral Cross. In: Art Bulletin 14 (1932), pp. 79–102, esp. 96 f.; idem: On Palm-Tree Crosses. In: Archaeologia 81 (1931), pp. 49– 61. 29 Cursor mundi, part 3, ed. by Richard Morris, London 1876 (Early English Text Society, 62), p. 965, lines 16859–16869. From: Göttingen, Niedersächsische Staats- und Universi- tätsbibliothek, Theol. 107 with interpolation from London, The British Library, Cotton Vespasian A III, [leaf 2]; see also: Ernest Mardon: The Narrative Unity of the Cursor Mundi. Glasgow 1970, p. 100. 30 Bonaventure: Lignum vitae. Trans. by Ewert Cousins, New York 1978, p. 119.