Seite - 65 - in Europäische Bild- und Buchkultur im 13. Jahrhundert

65 thE Emotional charGE and humanistic EffEct of thE crucifixion such images might be extreme. In one celebrated instance, the violent reaction to an image required control through official intervention. By order of the Bishop of London in 1305, the Crux Horribilis, as it was called, of the Conyhope Chapel be- side the church of St Mildred in London was removed from public display because of the response of worshipers.32 It is thought that this may have been a polychrome wooden crucifix similar to that from Sankt Maria im Kapitol in Cologne, known as a Gabelkreuz (forked crucifix without a cross beam) because it had been purchased from a German called Thidemann.33 Nigel Morgan, in an important essay on the Norwegian and Swedish Crucifixi Dolorosi, has noted that the increasing emphasis on the suffering of Christ, on the facial expression, the wounds and the colour of the flesh was reflected in mystical writing in many parts of Europe at this time.34 32 Nigel J. Morgan: The Norwegian and Swedish Crucifixi Dolorosi c. 1300–50 in their European Context. In: Medieval Painting in Northern Europe (cit. n. 27), pp. 266–278, esp. 266–267. 33 For the Gabelkreuz see: Lexikon der christlichen Ikonographie, ed. by Engelbert Kirsch- baum, vol. 2, Rome / Freiburg / Basel / Vienna 1970, p. 596; Godehard Hoffmann: Das Gabelkreuz in St. Maria im Kapitol zu Köln und das Phänomen der Crucifixi dolorosi in Europa. Worms 2006 (Arbeitsheft der rheinischen Denkmalpflege 69), pp. 21–41; Binski, Becket’s Crown (cit. n. 11), p. 201. 34 Morgan, The Norwegian and Swedish Crucifixi Dolorosi (cit. n. 32), p. 267. Fig. 18: Westminster Psalter. Arch- bishop with crozier displaying the flowering cross. London, British Library, Royal 2 A XII, fol. 122r, Westminster, c. 1250