Table of contents
poetry by
Chapter I:
Chapter II:
Chapter III:
Chapter IV:
Chapter V:
Chapter VI:
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Bibliography
Adams, Doug, and Apostolos-Cappadona, Diane, Art as religious studies (Crossroad: New York 1987)
Biographical Sketchthomas peter kunesh was born in St. Paul, Minnesota, on 28 august 1956. He received his elementary school education at St. Francis Xavier School in Sartell, Minnesota, and graduated from Cathedral High School in St. Cloud, Minnesota, in 1974. In 1975 he began his college studies at St. Cloud State University. In 1976 he enlisted in the U.S. Navy and studied the Russian language at the Defense Language Institute in Montery, California, serving as a Russian and Farsi Naval Linguist (Cryptologic Techinican-Interpretive Branch, Petty Officer Third Class/CTI-3) in Rota, Spain, and in the Persian Gulf and Indian Ocean. In 1980, after his honorable discharge, kunesh attended the Universidad Complutense de Madrid, Spain (Curso de estudios hispánicos), and in 1981 began full-time studies at the University of Minnesota-Minneapolis, graduating with a Bachelor of Arts degree in Spanish, with minors in Religious Studies and Foreign Studies in 1983. In the summer of 1983 he began graduate work at the University of Minnesota in Religious Studies, receiving a scholarship to study at the Fundación José Ortega y Gasset, Toledo, Spain, in fall 1982. He continued his graduate research in Paris through the spring of 1983, and at the University of Minnesota in the summer of 1983. From 1984 to 1985 he served as Secretary-General of the Minnesota International Students Association. In 1985 he attended the Starr King School for Religious Leadership (Unitarian Universalist) in Berkeley, California, and graduated with the degree of Master in Divinity in 1988. From 1988 to 1990 he served as monthly parish minister to the First Unitarian Church of Willmar, Minnesota; from 1989 to 1990 as Director of Religious Education at the Michael Servetus Unitarian Society of Fridley, Minnesota; 1988 to 1990 as UU campus minister at the University of Minnesota, Minneapolis; and in 1990 as Vice President of the Council of Religious Advisers of the University of Minnesota. In december 1990 he received the degree of Master of Arts from the Graduate School of the University of Minnesota in Religious Studies. kunesh currently resides in Chattanooga, Tennessee.
Footnotes1 Between the years 1577 and 1579; Toledo Museum of Art, El Greco of Toledo (1982) p. 259 2 Gregorio Maran, El Greco y Toledo, 2nd edition (Madrid 1958) p. 282 3 Antonia Vallentin, El Greco (London 1954) p. 141-2 4 “Communication does not consist of the transmission of meaning. Meanings are not transmitted, nor transferable. Only messages are transmittable, and meanings are not in the message, they are in the message-user.”ŅDavid Berlo, The process of communica" 5 Victor Turner, The forest of symbols: aspects of Ndembu ritual (Cornell University: Ithaca 1967) p. 20" 6 Vallentin, El Greco, p. 142" 7 Julian Gallego, La pintura espaola (Barcelona 1963) p. 66" 8 Ralph Oppenhejm, Spain in the looking-glass, translated by K. John (McBride: New York 1956) p. 54; Maraon (El Greco y Toledo, p. 283) Ūrst cites R. Ferreres: “las actitudes de las manos del Greco reproducen los gestos de los ritos israelitas, especi" 9 Maraon, El Greco y Toledo, p. 283, footnote (280)" 10 Francisco Pompey, El arte espaol " 11 Drawing of E. M. Lilien, ‘Der Jüdische Mai, Lieder des Ghetto’ (1902); in Milly Heyd, ‘Lilien and Beardsley: “To the pure all things are pure,”’ Journal of Jewish art (Center for Jewish art of the Hebrew University: Jerusalem 1980) vol. 7, p. 61, Ūg. 8 12 Hayim Halevy Donin, To be a Jew (New York 1972) p. 202 13 Encyclopedia Judaica (Jerusalem 1972) XIII: 1062 14 Ibid.: “This Ūgure became the device of the kohanim and is often inscribed on their tombstones.” e.g., the Jewish cemetery in Prague. See also E. M. Lilien drawing, ‘Friedhofsnachtingal, Lieder des ghetto’ (1902), in Heyd, ‘Lilien and Beardsley,’ ibid 15 Georges Nataf, Symboles, signes, et marques (Paris 1973) p. 212 16 A further example of the ease with which the identity of particular symbolic or ethnic gestures are coöpted, thereby creating new and different meanings, relates speciŪcally to the use of the Kohanic blessing as adopted by women “anti-nuclear weapons 17 Leonard Nimoy, I am not Spock (Celestial Arts: Milbrae, California 1975) p. 104-5: “The story was rich in Vulcan ritual and was the Ūrst time the Vulcan hand salute was used. This consisted of holding the hand up, palm outward, the thumb outstretched w 18 I. Cassou, El Greco (1934) p. 105; cited in Camn Aznar, Domínico Greco (Espasa-Calpe: Madrid 1950), p. 1092-93. translation: “This gesture, repeated so frequently, is that which Saint Ignatius of Loyola recommends. ... Better than Ūsts to the chin or 19 Vallentin, El Greco 20 Veronica de Osa, The mystic Ūnger symbol of El Greco (London 1956) p. 202-3 21 Louis J. Puhl, S.J., The spiritual exercises of St. Ignatius: based on studies in the language of the autograph (Loyola University: Chicago 1951) p. 16 “27. Four additional directions. These are to serve as a help. to more ready removal of the particul 22 Bulletin of the Associates in Fine Arts at Yale University, vol. 23, september 1957, no. 3; portrait of Ezra Stiles by Samuel King; in Dillenberger and Taylor, The hand and the spirit: religious art in America (Berkeley 1972) p. 46 23 Puhl, The spiritual exercises of St. Ignatius: based on studies in the language of the autograph, p. 16 24 The Holy Bible -ŅNew International Version (Hodder and Stoughton: London 1982) p. 990 25 de Osa, The mystic Ūnger symbol of El Greco, p. 203 26 Vallentin, El Greco, p. 142 27 Frank Rutter, El Greco (London 1930) p. 83 28 Jos Camn Aznar, Domínico Greco, p. 1089 29 Willumsen, La Jeunesse, p. 498, in Camn Aznar, ibid., p. 1093 30 Cassou, El Greco , p. 105, in Camn Aznar, ibid., p. 1093 31 Article on “El Greco,” Encyclopedia Britannica 1975 edition 32 Elizabeth du Gu Trapier, El Greco: early years at Toledo 1576-1586 (New York 1958) p. 13 33 Samia Temtamy and Victor McKusick, The genetics of hand malformations (Alan R. Liss: New York 1978) p. 301-07; cf. Victor McKusick, Mendelian inheritance in man: catalogs of autosomal dominant, autosomal recessive, and X-linked phenotypes (Johns Hopkin 34 Verschuer (1961) in Temtamy and McKusick, ibid., p. 301 35 Leslie Brainer Arey, Developmental anatomy: a textbook and laboratory manual of embryology (Saunders: Philadelphia 1974) 7th edition, p. 212, fig. 169. F, “syndactyly” (figure rotated 180Ą): “The bony fusion or fleshy webbing of digits (syndactyly); F) 36 See, for example, the “Portrait d’un chevalier Santiago de la maison Leiva,” M. Legendre and A. Hartmann, Domenico Theotocopouli dit El Greco, (Hyperion: Paris 1937) p. 36 37 A partial list of titles of El Greco’s paintings in which the caballero’s hand gesture appears, including approximate date, present location; and name of Ūgure gesturing: Adoration of the shepherds (1577-79) Santander; Mary Annunciation (1596-1600) Madrid; center angel Assumption of the Virgin (1577-79) Chicago; Mary, Peter (?) Christ bearing the cross (1585-90) New York; Jesus Christ on the cross with the two Marys and Saint John (1588) Athens; St. John Coronation of the V Madonna and child (1604-08) Madrid; Mary Madonna and child with Sts Agnes and Marina (1597) Washington DC; Mary, angel, and St. Agnes Madonna suckling the child (1605-10) Madrid; Mary Mary Magdalen in penitence (1578-80) Budapest; Mary Magdalen Mary Magd 38 Minneapolis Institute of Arts, Minnesota; also Titian’s ĮMagdalenČ in the Pitti Gallery of Florence 39 Real Colegio del Corpus Christi, Valencia; in Jos Camn Aznar, La pintura espaola del siglo XVI, Summa artis: historia general del arte (Espasa-Calpe: Madrid 1970) vol. 24, p. 45, Ūg. 31; also the gesture of Mary reaching for the child Jesus in ĮSan 40 Jean Roger Rivière, El arte de la India; Summa artis - Historia general del arte (Espasa-Calpe: Madrid 1978) vol. 19, p. 60-61; E. Dale Saunders, Mudra: a study of symbolic gestures in Japanese Buddhist sculpture (Bollingen -Pantheon: New York 1960) 41 John Napier, Hands (Pantheon: New York 1980) p. 32: “Ectrodactyly is one of the strange conventions of cartoonists for whom the hand consists of three or four digits only. ...” 42 Frederic Wood Jones, The principles of anatomy as seen in the hand (Williams & Wilkins: Baltimore 1942) p. 268-9 43 Cf. Jzsef Gát, The technique of piano playing (Collet’s: London; Corvina: Budapest 1965) p. 133, and p. 262, Ūgs. 96 -97 44 Jos Camn Aznar, La pintura espaola del siglo XVI, Summa artis: historia general del arte (Espasa-Calpe: Madrid 1970) vol. XXIV, p. 384, Ūg. 343; Manuel Trens, María: iconografía de la Virgen en el arte espaol (Madrid 1947) p. 479 45 Trens, ibid (1947) p. 376; Manuel Trens, Santa María: vida y leyenda de la Virgen a travs del arte espaol (Barcelona 1954) Ūg. 103 46 August L. Mayer, Murillo - des Meisters Gemälde (Stuttgart 1913) p. 60 47 See Hera-Herakles myth below, Chapter V: Literary sources of lactating goddesses, Greek culture. 48 See Marija Gimbutas, Goddesses and gods of Old Europe 6500-3500 b.c. (California 1982) re. pre- and proto-Indo-european cultures 49 See Marija Gimbutas, ibid., p. 142: “In contrast to the Indo-Europeans, to whom Earth was the Great Mother, the Old Europeans created maternal images out of water and air divinities, the Snake and Bird Goddess. A divinity who nurtures the world with m 50 See Peter Ucko, Anthropomorphic Ūgurines of predynastic Egypt and neolithic Crete with comparative material from the prehistoric Near East and mainland Greece (A. Szmidla: London 1968) 51 E.g., the Venuses of Willendorf, of Laussel. See Andr Leroi-Gourhan, Prehistoria del arte occidental (Gustavo Gili: Barcelona 1976) p. 42-44, Ūg. 52 bis; H.E. Read, The art of sculpture, pl. 26, 27 52 Herbert Edward Read, The art of sculpture (Pantheon: New York; Bollingen: Princeton 1956) p. 26, 28 53 National Museum, Belgrade, in Marija Gimbutas, The gods and goddesses of Old Europe, 7000-3500 bc: myths, legends and cult images (London 1974) Ūg. 194 54 Athens National Museum, in Dimitriou R. Theochari, Neolithike Ellas (Greece 1973) p. 56; cf. Zervos, Naissance, vol. II: 305, Ūg. 395; Gimbutas, Ūg. 96; and Andr Leroí-Gourhan, La prehistoria, translated by Ricardo Martín (Labor: Barcelona 1976) p. 9 55 San Vittorio de Serri, Museo Archeologico Nazionale, Caligari, in Erich Neumann, The great mother: an analysis of the archetype, translated by R. Manheim (Bollingen: Princeton 1974) p. 46; cf. Christian Zervos, La civilisation de la Sardaigne du dbut 56 Karatepe, in Akurgal, pl. 150, p. 296; see also James Pritchard, editor, The ancient Near East: supplementary texts and pictures relating to the Old Testament (Princeton University: Princeton 1969) Ūgs. 829, 798; William Stevenson Smith, Interconnectio 57 “Lovers embracing on bed, clay plaque, Mesopotamia, Isin-Larsa-Old Babylonian period, c. 2000-1600 bc. Baked clay. Basel, Erlenmeyer Collection.” in Diane Wolkstein and Samuel Noah Kramer, Inanna, queen of heaven and earth (New York 1983) p. 43 187 58 Bagdad, Iraq Museum, in Andr Parrot, Sumer (France 1960/ Madrid 1981) Ūg. 77, p. 59/ Ūg. 94, p. 100; see also Balaji Mundkur, The cult of the serpent: an interdisciplinary survey of its manifestations and origins (Albany, NY 1983) Ūg. 86a, b, p. 185-1 59 Louvre, in Parrot, ibid., Ūg. 295 60 Ankara, Archeological Museum, in Kurt Bittel, Los Hititas (Paris 1976, Madrid 1976) Ūg. 7, p. 24, 49; cf. Ekrem Akurgal, The art of the Hittites (London 1962) pl. 23 61 Staatliche Museen, Berlin, in Ilse Seibert, Woman in ancient Near East (Leipzig, DDR 1974); cf. R. Harris, “The Nadítu woman,” in Studies presented to A. Leo Oppenheim (Chicago 1964); and Erich Neumann, The great mother: an analysis of the archetype, 62 Maleki Collection, Teheran; in Roman Ghirshman, Perse, proto-iraniens, Mdes, Achmnides (Paris 1963) Ūg. 19 63 Beirut, National Museum; in Andr Parrot, Chehab, Moscati, Les Pheniciens (Paris 1975) Ūg. 50, p. 57 64 “L’allaitement d’ternit,” from Saqqara, the necropolis of Memphis, end of the Vth dynasty (ca 2400) limetstone. Egyptian Museum, Cairo; from Aldred, Cenival, et al., Le temps des pyramides: le monde gyptien (Paris 1978) 65 C.J. Bleeker, Hathor and Thoth: two key Ūgures of the ancient Egyptian religion (E.J. Brill: Leiden 1973) p. 75 66 Henri Frankfort, Kingship. and the gods: a study of ancient Near Eastern religion as the integration of society and nature (University of Chicago: Chicago 1948) p. 292, 404 note 45 67 Victor Tran Tam Tinh, Isis lactans: corpus des monuments grco-romains d’Isis allaitant Harpocrate (E.J. Brill: the Netherlands 1973) pl. I, Ūg. 1: Temple de Louxor [XVIII dynasty] 68 Temple of queen Hatchepsut, Dair al-Bahri, Egypt. wall painting/engraving in the chamber of the sanctuary of Hathor; in K. Lange, et al., L’Egypte (München 1967; Paris 1968) Ūg. 131 69 Egyptian Museum, Cairo; post card, “King Amenhotep. II beneath the Hathor cow - 1450 bc.” also see V. Tran Tam Tinh, Isis lactans ... (Leiden 1973), p. 3: “Dans le temple d’Hatchepsout (XVIIIe dynastie) Deir-el-Bahari, la vache Hathor allaite le jeun 70 V. Tran Tam Tinh, Isis lactans, pl. III, Ūgs. 3, 4: Mammisi de Dendara 71 Frontispiece, Steffen Wenig, The woman in Egyptian art, translated by B. Fischer (New York 1969) 72 “La dese Anouket allaite le roi” Temple du roe Ramsès II, Bt el-Wali, in K. Lange, L’Egypte (München 1967, Paris 1968) Ūg. 235; “L’allaitement d’ternit,” Ūn Ve dyn. (vers 2400), Aldred, Cenival, et al., Le temps des pyramides (Paris 1978) Ūg. 168; 73 Stele, ‘Isis allaitant Horus, auquel est implicitement assimil le pharaon Psammtique (XXVIe dyn.). Provenance Giza (Princeton University, The Art Museum);’ in Le monde de la Bible (Paris, auôt-octobre 1986, #45) p. 14, illus. 19 74 Isis suckling her son Harpocrates. Coptic fresco from House B50, Karanis, a Roman town in the northeast Fayum, in Egypt, ca. 380 ce; in Tran Tam Tinh, pl. XXXI, Ūg. 48; see also A.E.R. Boak and E.E. Peterson, Karanis, Ūg. 49 75 Figurine of two women and a child: one woman on a low stool combs or plaits the hair of the other who is nursing the infant at her right breast with her right hand; in Steffen Wenig, The woman in Egyptian art, translated by B. Fischer (New York 1969) p 76 Thèbes (?), Detail de pot pharmacie en forme de nourrice tenant un enfant. XVIIIe dyn. [1552-1306] Terre cuit vernisse. Paris, Muse du Louvre [Salle C, 240]; from Aldred, Cenival, et al., L’empire des conqurants (Paris 1979) Ūg. 248, p. 245; p. 24 77 Line drawing of a seated woman nursing an infant, holding her left breast with her right hand, as another woman stands by, hands raised holding two objects, a fan and a mirror; in Steffen Wenig, The woman in Egyptian art, translated by B. Fischer (New 78 Encyclopdie photographique de l’art des les antiquits gyptiennes de muse du Louvre (Paris 1935) tome 1, p. 119: “A goddess. Saite period [XXVI dynasty, 663-525 bce] (Bronze ..) A composite goddess whose head is that of the ram deity. She is represe 79 K. Lange, et al., L’Egypte (München 1967; Paris 1968) pl. 235, “La desse Anouket donne le sein Ramses II”: “Une des Ūgures divines les plus attrayantes de la Nubie est incontestablement Anouket, la compagne du dieu Khnoum, race, gracieuse et farouc 80 Walter Addison Jayne, The healing gods of ancient civilizations (1925; New York 1962) p. 86; ref. Wilkinson, iii, 213-214 ; also E.A. Wallis Budge, The gods of the Egyptians or Studies in Egyptian mythology (London 1904) vol. 2, p. 215 81 “Boutile en forme de desse Toueris,” Muse du Louvre, Paris; two bottles: 1. left breast horizontal, hole for nipple; 2. right hand holds right breast, hole for nipple, mouth open. 82 E.A. Wallis Budge, The gods of the Egyptians or Studies in Egyptian mythology (London 1904) vol. 2, p. 210 face 83 Herder Lexikon: Symbole (Herder Freiburg: Germany 1978) p. 111; also see Steffen Wenig, The woman in Egyptian art, translated by B. Fischer (New York 1969) pl. 36, p. 48 “Nursing goddess. Painting on stucco, h. 18 cm. From a tomb at Western Thebes, Eig 84 Adolphe Napolon Didron, Christian iconography, or The history of Christian art in the Middle Ages, (London 1896) volume I, p. 40-41, Ūg. 12; from Frdric Creuzer, Religions de l’antiguit, tome IV, 2e partie-planches, translated by J.D. Guigniaut (Pa 85 A. Foucher, L’art grco-bouddhique du Gandhâra: tude sur les origenes de l’inßuence classique dans l’art bouddhique de l’Inde et de l’Extrme-Orient, tome II (Paris 1918) p. 125 129 149 157, Ūgs. 374-5, 376-7, 383, 385; also see R. Soame Jenyns, Chine 86 William G. Archer, Bazaar paintings of Calcutta, the style of Kalighat (London 1953) p. 59, Ūg. 31: Kalighat, c. 1880 87 Walter M. Spink, Krishnamandala: a devotional theme in Indian art (University of Michigan: Ann Arbor 1971) p. 14, Ūg. 22: “Yashoda suckling Krishna, South India 11th-12th century, bronze, anonymous loan, courtesy of the Brooklyn Museum” 88 Frdric Creuzer, Religions de l’antiguit, 2e partie-planches, translated by J.D. Guigniaut (Paris 1841) vol. 4, pl. XIII, Ūg. 61 89 S.G.F. Brandon, Man and God in art and ritual: a study of iconography, architecture, and ritual action as primary evidence of religious belief and practice (New York 1975) Ūg. 389b. Scene from the life of Krishna, Rylands Museum, Manchester. Ryls. Sans 90 Krishna the divine lover: myth and legend through Indian art, edited by Enrico Isacco and Anna L. Dallapiccola (Lausanne 1982) Ūg. 145, p. 147 91 Curt Maury, Folk origins of Indian art (New York 1969) p. 110, Ūg. 112; p. 167, Ūg. 162 92 Foucher, L’art grco-bouddhique du Gandhâra, p. 623, Ūg. 538: “Hárit, en Srinde (cf. p. 138 142, 472, 653, 787) Museum für Völkerkunde, Berlin. Peinture sur toile provenant de Tourfan” 93 The arts of Thailand Đ exhibition catalogue (Indiana University 1960; Connecticut 1975) p. 120, Ūg. 91 “Three maternity Ūgurines. glazed ceramic; average ht. 10.5 cm. (cat. no. 184); nos. 184-209. Examples of Sukhodaya and Swankalk [twin cities] ware 94 Kitagawa Utamuro (1753-1806), ĮYama Uba allaitant KintokiČ (estampe; Muse Guimet, Paris), Dictionnaire universel de la peinture, ed. Robert Maillard (Paris 1975) vol. 6, p. 335 95 R. Soame Jenyns, Chinese art III (Fribourg, Switzerland 1965, 1981; Rizzoli: New York 1982) p. 158, Ūg. 111, Ivory statuette of Hariti, T’ang dynasty (618-906 ce) Cleveland, Ohio 96 Catharina Film, “Intercessio Christi” i svensk senmedeltida konst (Uppsala 1971) p. 37, Ūg. 18; “Etruskisk spegel. Herkules adopteras i Olympen av Juno.”; from Etruskische Spiegel, V, utg. Eduard Gerhard, bearbeitet von A. Klügmann, G. Körte (Berlin 18 97 Syracuse, National Archeological Museum; in J. Charbonneaux, Grecia arcáica (Paris 1968; Madrid 1969) Ūg. 170, p. 140; cf. E. Langlotz and M. Hirmer, Die Kunst der Westgriechen (Germany 1963) Ūg. 17 98 Sarah B. Pomeroy, Goddesses, whores, wives, and slaves: women in classical antiquity (USA 1975) Ūg. 9. “Woman suckling child. Red-Ūgure hydria, ca. 440-430 bc. A rare scene of a mother nursing a child in the courtyard of her house as her husband looks 99 Jean Charbonneaux, Martin, Villard, Grecia arcáica (Gallimard: Paris 1968; Madrid 1969) p. 138, Ūg. 167: “Olimpia ĀAfrodita? Atenas” 580-525 bce 100 Codex Vaticanus; in ‘Venus Period in the picture writings of the Borgian Codex group’ by Eduard Seler, Mexican and Central American antiquities, calendar systems, and history; Mexican Antiquities, bulletin 28 (Smithsonian Institution, Bureau of America 101 Joseph Campbell, assisted by M. J. Abadie, The mythic image (Princeton: New Jersey 1974) Ūg. 135: “Chalchi hui tlicue, the water goddess. Pre-Columbian Aztec. Codex Borgia, fol 17. Ethnological Museum of the Vatican.” ““4 Water,” last of the [four] pre 102 F. Sierksma, The gods as we shape them (London 1960) Ūg. 82: “Oya, mother goddess of the Niger. Yoruba, Nigeria. wood, h. 22 cm. collection: K. van der Horst, Delft. As Goddess of Water and Fertility the goddess Oya, depicted on the ceremonial dance st 103 In Greek mythology a general term for a goddess suckling children like Hera, queen of the Greek gods, protectress of suckling children. 104 R. P. Hinks, ‘Isis suckling Horus,’ British Museum Quarterly (London 1938) vol. 12, p. 75 105 Tran Tam Tinh, Isis lactans, p. 41 106 Ibid., p. 42; cited from R.E. Witt, Isis in the Graeco-roman world (London 1971) p. 269-281 107 Pierre du Bourguet, La pintura paleocristiana (Barcelona 1967) Ūgs. 67, 68, 69, 70; and Andr Grabar, Le premier art chretien (200-395) p. 66-67 108 Grabar, ibid., p. 68 109 Compare this Ūgure’s upstretched hands of prayer (‘orante’) with the gesture of Mary, “La Mère de Dieu au geste Mdiateur,” in the 4th century fresco of the Coemeterium Majus in Rome; in Maurice Vloberg, La Vierge, notre mdiatrice (B. Arthaud: Grenobl 110 Ibid., p. 69-70 111 Berlin, Staatliche Museen; in Alexander Badawy, Coptic art and archaeology: the art of the Christian Egyptians from the late antique to the Middle Ages (M.I.T.: Massachusetts 1978) Ūg. 3.74, p. 154 152; see also Klaus Wessel, Koptische Kunst: die Späta 112 Cairo, Coptic Museum; in Klaus Wessel, Koptische Kunst: die Spätantike in Agypten (W. Germany 1963) Ūg. 6 113 V. Tran Tam Tinh, Isis lactans, ibid., pl. LXXVIII, Ūgs. 203, 204; from Cairo, Coptic Museum; see also Badawy, Coptic art and archaeology: the art of the Christian Egyptians from the late antique to the Middle Ages, ibid., Ūg. 4.38, 4.39, p. 283, 261 114 Klaus Wessel, Koptische Kunst (W. Germany 1963) p. 163, Ūg. 100: “Himmelfahrt Christi, in der unteren Zone die Stillende Maria zwischen Aposteln. Apsismalerei aus Bawit (nach die Gruuneisen) ” Bawit, Kloster des hl. Apollon; see also Tran Tam Tinh, ibi 115 Walters Art Gallery, Early Christian and Byzantine art (Baltimore 1947) pl. CVI, p. 745: “Coptic. Late 9th century. Manuscript illumination/ Morgan Library, New York. Executed in 895 or 898 by Deacon Basil and Deacon Samuel of Touton in the Fayum for J 116 “Saqqara’s [Egypt] contribution to Christian iconography is the type of Madonna in which Mary suckles the Child; this appears three times in the frescoes and reminds one at once of the Pharaonic type of Isis suckling Horus. A Coptic carved stele of the 117 See Dorothy C. Shorr, The Christ Child in devotional images in Italy during the XIV century (Wittenborn: New York 1954), speciŪcally her discussion of the lactating goddess types, ie, type 9: the Child suckles at his Mother’s breast (seated), and type 118 For example, “the holy council decrees that no one is permitted to erect or cause to be erected in any place or church, howsoever exempt, any unusual image unless it has been approved by the bishop. ... images shall not be painted and adorned with a se 119 W. Deonna, “La lgende de Pero et de Micon et l’allaitement symbolique,” Deux tudes de symbolisme religieux (Latomus: Bruxelles 1955); see also G.-J. Witkowski, Tetoniana: anecdotes historiques et religieuses sur les seins et l'allaitement comprenant 120 H. Lacombe de Prezel, Dictionnaire iconologique (Paris 1779; Genève 1972) vol. 1, p. 119-120 121 Muse du Louvre, Paris 122 Cesare Ripa, Iconologia (Rome 1603; New York 1970) p. 44, 64, 469; see also the pendentive of ‘Bnignit’ pressing both breasts with the p/z gesture, painted by Le Dominiquin (1628-30) in the church of San Carlo ai Catinari, Rome; in Emile Mâle, L’art 123 C. Giarda, Icones Symbolicæ (Milan 1626); in Ernst H. Gombrich, Symbolic images: studies in the art of the Renaissance (London 1972) Ūg. 133 135 124 Ibid., p. 64, Ūg. 9, Rome 1 125 Ibid., p. 64-65, 78-81. 126 la carta de fundacin de la Cofradía de la Virgen María y Santo Domingo en la iglesia de Tárrega (Lrida), Archivo de la Corona de Aragn; in Trens, María: iconografía de la Virgen en el arte espaol, p. 461; also Federico Delclaux, Imagenes de la Virg 127 Boston Museum of Fine Arts; in S. Stubbe, La Madone dans l’art (Bruxelles 1958) p. 211, Ūg. 57; Linus Birchler and Otto Karrer, Maria: die Madonna in der Kunst (Zürich 1941) p. 57 128 National Gallery, London; in Millard Meiss, ‘The Madonna of Humility,’ The Art Bulletin, vol. 18, no. 4 (december 1936) p. 445, Ūg. 22 129 Church of St. Gregory’s Holy Monastery (over the Gerontikos chair), Mount Athos; in (Monk) Andrew Agioritis, Guide to Mount Athos (Greece 1971) p. 152-3; see also Trens, María: iconografía de la Virgen en el arte espaol, p. 461: “En la iglesia del Mon 130 Berlin Museum; in Dino Formaggio, Botticelli, translated by Paul Colacicchi (New York 1961) pl. 32 131 Ambrosiana Gallery, Milan; ibid., Formaggio, Botticelli, pl. 38 132 Alison G. Stewart, Unequal lovers: a study of unequal couples in Northern art (New York 1977) p. 111, Ūg. 73; see also Mrs. Jameson, Sacred and legendary art, vol. 1, 7th edition (London 1874) p. 329, 324-335: The story goes that St. John, while a herm 133 Karl-Adolf Knappe, Dürer: the complete engravings, etchings, and woodcuts (London 1965) p. 39, Ūg. B. 34 134 Ibid., p. 304, B. 97; from The small Passion, published 1511 135 Ibid., p. 226, B. 76; from Life of the Virgin, published 1511 136 Ibid., p. 91, B. 36; from The engraved Passion 137 Ibid., p. 81, B. 22; from The engraved Passion (etching, Ūrst state) 138 London, National Gallery; in Anselm Weissenhofer, Maddonnen (Wien 1946) Ūg. 9 (1537) 139 Jos Camn Aznar, Pintura medieval espaola, vol. 22: p. 273, 377, 424, 499, 525, 638, 639: Ūg. 260, 364, 406, 479, 510, 641, 642; and La pintura espaola del siglo XVI, vol. 24, Summa artis: historia general del arte (Espasa-Calpe: Madrid 1970) vol. 2 140 H. W. van Os, Marias Demut und Verherrlichung in der sienesischen Malerei 1300-1450 (’s-Graven hage: Staat suitgeverij 1969) Ūgs. 10a, 43, 46, 47, 50, 57, 62-71, 75, 79, 81, 97 141 Ibid., Trens, María: iconografía, p. 474 142 Ibid., Trens, María: iconografía, p. 480 143 Museo del Prado; ibid., Trens, ibid., p. 479, Ūg. 289; and Camn Aznar, vol. 24, p. 384, Ūg. 343; also Manuel Trens, Santa María: vida y leyenda a travs del arte espaol (Barcelona 1954?) Ūg. 108 144 Valencia; ibid., Trens, María: iconografía, p. 477, Ūg. 287 145 Valencia, engraving from Gozos a Nuestra Seora de la Leche, edited by Benito Montfort; ibid., Trens, María: iconografía, p. 477, Ūg. 287 146 London, National Gallery 147 Madrid, Museo del Prado 148 Gustave Clausse, Basiliques et mosaïques chrtiennes, Italie-Sicile, vol. 2 (Paris 1893) p. 216; also see Mariacher Mazzariol, Da Torcello a Murano (Florence 1969) p. 11 149 Archives of the Toledo Cathedral, Spain; in Manuel Trens, María: iconografía de la Virgen en el arte espaol, p. 372-3, Ūg. 226: “María presenta sus pechos, como hizo en otro tiempo Hcuba, para doblegar el ánimo belicoso de su hijo Hctor. (miniatura 150 Catharina Film, “Intercessio Christi” i svensk senmedeltida konst (Uppsala 1971) p. 53, Ūg. 24 151 Très belles heures de Notre-Dame, Muse du Louvre, Paris; in Gertrud Schiller, Iconography of Christian art, translated by Janet Seligman, 2 vols (Gütersloh, Germany 1966 1969; Lund Humphries: London 1971) vol. 2, Ūg. 799, p. 225 152 The Hours of Catherine of Cleves, introduction and commentaries by John Plummer (Braziller: New York ?) (reproduced from the illuminated manuscript belonging to the Guennol Collection and the Pierpont Morgan Library) no. 49: Mass of the Dead 153 Adrian Wilson and Joyce Lancaster Wilson, A medieval mirror: Speculum humanæ salvationis 1324-1500 (University of California 1984) p. 198: ch. 29, ‘Extremum judicium (The Last Judgement)’ “Christ is seated on a rainbow, his feet resting on a globe, ßan 154 Ibid., no. 96: Saturday Mass of the Virgin 155 Catharina Film, “Intercessio Christi”, p. 4, Ūg. 1 156 Ibid., p. 9, Ūg. 5 157 Ibid., p. 11, Ūg. 7 158 Formerly, Olivi-Scrive Collection (Arthaud); in Henri Ghon, The Madonna in art (Paris 1947) pl. 135 159 Augsburg, Maximilianmuseum; in Schiller, Iconography of Christian art, vol. 2, Ūg. 802, p. 225 160 Nuremberg, Germanisches Nationalmuseum; ibid., vol. 2, Ūg. 801, p. 225-6 161 Colegiata de San Isidoro de Len; in Manuel Trens, Santa María: vida y leyenda de la Virgen a travs del arte espaol (Barcelona 1954) Ūg. 102; p. 80: “Los místicos y los pintores cristianos representaron de una manera genial y gráŪca la doble y perenn 162 Bruxelles, Muses Royaux des Beaus-Arts 163 Museo del Prado, Madrid; Mauel Trens, Santa María ...; Ūg. 103: “La Virgen intercede ante su Hijo en favor de un alma (Ūgura desnuda) sealando el pecho que le aliment. Al mismo Ūn Santo Domingo presenta el rosario, y San Francisco de Asís el pan del 164 Muse du Toulouse 165 Louis Rau, Iconographie de l’art chretien, vol. 3: Iconographie des saints (Paris 1958) p. 209, 213-215 166 Palma de Majorca, Archaeological Museum; Miess, ‘The Madonna of Humility,’ p. 457, Ūg. 26 167 Muse de Liège, in Jean Leclercq, St. Bernard et l’esprit cistercien (Bourges 1966) p. 130 168 Brussels, in Das Marienleben, Ūg. 379, p. 497 169 Museo del Prado, Madrid, in Jos Camn Aznar, La pintura espaola del siglo XVI, Summa artis - Historia general del arte (Madrid 1970) vol. 26, p. 157, Ūg. 146 170 Catedral de Burgo de Osma, Spain, in Jos Camn Aznar, Pintura medieval espaola, Summa artis - Historia general del arte (Madrid 1970) vol. 22, p. 289, Ūg. 275 171 Engraving; Trappists, Commission d’histoire de l’Order de Cîteaux, Bernard de Clairvaux (Paris 1953) p. 455; reproduced from Sanderus, Chorographia sacra Brabantiae (Bruxelles 1659) vol. 1, 38 172 August Mayer, Murillo - des Meisters Gemälde, p. 60; also Manuel Trens, María: iconografía de la Virgen en el arte espaol (Madrid 1947) p. 475, Ūg. 286: “Así como el máximo servicio prestado por la Madre de Dios a su Hijo, fu de amamantarle, tambin 173 Academía de San Fernando, Madrid; in Emile Mâle, L’art religieux après le Concile de Trente (Paris 1932) p. 455, Ūg. 263 174 Ibid., p. 157, Museo del Prado 175 Samuel H. Kress Collection, National Gallery of Art, Washington, D.C.; in Leo Steinberg, The sexuality of Christ in Renaissance art and in modern oblivion (Pantheon: New York 1983) p. 5, Ūg. 10 176 Heinrich Detzel, Christliche Ikonographie: ein Handbuch zum Berständuik der christlichen Kunst (Freiburg im Breisgau 1896) Ūg. 258, p. 578, ‘capitol in Rom’ 177 Muse du Louvre, Paris; inv 1442/3 178 San Petronio; in Bguin, Studies in the late Medieval and Renaissance painting, in honor of Millard Meiss (New York 1977) vol. 2, plates; p. 20, Ūg. 3. Style with p/z gesture repeated in Parmigianino’s drawings from the Louvre (Paris) Cabinet des Dess 179 Minneapolis Institute of Arts, Minnesota; also as noted above, see Titian’s ĮMagdalenČ in the Pitti Gallery of Florence; in The early works of Titian 180 Arthur de Bles, How to distinguish saints in art: a practical guide for picture lovers (New York 1925) pl. XXXIX, Ūg. 3 181 Brescia, Santi Nazaro e Celso; in Bguin, Studies in the late Medieval and Renaissance painting, in honor of Millard Meiss, article by Chastel, p. 24?, Ūg. 5 182 The Pitman Gallery, The Virgin and Child, introduction and notes by Thomas Bodkin (New York 1949) 183 K. Krishnamoorthy, “Female deities in the Rigveda,” Journal of Dharma (Dharmaram College: Bangalore, India april-june 1980) vol. 5:2, p. 138. Hymn X.9, verses 1-3. See also Mahesh C.P. Srivastava, Mother Goddess in Indian art, archæology and literature 184 1.164: the Riddle of the SacriŪce (Asya Vamasya); The Rig Veda: an anthology, translated by Wendy O’Flaherty (Penguin: England 1981) p. 81, stanza 49 185 G2.35: the Child of the Waters (Apam Napat); ibid; p. 105-06, stanzas 5, 13 186 Purnendu Narayana Sinha, A study of the Bhagavata Purana or esoteric Hinduism (Benares 1901) ‘Putaná,’ Skandha X, chapter 6, p. 253-4; see also p. 304 re Mala (impurity) and Putaná. See also Walter M. Spink, Krishnamandala: a devotional theme in India 187 Goodenough, Jewish symbols, vol. 5 116 and 128-129. “The legend of King Keret,” quoted from James B. Pritchard, ed., Ancient Near Eastern text relating to the Old Testament (Princeton: Princeton 1955) p. 146; from Hildreth York and Betty L. Schlossman, 188 Raphael Patai, The Hebrew goddess (U.S. 1967) p. 167 176; see also James B. Pritchard, Ancient Near Eastern Texts (Princeton 1955) p. 131-146, 490; and William L. Reed, The Asherah in the Old Testament (Fort Worth 1949) 189 Ibid., Patai, p. 165; see also S. N. Kramer, The Sumerians: ..., (Chicago 1963) p. 112? 190 Eannatum's stela of the vultures; ibid., p. 301, note 22: (p. 406) after Jacobsen, “The concept of divine parentage of the ruler in the Stele of the Vultures,” JNES, II (1943) p. 119-21; see also H. Frankfort, Kingship. and the Gods (Chicago 1948) 191 ‘The Lamentations of Isis and Nephthys,’ in E.A. Wallis Budge, Osiris: the Egyptian religion of resurrection (New York 1961) p. 64 192 ‘Pyramid Texts,’ ibid., p. 136-7 193 Ibid., p. 144-7 194 ‘Pyramid Texts of Pepi I, Mer-en-Ra, and Pepi II,’ ibid., appendix, p. 336: 601., 605 195 Part of a supplementary ceremony representing “acts of adoration which are paid to the statue, which, having received the soul of the deceased, is now considered to be a veritable god.” p. 121, in E.A. Wallis Budge, The Book of the Opening of the Mouth 196 The Iliad of Homer, translated by Richmond Lattimore (University of Chicago: Chicago 1951) p. 437, lines 77-92 197 Diodorus Siculus, Library of history 4.9.1-10 Ņ The birth of Herakles (Sicily, Ist century bce); in David R. Cartlidge and David L. Dungan, Documents for the study of the Gospels (Fortress: Philadelphia 1981) 198 The Homeric hymns: To Demeter II 185-299; in Mircea Eliade, Gods, goddesses, and myths of creation (NY 1967 1974) ch. 35. Demeter and the founding of the Eleusinian Mysteries, p. 63-6 199 Ananda Coomaraswamy, ‘The Virgin suckling St. Bernard,’ The Art Bulletin (University of Chicago: june 1937) vol. 19, no. 2, p. 318 200 All citations from Hebrew and Christian scriptures are from The Holy BibleŅNew International Version (Hodder & Stoughton: Great Britain 1982) 201 Daniel F. Stramara, OSB, ‘El Shaddai: a feminine aspect of God,’ The Pecos Benedictine (Pecos, New Mexico, november 1985) p. 2 202 Theological dictionary of the Old Testament, edited by G. Johannes Botterweck and Helmer Ringgren (Eerdmans: Grand Rapids, Michigan 1977/80) vol. 4, p. 389-90 203 The Gospel of Luke 11:27-28; compare with the Gospel of Thomas, II, 2, 79 in The Nag Hammadi Library in English (Leiden/USA 1977) 204 Theological dictionary of the NewTestament, edited by Gerhard Kittel, translated and edited by Geoffrey W. Bromiley (Eerdmans: Grand Rapids, Michigan 1964) vol. 1, p. 645 205 Ibid., p. 646 206 The Odes of Solomon, edited with translation and notes by James Hamilton Charlesworth (Oxford: London 1973); compare with the source in the following note. 207 Rendel Harris and Alphonse Mingana, The Odes and Psalms of Solomon (London 1920) vol. 2, in The other Bible, edited by Willis Barnstone (New York 1984) p. 279-80, 283 208 The Odes of Solomon, edited with translation and notes by James Hamilton Charlesworth (Oxford: London 1973) 209 The Concept of Our Great Power, VI, 4; 40:10-41:10; in The Nag Hammadi Library in English (Leiden/USA 1977) 210 Irenæus, Against Heresies (Adversus Omnes Hæreses), book 3, ch. 24:1; in Stramara, ‘El Shaddai ...’ ibid., p. 7 211 Jerome, (Rome?, 373) xiv (t.i. 29 sq) 212 In David B. Foss, ‘From God as mother to priest as mother: Julian of Norwich and the movement for the ordination of women,’ in The Downside Review, july 1986, vol. 104, no. 356 (Downside Abbey, Bath; Catholic Records Press: Exeter) p. 223 213 The Cause of Canonization (Processo di canonizzazione), Acta III. 29; Testimony of Sister Phillipa, third witness; in Fonti Francescane Ņ Sezione Quarta, p. 2333-4, no. 2995 214 The dialogue of the seraphic virgin, Catherine of Siena, dictated by Her, while in a State of Ecstasy, to her Secretaries, and Completed in the Year of Our Lord 1370,..., introductory essay by Algar Thorold (Burns, Oates & Washbourne: London 1925) p. 1 215 Julian of Norwich, Showings or Revelations of Divine Love, ch. 58-63; in David B. Foss, ‘From God as mother to priest as mother: Julian of Norwich and the movement for the ordination of women,’ in The Downside Review, july 1986, vol. 104, no. 356 (Down 216 From Margaret R. Miles, ‘Nudity, gender, and religious meaning in the Italian Renaissance,’ Art as religious studies, edited by Doug Adams and Diane Apostolos-Cappadona (Crossroad: New York 1987); cited in Hilda Graef, Mary, a history of doctrine and d 217 The Golden Legend of Jacobus de Voragine (1229-1298), translated and adapted from the Latin by Graner Ryan and Helmut Ripperger (New York 1941) part I, p. 155-6 218 Ibid., p. 159; see also Mrs. Jameson, Sacred and legendary art, 7th edition (London 1874) vol. 2, p. 609 219 Ibid., part II, p. 465 220 “Nuestra Seora de la LECHE.ŅEstá muy extendida la devocin a Nuestra Seora de la Leche, y a Ella se encomiendan con singular fervor las madres lactantes, invocando la proteccin de la Virgen en la crianza de sus hijos.” Jos Augusto Sánchez Prez, El 221 In their particular “return to the mother,” lesbians feel a sense of recovery or reclamation of “rights” to the mother: “rights” to a woman’s body and its nourishment, which patriarchy has stolen and given to men. This idea of the “recovery of the moth 222 Margaret R. Miles, “The Virgin’s one bare breast: female nudity and religious meaning in Tuscan early Renaissance culture,” The female body in Western culture, edited by Susan Rubin Suleiman (Harvard: Cambridge, Massachusetts 1986) p. 202 223 Millard Meiss, “The Madonna of Humility,” Art bulletin (College Art Association: New York december 1936) vol. 184, p. 460-1 224 Larson, Pal, Gowen, In her image: the Great Goddess in Indian Asia and the Madonna in Christian culture (California,1980) p. 97 225 “As far back as 1800, Erasmus Darwin, Charles’ grandfather, noted the close connection between breast-feeding and bosomania. In a panegyric on the female bosom he extolled the voluptuous sensations which the baby derives from cuddling up. to what he ca “Of all the situations in which clothing is disarranged, that which allows a woman to give suck is one of the most attractive. Its basic eroticism is always reassuringly transcended by the everyday sanctity of mother’s milk. Breasts bring pleasure to eve 226 “That oralityŅthe threshold of infantile regressionŅmanifests itself in connection with the breast whereas the spasm that comes at eroticism’s eclipse is associated with tears should not be allowed to obscure what milk and tears have in common: both ar 227 “Paintings of the Virgin with one bare breast constitute a remarkably explicit objectification of what was most certainly the most pressing personal and collective anxiety of fourteenth-century Tuscan peopleŅthe uncertainty of food supply.” Margaret Mi 228 “On the faade of the portico of the S. Maria-in-Trastevere at Rome, the Virgin is enthroned, and crowned, and giving her breast to the Child. This mosaic is of later date than that in the apsis, but is one of the oldest examples of a representation wh 229 Rüdiger Robert Beer, Unicorn: myth and reality, translated by C.M. Stern (New York 1977) p. 29, figs. 11 and 12: “Virgin and unicorn in two Byzantine manuscripts, 9th century”. 230 see Catharina Film, “Intercessio Christi” i svensk senmedeltida konst (Uppsala 1971) 231 “... God taught us wisdom, but Mary taught Christ to flee from the hurtful and follow her; God nourished us with the fruits of paradise, but she nourished him with her most holy milk, so that I may say this for the blessed Virgin, whom, however, God ma 232 “The Virgin/Mother Mary is repeatedly shown in fourteenth-century Tuscan paintings with one breast exposed. Although this is not a completely new image, the visual emphasis on the breast that nourished the infant ChristŅand by identification with him, 233 “By the beginning of the sixteenth century the single bare breast in art, exposed by fancifully draped garments, had accumulated a combined significance. It referred initially to its august mater nal function, with its long sacred tradition in Christia 234 “But the significance of the attitudeŅthe hand pressed to the maternal bosomŅgiven to her by the old painters, is lost.” Mrs. Jameson, Legends of the Madonna as represented in the fine arts (London 1890; Detroit 1972) p. 29. 235 “While this half-length Madonna and Child belongs to the Maria lactans class of imagery, the fundamental gesture of nursing is here elevated by the celestial brilliance of the rays of gold ... With Christ as the “New Adam” and Mary as the “New Eve,” t 236 “... la mujer que cría pondrá al pequeo en la posicin más cmoda; se ofrecerá el pecho al nio sujetándolo entre el índice y el dedo medio de la mano que no sostiene al pequeo.” Pietro Escalar, nuestro hijo: guía práctica de la puericultura moderna, 237 Pietro Escalar, et al., Nuestro hijo: guía práctica de la puericlutura moderna, ibid., p. 127 238 In Christian theology, Jesus is God, therefore making Mary, his mother, the Mother of God (Theo tokos). “[According to the 18th-century Patriarch Germanus] ... Mary can give God orders. Christ obeyed her on earth. Therefore, as the Second Person of the 239 “At her most exalted ... the Virgin was conceived in the role of Maria mediatrix, intercessor for man kind. Her act of suckling the Christ Child not only gave her the authority to intercede for man kind, but signiŪed her merciful inclination to do so. 240 “What is involved here is a misunderstanding of a critical truth: that naturalistic motifs in Re nais sance art are never adequately accounted for by their prevalence in life situations. Or di nary expe r i ence is no template for automatic transfer to 241 See Caroline Walker Bynum, Jesus as Mother: studies in the spirituality of the High Middle Ages (University of California: Berkeley 1982), and Roberta C. Bondi, review of Jesus as Mother by Caroline Walker Bynum, History of Religions (Chicago february 242 “Thus the saint [St. Ildefonso] acts as intercessor and provides a stepping stone from the physical to the Divine ...”, David Davies, El Greco (Oxford/NY/ Netherlands 1976) notes on illustration 13, ‘The resurrection of Christ’ 243 Regarding an artistic motif becoming symbolic, its migration, subsequent abstraction, and meaning lost, then recovered, see Otto J. Brendel, “A kneeling Persian: migrations of a motif,” Essays in the history of art presented to Rudolf Wittkower, edited 244 See notes 226 and 223, 228, 229 above. 245 Lecture notes, Universidad Complutense de Madrid, 1981. 246 See also the second version in Anne Murray-Robertson, Grasset: pionnier de l’art nouveau (Paris 1981) p. 110-111. |