Crucifixion,
Historiated initial 'O' on a leaf from an Antiphonal in Latin, illuminated by a prolific Regensburg workshop.
Southern Germany, Regensburg c. 1300-1310
Historiated initial 'O' on a leaf from an Antiphonal in Latin, illuminated by a prolific Regensburg workshop.
Southern Germany, Regensburg c. 1300-1310 Hide caption
Crucifixion,
Historiated initial 'O' on a leaf from an Antiphonal in Latin, illuminated by a prolific Regensburg workshop.
Southern Germany, Regensburg c. 1300-1310
This magnificent piece is one of few extant leaves from this particular Antiphonal. Its splendid miniature is an emotional scene executed with crisp precision. The style of the miniature, embodied by the innocent figures with red cheeks and earnest expressions, is known as ‘sweet new style’, here combined with a softer Regensburg variation of the so-called Zackenstil. This was the most influential style in painting and manuscript illumination in German-speaking areas of the 13th century – characterised by drapery with ‘zigzagging’ folds that seem to convey a flourishing vitality.
The blue and red initial 'O' in the left upper corner of the recto leave has a luminous quality which instantly catches the eye. Decorated with white tracing, it is set within a large silver field outlined in black ink and surrounded by a red frame adorned with red and blue pen-flourishes. The centre of the initial 'O' is surrounded by gold lending special weight and light to the dramatic scene. The hollow of the letter encompasses Christ on the Cross, flanked by the praying Virgin and the mourning St. John. Their faces and hair are delicately rendered, the soft and subtle features of the figures emphasise their grief. The face of Christ has been partly erased by the repeated kissing of previous owners. The illuminator condenses the tragic scene, conveying passion in the articulation of the figures’ gestures and in the blood streaming from Christ’s wounds.
The workshop responsible for this manuscript consisted of several painters who all worked in this particular style. The application of colour and outlines in solid black, are strongly reminiscent of medieval stained glass, suggesting that the same artists may have worked as designers of glass-windows – an important task for those involved in the decoration of the Regensburg Cathedral under construction since the 1250s.
As the present leaf comes from a codex formerly consisting of at least 324 large vellum leaves, the production of such a manuscript was not only time consuming but expensive. The Dominican nuns of the Holy Cross in Regensburg to whom this book has been attributed, were well positioned to commission fine books necessary for their daily offices. These books acted as a tangible and visual expression to the piety and devoutness of the nuns and are testimony to their intimate liturgical practices.
