Benedicta in mulieribus. The Virgin Mary as a paradigm of women in the patristic tradition and its possible reflection in Spanish Gothic painting
José María SALVADOR GONZÁLEZ
Original title: Benedicta in mulieribus. La Virgen María como paradigma de la mujer en la tradición patrística y su posible reflejo en la pintura gótica española
Published in Mulier aut Femina. Idealism or reality of women in the Middle Ages
Keywords: Iconography, Mariology, Paradigm, Patristics, Spanish Gothic painting., Theology, Women.
From the first centuries of the Christian era the Virgin Mary became in respect of the believers a sublime and inimitable model of human, moral and spiritual virtues. This fact has been staged by researchers on Marian iconography as a self-evident axiom, which need not be explained or justified documentarily. Going against this uncritical stance, this paper aims to explain, through a lot of theological and patristic citations, three fundamental aspects or attributes, in which, among many others, the paradigmatic character of Mary becomes real: her supereminence in comparison with the other women, her supereminence in comparison with the other creatures, including angels and saints, and her intercession before God on behalf of human beings. We complement our study by a comparative analysis through which we attempt to relate these patristic and theological sources with some Spanish Gothic paintings in which the three mentioned aspects of the analyzed Marian doctrine could be reflected in some way.
The Annunciation in Fra Filippo Lippi: interpreting some symbolic variants
José María SALVADOR GONZÁLEZ
Original title: The Annunciation in Fra Filippo Lippi: interpreting some symbolic variants
Published in
Keywords: Annunciation, Christianity, Fra Filippo Lippi, Mariology, Medieval iconography, Patristics.
The doctrine of Jacob of Serugh on conceptio per aurem as a possible literary source in medieval iconography of The Annunciation
José María SALVADOR GONZÁLEZ
Original title: La doctrina de Jacob de Sarug sobre la conceptio per aurem como posible fuente literaria en la iconografía medieval de La Anunciación
Published in
Keywords: Conceptio per aurem, Iconography, Jacob of Serugh, Mariology, Medieval Art, Patristics, The Annunciation, Theology.
This paper focuses the attention on the possible influence that the thinking of the Syriac theologian Jacob of Serugh on conceptio per aurem might have had on late medieval representations of the Annunciation. Therefore, after explaining the doctrine of this Oriental thinker by explaining many passages of his writings, ten pictorial images of this Marian theme in which you could glimpse such influence are analyzed. While underlining the prestige of this great writer of Serugh and the wide dissemination of his works during the Middle Ages, the author also emphasizes that the interpretation given in this paper is only a mere conjecture that, even if it looks plausible, is susceptible of enrichment, correction and even rejection, if reliable documentary evidence so require.
The manuscripts with works of Saint Jerome in the Library of the Colegio Mayor de San Bartolomé in 1433-1440 and in 1550
Jorge JIMÉNEZ LÓPEZ
Original title: Los manuscritos iluminados con obras de san Jerónimo en la Librería del Colegio Mayor de san Bartolomé en 1433-1440 y en 1550
Published in Mirabilia Journal 31 (2020/2)
Keywords: Colegio Mayor de San Bartolomé, Diego de Anaya, Maître de Blanche de Castille, Patristics.
The study shows the presence of the Saint Jeronimo in different moments of the school library, taking the only preserved documentary testimonies as reference: the 1433-1444 inventaries, the 1550 index and the registers before the closing of the School in 1798. From then, the manuscripts conserved nowadays are located and the analysis of his iconic repertoire is approached, with the objective of defining the ways and space of his creation. That is how the testimonies from the primitive laic ateliers in Languedoc or from the most relevant groups in the parisian setting are identified in the 12th century, Maître de Blanche de Castille. The contrast of these refined pieces with the copy promoted by Diego de Anaya also allows to understand the attitude and the relationship of the founder with the books and the bartolomea library.
