The aim of the presentation is to outline the problem of understanding and representing the interior of the earth (terrestrial depths) in early medieval iconography of the Last Judgement. This issue, as it seems, has not yet been analyzed in the literature of the subject. Although there are many studies on the vision of the Underworld, and then, in the tradition of the Christian East and West, on the vision of Hell and Paradise, they focus primarily on theological and anthropological view, and not on the problem of representation of the interior of the earth from a geographical or geological point of view. Therefore, it appears very interesting for us analyze how ancient and early medieval people imagined the ‘material side’ of the Underworld and whether they represented the elements of the real world in their visions. I will try to analyze this problem by tracing chosen written sources as well as selected examples of iconography, especially ancient landscape painting and Byzantine and Latin iconography of the Last Judgement (together with the scenes of visions of Hell and scenes of Anastasis). The chosen problem is a continuation and development of the issues analyzed in the author’s previous studies. It aims to present the chosen issue, to outline the current status of research and to pose questions and hypotheses, asking for opinions and suggestions. In this way it could provide for the author the basis for her further studies.
Instead of the usual female allegories, narrative school scenes featuring male figures were used to represent the Liberal Arts in some of the most important Gothic ensembles of the Iberian Peninsula. The main goals of this paper are to carry out an analysis of this peculiarity within the theoretical framework of medieval visual rhetoric and, at the same time, to reflect on the role played by the dynamics of artistic workmanship – mainly on the ‘copy’ of prestigious models – on the configuration of this visual tradition.
The focus of this presentation is a recently (re)discovered miniature mappamundi found in an early 14th-century Italian vernacular version of Bartholomew Anglicus’s De Proprietatibus Rerum (British Library Add. MS 8785). Smaller even than the famous Psalter Map, this minuscule mappamundi has features in common with a number of other medieval world maps as well as reflecting imagery from within the manuscript as a whole, in particular a full-page depiction of the Earthly Paradise. This paper will offer an analysis of the ‘Mantuan Map’ in its codicological context and the broader genre of mappaemundi, proposing some stylistic analogues for this unique miniature map and insight into its relationship to the text(s) it illustrates.