Feather tights
Feather tights is the name usually given by art historians to a form of costume seen on
Mary Magdalene's hair suit is another iconographic feature, with a background in hagiographic legend, whose depiction apparently borrows from religious drama.
Historians of English churches tend to refer to the feather tights style as 15th century, and by implication essentially English,[3][4] but it can be seen in several major late medieval European works from the late 14th to early 16th centuries. These include the Holy Thorn Reliquary in the British Museum, made by a court goldsmith in Paris in the 1390s,[5] and on two wooden angels from South Germany around 1530 (Museum Kunstpalast Düsseldorf, right), as well as two stone ones hovering over the Lamentation of Christ by Tilman Riemenschneider at Maidbronn (1526), and others on Veit Stoss's wooden altarpiece at Bamberg Cathedral (1520–1523).[6] There is also a figure with greenish-black feathers, in Matthias Grünewald's Isenheim Altarpiece of 1515.[7]
The "devil in his feathers" featured in the
Context
It is believed that this practice arose from medieval
The feathering might be used as a substitute for other clothing, or under
The depictions may be in wood,
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English 15th-century fragment in the Burrell Collection
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St Nicholas, Blakeney
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St Mary the Virgin, Ewelme
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Archangel Michael on the Holy Thorn Reliquary, 1390s
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Another Burrell Collection fragment
Mary Magdalene's hair suit
A similar depiction of the penitent
Instead she has a coat of hair somewhat like a dog's, ending rather neatly at the neck, wrists and ankles, suggesting derivation from a theatrical costume, as with the feather suits. The suits, which are mainly consistent in depiction, do not cover her breasts or knees, or sometimes elbows.[24] The bare patches on the knees and elbows probably are meant to have been worn bare by Mary praying on her knees, resting her elbows on a rock ledge, as she is often shown in later paintings of the Penitent Magdalen. The lack of hair on the breasts presumably follows the pattern of body hair typical of mammals and familiar to late medieval Germans from farm animals such as sheep and cattle.
Most such images depict the "Ascension" or Elevation of Mary Magdalene, showing the regular visits of angels to Mary's desert home (actually in Provence in the South of France according to the legend) to raise her into the air and feed her heavenly food. In the words of William Caxton's English translation of the Golden Legend:
... the blessed Mary Magdalene, desirous of sovereign contemplation, sought a right sharp desert, and took a place which was ordained by the angel of God, and abode there by the space of thirty years without knowledge of anybody. In which place she had no comfort of running water, ne solace of trees, ne of herbs. And that was because our Redeemer did do show it openly, that he had ordained for her refection celestial, and no bodily meats. And every day at every hour canonical she was lifted up in the air of angels, and heard the glorious song of the heavenly companies with her bodily ears. Of which she was fed and filled with right sweet meats, and then was brought again by the angels unto her proper place, in such wise as she had no need of corporal nourishing.[25]
Moser's altar shows the scene of her last
[Saint Maximinus] saw the blessed Mary Magdalene standing in the quire or choir yet among the angels that brought her, and was lift up from the earth the space of two or three cubits. And praying to our Lord she held up her hands, and when S. Maximin saw her, he was afraid to approach to her. And she returned to him, and said: Come hither mine own father, and flee not thy daughter. And when he approached and came to her, as it is read in the books of the said S. Maximin, for the customable vision that she had of angels every day, the cheer and visage of her shone as clear as it had been the rays of the sun. And then all the clerks and the priests aforesaid were called, and Mary Magdalene received the body and blood of our Lord of the hands of the bishop with great abundance of tears, and after, she stretched her body tofore the altar, and her right blessed soul departed from the body and went to our Lord.[25]
The relief panels on the inside of the shutters of the Münnerstadt Altar show four scenes from the life of Mary Magdalene, with her covered in body hair in the last two, showing her last Communion and burial (these are still in the church).[26]
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Lucas Moser, Magdalene Altar, Tiefenbronn, 1432 (see bottom right scene)
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15th century, wood, from Altschwendt, Austria
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Danube school, c. 1510
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Nuremberg Chronicle, coloured woodcut, 1493
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Peter Strüb the Younger (Master of Messkirch), 16th century Tempera on panel
Notes
- ^ Anderson (1964), 168; Plate 10.1 shows a modern production at York attempting to recreate the effect, sadly with very baggy suits.
- ^ As for example on the Holy Thorn Reliquary; Tait 43
- ^ Anderson (1964), 167–168
- ISBN 978-1-4179-6041-5.
- ^ Tait, 43
- ^ Mellinkoff, 22; Kahrsniz and Bunz, 405
- ISBN 9781576470138.
- .
- ^ Egerton Genesis Picture Book or Egerton MS 1894, British Library; see Joslin, Mary Coker and Carolyn Coker Joslin Watson. The Egerton Genesis, The British Library Studies in Medieval Culture. 2001, the section beginning on p. 142
- ^ ISBN 978-0-491-02794-6.
- ^ Anderson, Mary Désirée (1935). The Medieval Carver. Cambridge University Press. p. 85.
- ^ Roof angels
- ^ Rushforth, Gordon McNeil (1936). Medieval Christian imagery: as illustrated by the painted windows of Great Malvern Priory Church, Worchestershire, together with a description and explanation of all the ancient glass in the church. The Clarendon Press. p. 25.
- ^ Meredith, 144
- ^ Maskell, Alfred (1911). Wood Sculpture. Putnam. p. 292.
- .
- ^ Gothic, 225-226
- ^ The last three are illustrated in Coe, pp. 88-89, all playing instruments,
- ^ Coe, 23, illustrates V&A C.338 1937; also C.340 1937, C.339 1937
- ^ V&A page on Saint Michael Attacking the Dragon and Weighing a Soul, ca. 1430-1470, which gives a height of 75.6 cm for the whole panel; ; Gothic, 294,
- ^ Norfolk churches
- ^ Witcombe, 279, 282; Johnston, 92–93
- ^ Johnston, 92–93
- ^ a b "Life of Mary Magdalen", "Life of Mary Magdalen", William Caxton's Golden Legend
- ^ Johnston, 93–95; Image, also with replica main statue
References
- Anderson, Mary Désirée (1964). Drama and imagery in English medieval churches, Cambridge University Press
- Coe, Brian (1981), Stained glass in England, 1150-1550, 1981, W.H. Allen, ISBN 0-491-02794-X.
- "Gothic": Marks, Richard and Williamson, Paul, eds. Gothic: Art for England 1400-1547, 2003, V&A Publications, London, ISBN 1-85177-401-7
- Kahsnitz, Rainer, Bunz, Achim, Carved splendor: late Gothic Altarpieces in Southern Germany, Austria and South Tirol, 2006, Getty Trust Publications: J. Paul Getty Museum, ISBN 978-0-89236-853-2
- Johnston, Barbara, Sacred Kingship and Royal Patronage in the La Vie de la Magdalene: Pilgrimage, Politics, Passion Plays, and the Life of Louise of Savoy, Florida State University, R. Neuman, Dissertation, PDF, 88-93
- Mellinkoff, Ruth, The devil at Isenheim: reflections of popular belief in Grünewald's altarpiece, 1988, University of California Press, ISBN 978-0-520-06204-7
- Meredith, Peter, "Actualizing heaven in medieval drama" in Carolyn Muessig, Ad Putter (eds), Envisaging heaven in the Middle ages, 2007, Taylor & Francis,
- Russell, Jeffrey Burton, "Lucifer in Grunewald's Masterpiece", review of: The Devil at Isenheim, Reflections of Popular Belief in Grunewald's Altarpiece, by Ruth Mellinkoff, Los Angeles Times, June 4, 1989, online
- "Roof angels", Bentley-Cranch, Dana, and Marshall, Rosalind K, Roof Angels of the East Anglian Churches, a Visitor's Handbook and Guide, website/PDF, 2005, accessed October 26, 2011
- Tait, Hugh. Catalogue of the Waddesdon Bequest in the British Museum, Volume 1, The Jewels, 1986, British Museum Press, ISBN 978-0-7141-0525-3 (the entry also online in the BM collection database)
- Witcombe, Christopher L. C. E., The Chapel of the Courtesan and the Quarrel of the Magdalens, The Art Bulletin, Vol. 84, No. 2 (Jun., 2002), pp. 273–292, JSTOR