Late Gothic coffers

One thing can be said with certainty about the original owners: they were literate. Seven woodcuts combined both text and image, printed simultaneously. Six inscriptions are in Latin; one in Old French, lone witness to the vernacular’s long struggle against the established language of officialdom. A century earlier Dante had written the Divine Comedy in his native Tuscan but felt compelled to defend his decision in Latin. That dual tradition of literacy—Latin for worship and scholarship and the mother tongue for popular literature—held sway in late Gothic France.

Closed, these boxes suggest a diversity of secular purposes; but they open onto the realm of prayer. Each interior woodcut testifies to a culture steeped in collective trust in transcendence, one in which art, like prayer itself, was a service practiced in fidelity to a scheme of salvation. God the Father in Majesty (Fig. 6) is the graphic précis of a language of eternity drawn from the Davidic psalm: “Thou that sitteth upon the cherubim, shine forth.” The judgment seat is ringed by angels and symbols of the four evangelists, a reference to the vision of Ezekial. The composition is a visual tutorial on a motif dear to exegetes: the interwoven typology of the Gospels with the Hebrew Bible.

At a time when lepers announced their approach with bells and beggars roamed in packs, theological rigor was less urgent than talismans against mortal hazards. Popular piety, often a parasite on actual Church teaching, was anchored in the miracle-working power of the saints. To a plague-ridden age, magic promised more than medicine. Enter Saint Roch, who healed the sick by making the sign of the cross over them. In Figure 2a Saint Roch wears the characteristic hat and cloak of a mendicant pilgrim and bares the plague sore he contracted during his ministry. He is attended by an angel and a standard attribute: the dog who brought him bread in his illness. A little later the saint would redeploy as a baroque chorus boy flashing a shapely thigh. But here he pulls his tunic up awkwardly, to convenience only the ministering angel.

Saint Anne, mother of Mary, grandmother to Jesus and patron of childbirth, was a great favorite. She appears on one print hold-ing a diminutive Mary too small to have borne the Christ Child in her arms (Fig. 3). Medieval sensibilities grasped the disparity as a signal of revelatory, not biological, time. Behind the story of long-barren Anne (from Hannah, Hebrew for grace) stands the narrative of Samuel, born of sterile Hannah; and, by association, that other child of miracle, Isaac. Anne’s legend was emblematic of the biblical provenance that placed the birth of Jesus within the drama of redemption.

At the local level the brief life of Anne de Bretagne (1477–1514) is its own argument for veneration of her namesake. Devotion to Saint Anne was frequently safer than premodern midwifery. By the time she died at thirty-seven, Queen Anne had been pregnant fourteen times. Wealth and royalty were no protection against numerous stillbirths and miscarriages. Three children died shortly after birth; only two outlived her.

The fifteenth-century soul, finely tuned to pathos, pulsed with recollection of the Passion. In Christ as Man of Sorrows and the Virgin (Fig. 4a), the Holy Rood separates the Mater Dolorosa from the stricken body of her son. Though the linear distortion of Christ’s anatomy jars the modern eye, the medieval one saw through to the pity of the “Word made flesh.” Distilled from Isaiah, the trope of the Man of Sorrows participates in a sign system that enlivens the theology it professes.

Marian devotion reached a crescendo in the Middle Ages. Rich in metaphor, The Virgin of the Crescent Moon Surrounded by a Rosary (Fig. 5) depicts Mary exalted, Mater Gloriosa. In a fifteenth-century touch, the Queen of Heaven’s hair, unveiled, falls loose beneath her crown. The child is in her arms, the moon beneath her feet, and the sun’s rays behind her. It is an apocalyptic image rooted in the Book of Revelation (Rev. 12:1–3) that tells of a woman clothed in the sun. Like the moon, Mary is not herself a source of light; the eternal feminine, she reflects the radiance of her son.

To be in the presence of these boxes is to stand at the cradle of more than one revolution. The democratization of Western literacy begins here. So does mass communication and our own relentless culture of images. And the printed word was the means by which iconoclastic reformers were soon to broadcast dissent from the exuberant spirituality pictured here with lapidary charm.

The exhibition catalogue Fifteenth-Century Woodcuts in French Late-Gothic Coffrets is available from C. G. Boerner, 23 East 73rd Street, New York, N. Y. 10021. E-mail info@cgboerner or telephone 212-772-7330.

MAUREEN MULLARKEY is a painter who writes on art and culture.

by Émile Jacques Ruhlmann (1879-1933), 1926. Macassar ebony, amaranth, and ivory. Metropolitan Museum of Art. By Cynthia Drayton

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