Captions, iconographical appendix and illustrations by: CAROLINE FISHER & ALBERT SCHMIDT And References for: Three Mourning Mothers: The Making and Unmaking of a Christian Figural Complex - RUDOLPH BINION - Journal of Psychohistory 26(1) Summer 1998

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Illustrations: ALBERT SCHMIDT
Mr. Schmidt's Illustrations are not included at this time.
Captions and iconographical appendix:
CAROLINE FISHER

And References for: Three Mourning Mothers: The Making and Unmaking of a Christian Figural Complex

RUDOLPH BINION
The Journal of Psychohistory V. 26, N. 1, Summer 1998

References

1. On the Christian origins and uses of the concept: Erich Auerbach, "Figura," in Scenes from the Drama of European Literature (New York: Meridian, 1959), 11-76. On its Jewish roots and uses: Amos Funkenstein, Perceptions of Jewish History (Berkeley: University of California Press, 1993), 13-14, 98-121. On its centrality to the medieval outlook: Auerbach, 61ff. and passim. For "figure" and "figural" (or "typological") in my usage below: ibid., 28-49.
2. Matthew 2:18 (Jeremiah 31:15: "are not"). In Jeremiah's Hebrew and Matthew's Greek (as also in the Latin of the later Vulgate), this phrase could mean equally were dead or were absent, about like the English were gone (cf. Genesis 5:2). Though the Lord promptly cleared up the ambiguity for Rachel (Jeremiah 31:16: "they shall come back"), Matthew exploited it to establish a figural continuity from Ramah to Bethlehem.
3. Matthew 2:17.
4. Hanns Swarzenski, "Quellen zum deutschen Andachtsbild," Zeitschrift fŸr Kunstgeschichte, IV (1935), 142; Elisabeth Reiners-Ernst, Das freudevolle Vesperbild und die AnfŠnge der Piete-Vorstellung (Munich: Filser, 1939), 75; Leonhard KŸppers, "Marienklage," in: Die Gottesmutter. Marienbild in Rheinland und in Westfalen, ed. Leonhard KŸppers (Recklinghausen: Aurel Bongars, 1974), I, 279; Hans Belting, The Image and its Public in the Middle Ages (New Rochelle: Caretzar, 1981), 32.
5. Hanns Swarzenski, 142; Reiners-Ernst, 31-32; Millard Meiss, "Sleep in Venice: Ancient Myths and Renaissance Proclivities," Proceedings of the American Philosophical Society, X (1966), 360-61; Dimitri Tselos, "The Piete: Its Byzantine Iconographic Origins and Its Western Titular Diversity," Annales d'EsthŽtique, XXV-XXVI (1986-87), 63.
6. Jacqueline Lafontaine-Dosogne, Histoire de l'art byzantin et chrŽtien d'Orient, 2nd ed. (Louvain-la-Neuve: Institut Orientaliste, 1995), 168. Further: Kathleen Weil-Garris Brandt, "Michelangelo's ÔPiete' for the Capella del Re di Francia," in "Il se rendit en Italie": Etudes offertes e AndrŽ Chastel (Rome: Edizioni dell'Elefante, 1987), 91.
7. For Joachim as against much of his artistic discipleship, the second recurrence was still to come. (Joachim drew largely on Augustine: Auerbach, 41.)
8. Liselotte Ketzsche-Breitenbruch, "Zur Ikonographie des bethlehemitischen Kindermordes in der frŸhchristlichen Kunst," Jahrbuch fŸr Antike und Christentum, XI/XII (1968/69), 104-15.
9. On this Oriental gesture: Henry Maguire, "The Depiction of Sorrow in Middle Byzantine Art," Dumbarton Oaks Papers, XXXI (1977), 158-60. Ramah was no more Oriental than Bethlehem, but European depictions tended to Europeanize the Massacre apart from that gesture.
10. On Rachel in eastern Christian art: Jacqueline Lafontaine-Desogne, "Iconography of the Cycle of the Infancy of Christ," in The Kariye Djami, ed. Paul A. Underwood, IV (Princeton NJ: Princeton University Press, 1975), 230-34.
11. Bibliotheque Nationale, Paris, lat. 9428, fol. 31a. On Drogo and his sacramentary: Christian Pfister, "L'archevque de Metz Drogon (823-856)," MŽlanges Paul Fabre. Etudes d'histoire du moyen ‰ge (Paris: Picard, 1902), 101-45; Wilhelm Koehler, Die karolingischen Miniaturen (Berlin: Deutscher Verein fŸr Kunstwissenschaft, 1960), 101-05; Sonia C. Simon, "Studies on the Drogo Sacramentary: Eschatology and the Priest-King" (Ph.D. dissertation, Boston University, 1975); Robert G. Calkins, "Liturgical Sequence and Decorative Crescendo in the Drogo Sacramentary," Gesta, vol. 25/1 (1986), 17-23.
12. Koehler, 101; Simon, vii, xiii.
13. Wilhelm Kerte, "Deutsche Vesperbilder in Italien," Kunstgeschichtliches Jahrbuch der Bibliotheca Hertziana, I (Leipzig: Keller, 1937), 16-17, published one such ninth-century-B.C. statuette as a chance prefiguration of the Piete. Bronzes antiques de Sardaigne (Paris: Bibliotheque Nationale, 1954) catalogues three (Nos. 15, 15, 33) and reproduces one different from Kerte's that Philippe Aries, L'enfant et la vie familiale sous l'Ancien RŽgime (Paris: Plon, 1960, and Seuil, 1973), 54 and n. 3, calls "a sort of piete." Less clear-cut, but older, is a damaged wooden statue in the Egyptian Museum in Cairo of a woman with what looks like a tiny dead man lying and three tinier girls standing on her lap.
14. Louvre, Paris, signed "Douris," 490-480 B.C.; cited by H. W. Janson, History of Art, 2nd ed. (Englewood Cliffs NJ: Prentice Hall, 1977), 98, as "strongly prophetic of the Christian Piete." Cf. Emily Vermeule, Aspects of Death in Early Greek Art and Poetry (Berkeley CA: University of California Press, 1979), ch. V, figs. 3, 21, 28.
15. Cf. Kerte, 17. Partial exceptions in classical sculpture include Menelaus holding the limp body of Patroclus on the battlefield (copy in the Loggia dei Lanzi, Florence) and a Gaul between killing his wife and killing himself (Museo delle Terme, Rome).
16. Henry Maguire, Art and Eloquence in Byzantium (Princeton: Princeton University Press, 1981), 27, and "The Classical Tradition in the Byzantine Ekphrasis," in Byzantium and the Classical Tradition (University of Birmingham Thirteenth Spring Symposium of Byzantine Studies, 1979), 96. (Euripides' Agave had done just this in a passage of The Bacchae applied to Mary and the dead Christ in the Byzantine compilation Christus patiens.)
17. Maguire, Eloquence, 27, and "Ekphrasis," 96.
18. A finer but severely mutilated version survives in the monastery of Santo Domingo de Silos (Burgos), and a more sophisticated, classicistic one adorns the tomb of Do–a Blanca, Abbey of Santa Maria la Real, Logro–o (Navarre).
19. On the lesser lap-type variant with the son still alive, cf. below, n. 31.
20. Three on the nave of Sant'Angelo in Formis, Capua; five in the Gospel Book of Otto III, Clm. 4453, Cim. 58, f. 30v, Staatsbibliothek, Munich - otherwise virtually identical with Codex Egberti, f. 15v, in Trier, and with Henry III's Pericope, b. 21, f. 13r, in the Staatsbibliothek, Bremen.
21. Gr. 74, 510, Bibliotheque Nationale, Paris; Golden Gospel Book of Echternach 156412, Germanisches Nationalmuseum, Nuremberg; Gr. 1156, f. 280v, Vatican Library, Rome; Add. 39627, f. 11r, British Museum, London; etc.
22. For this received view: AndrŽ Grabar, "L'asymŽtrie des relations de Byzance et de l'Occident dans le domaine des arts au moyen ‰ge," in Irmgard Hutter, ed., Byzanz und der Westen. Studien zur Kunst des europŠischen Mittelalters (Vienna: …sterreichische Akademie der Wissenschaften, 1984), 9-24.
23. Adelheid Heimann, "The Capital Frieze and Pilasters of the Portail Royal, Chartres," Journal of the Warburg and Courtauld Institutes, XXXI (1968), 80; Otto Demus, Romanesque Mural Painting (New York: Thames and Hudson, 1970), pl. 153; Willibald SauerlŠnder, Gothic Sculpture in France 1140-1270 (London: Thames and Hudson, 1972), 386, 388-91, 394; Carol Uhlig Crown, "The Winchester Psalter and Ôl'Enfance du Christ' Window at St. Denis," The Burlington Magazine, CXVII (1975), 81, fig. 9 (possibly an interpolation by Viollet-le-Duc - and in that case visibly after the Chartres window). For a vertical departure from the lap-type, see AndrŽ Lapeyre, Les faades occidentales de Saint-Denis et de Chartres aux portails de Laon (Paris: Lapeyre, 1960), fig. 62, on Le Mans; Walter Cahn, "The ÔTympanum' of Saint-Pierre at Etampes: A New Reconstruction," Gesta, XXV/1 (1986), 119-26; and below, n. 50.
24. They may include the Alsatian church window shown in Robert Bruck, Die elsŠssische Glasmalerei (Strasbourg: Heinrich, 1902), plate 17, now destroyed, but this was more likely the nineteenth-century restorer's handiwork after a period original: cf. nn. 23, 50.
25. "Childhood of Christ" Window, Saint Pierre Saint Paul Cathedral, Troyes; Ingeborg Psalter 1695, f. 18v, MusŽe CondŽ, Chantilly (evidently modeled on the Chartres window: cf. Erwin Panofsky, "Zur kŸnstlerischen Abkunft des Stra burger ÔEcclesiameisters,'" Oberrheinische Kunst IV [1929/30], 127); Bible MoralisŽe, Lat. 11560, f. 86, Bibliotheque Nationale, Paris; Psalter and Hours, Lat. 1073A, f. 7v, Bibliotheque Nationale, Paris; Codex Vindobonensis 2554, f. 16r, …sterreichische Nationalbibliothek, Vienna; Lewis 185, f. 6v Philadelphia Free Library. (Cf. n. 16 for the Christian and pagan sources of this dismemberment.) A non-kneeling Massacre mother with arms aloft might likewise have a decapitated infant at her feet as in the Saint-Trophime cloister, Arles, c. 1190. The west portal of Le Mans Cathedral, c. 1158, shows a mother bent over her dead(?) son but raising him upright [30].
26. Gabriel Millet, Recherches sur l'iconographie de l'Žvangile aux XIV, XV et XVI siecles, d'apres les monuments de Mistra, de la MacŽdoine et du Mont-Athos, 2nd ed. (Paris: Boccard, 1960), 489-90; Tselos, 59-60.
27. Millet, 495; Anna D. Kartsonis, Anastasis. The Making of an Image (Princeton: Princeton University Press, 1986), 167, 169, 185, 229; Tselos, 56-57.
28. Gertrud Schiller, Ikonographie der christlichen Kunst, II (GŸtersloh: Gerd Mohn, 1968), 187-88; Kartsonis, 185 and passim; Tselos, 63-67.
29. On the Byzantine impress: Lafontaine-Dosogne, Histoire, 153-88. On the relevant compositional factors of the evolving Lamentation (Jesus grounded, head left; Mary kneeling, left arm around his chest): Millet, 489-516; Tselos, 57-67.
30. On the Crucifixion as fulfillment in Matthew's gospel itself, see: Rudolph Binion, Sounding the Classics (Westport CT: Greenwood, 1997), pp. 21-31.
31. Hans H. HofstŠtter, "Bethlehemitischer Kindermord," in Das MŸnster, vol. 43 (1990), no. 4, pp. 341, 343. Later the lap-type Massacre subgroup-of-two with the son still alive was normally modeled after Mary holding the infant Jesus: see, e.g., Cotton Caligula, A VII, f. 7 r, British Museum; Smith-Lesou‘f 20, f. 11v, Bibliotheque Nationale; plate 12 of the Golden Gospel Book of Echternach 156412, Germanisches Nationalmuseum, 1053-56; the mid-twelfth-century painted arch of the Saint-Aubin abbey in Angers; or the early-thirteenth-century miniature from the Waldkirch Psalter, Codex Breviary 125, f. 45v, in WŸrttembergische Landesbibliothek.
32. On this pronounced resemblance: Richard Hamann, Die HolztŸr der Pfarrkirche zu St. Maria im Kapitol (Marburg: Verlag des Kunstgeschichtlichen Seminars, 1926), 14; Rudolf Wesenberg, FrŸhe mittelalterliche Bildwerke: Die Schulen rheinischer Skulptur und ihre Ausstrahlung (DŸsseldorf: Schwann, 1972), text to plates 55-58. For a later, Byzantine equivalence, cf. Gabriel Millet, Monuments byzantins de Mistra. MatŽriaux pour l'Žtude de l'architecture et de la peinture en Grece aux XIVe et XVe siecles (Paris: Leroux, 1910), p. 93.3 (church of the Brontochion, Mistra). How closely the two like figures in Cologne were meant to neighbor is uncertain, as the door panels are no longer in their original order: Werner SchŠfke, St. Maria im Kapitol (Cologne: Wienand, n.d.), 22.
33. Cathedral museum, Salerno. Cf. Figures 22, 23 (companion pieces).
34. Karl Young, Ordo Rachelis (Madison: University of Wisconsin Press, 1919), 18, 30, 33, 35, 47, and The Drama of the Medieval Church (Oxford: Clarendon Press, 1933), 112, 116. (Cf. nn. 16, 25 for a parallel Byzantine identification of the dead Christ with a mutilated innocent.)
35. Mikl—s Boskovits, "Un pittore Ôespressionista' del trecento umbro," in Storia e arte in Umbria nell'ete comunale, ed. Francesco Ugolini (Perugia: Centro di Studi Umbri, 1971), I, 115-30 and fig. 3; Filippo Todini, La pittura umbra dal duecento al primo cinquecento (Milan: Langanesi, 1989), I, 138-39; Elvio Lunghi, "La decorazione pittorica della chiesa," in: Marino Bigaroni, Hans-Rudolf Meier, and Elvio Lunghi, La basilica di Santa Chiara in Assisi (Perugia: Quattroemme, 1994), 204-30. A fifth mother at the back of the row holds no child.
36. Variously attributed hit-and-miss to Simone da Bologna, Jacopo de' Bavasi, and Andrea de' Bartoli.
37. School of Meo da Siena (?), on the Santa Scala. For a Perugian miniature in this series see Giovanni Previtali, Giotto e la sua bottega (Milan: Fabbri, 1993), fig. 169a. For a Tuscan one see Il gotico a Siena: miniature pitture oreficerie oggetti d'arte, exhibition catalogue (Siena: Palazzo Pubblico, 24 luglio - 30 ottobre 1982), 51, and Bianca Tosattti Soldano, Miniature e vetrate senesi del secolo XIII (Genoa: Universite di Genova, 1978), Table XXV,1.
38. Hours of Jeanne d'Evreux, 1325-28; south portal, Worms cathedral, c. 1300; relief from a shrine (VŠstergetland), late 13th c. Jean Pucelle, painter of the Hours of Jeanne d'Evreux, derived this mourning mother specifically from Giovanni Pisano's Pistoian pulpit a quarter century later (see just below): Stanley H. Ferber, "Jean Pucelle and Giovanni Pisano," The Art Bulletin, LXVI (1984), 69. Comparing Giovanni's figures with Pucelle's derivative, Ferber aptly notes: "In both cases... the mothers' grief has made them oblivious to the grisly deeds taking place behind and above them."
39. Auct. D.3.4, f. 282v, Bodleian Library, Oxford (Square four of the nine already shows Herod ordering the Massacre.)
40. Kathleen Nolan, "Narrative in the Capital Frieze of Notre-Dame at Etampes," The Art Bulletin, LXXI (1989), 173-74, 178 - but cf. n. 44 below. Comparably, the Massacre appears just below and after the Passion on late-thirteenth-century panels of a window in the Saint-Martin church in Louze, but this may not be the original sequence.
41. Gian Lorenzo Mellini, Giovanni Pisano (Venice: Electa, [1970]), 65. (Giovanni's sequence was rearranged in the early nineteenth century.)
42. Ruth Wilkins Sullivan, "Some Old Testament Themes on the Front Predella of Duccio's Maeste," The Art Bulletin, LXVII (1986), 606.
43. A.G.I. Christie, English Medieval Embroidery (Oxford: Clarendon Press, 1938), 159-61 and Plate CXII.
44. Eve Borsook, The Mural Painters of Tuscany from Cimabue to Andrea del Sarto, 2nd ed. (Oxford: Clarendon Press, 1980), 45; cf. n. 40 above. Duccio may have been Barna's source for this shift (reminiscent of the one on Notre-Dame at Etampes): Borsook, The Mural Painters of Tuscany from Cimabue to Andrea del Sarto (Garden City: Phaidon, 1960), 138; John White, Duccio: Tuscan Art and the Medieval Workshop (New York: Thames and Hudson, 1979), 121; Wilkins-Sullivan, 607-08, and letters by Isa Ragusa and Ruth Wilkins-Sullivan, The Art Bulletin, LXIX (1987), 646-49. On this same shift, cf. Franois Bucher, The Pamplona Bibles (New Haven: Yale University Press, 1970), 23.
45. Jane Dillenberger, Style and Content in Christian Art (London: SCM, 1965), 80.
46. Lamentation, Perugia, mid-thirteenth century [Georg Swarzenski, 129]; Lamentation (Italian), Yale University, mid-thirteenth century; Lamentation, Baptistery, Florence, late thirteenth century; Entombment (Guido da Siena workshop), Pinacoteca, Siena, late thirteenth century; Crucifixion (Cimabue), upper church of San Francesco, Assisi, c. 1290. The Rachel gesture is displaced onto another mourner behind Mary Magdalen at Christ's feet in both Bartolo di Fredi's and Andrea di Bartolo's Lamentations of about 1388.
47. Georg Swarzenski, "Italienische Quellen der deutschen Piete," in Festschrift fŸr Heinrich Welflin (Munich: Hugo Schmidt, 1924), 130-31; Kerte, 9-11. Most intriguing is the piete-like fresco in the Basilica di Santa Chaira, Naples, though precious little of the original remains.
48. Kerte, passim.
49. Hanns Swarzenski, "Quellen," 142; Erwin Panofsky, "Reintegration of a Book of Hours Executed in the Workshop of the ÔMa”tre de Rohan,'" in Medieval Studies in Memory of A. Kingsley Porter, ed. Wilhelm R. W. Koehler (Cambridge: Harvard University Press, 1939), II, 490-91 and n. 42, and Early Netherlandish Painting: Its Origins and Character (Cambridge: Harvard University Press, 1958), I, 44 and n. 2; Sullivan, 605 (one of the grieving mothers in Duccio's Massacre "holds her dead son in her lap in a pose anticipating the Piete").
50. Ferber, 69; cf. above, n. 38. Comparably, a Romanesque portal in NuaillŽ-sur-Boutonne depicted the Massacre through a mother and child alone on their arch-stone: Erik Dahl, "NuaillŽ-sur-Boutonne," in: Congres archŽologique La Rochelle 1956, 301; RenŽ Crozet, L'art roman en Saintonge (Paris: Picard, 1971), 137. Their vertical embrace anticipates the one on the cathedral in Le Mans with the mother kneeling, which may have derived from the royal portal in Chartres. The space around the lap-type mourning was already self-contained in Worms and Stockholm too: cf. above, n. 38.
51. Wilhelm Pinder, "Die dichterische Wurzel der Piete," Repertorium fŸr Kunstwissenschaft, XLII (1920), 145-63, and Die Piete (Leipzig: Seemann, 1922), 3-4; Reiners-Ernst, 8-37; Tadeusz Dobrzeniecki, "Medieval Sources of the Piete," Bulletin du MusŽe National de Varsovie, VIII (1967), passim.
52. Around 1325 a church in Westhofen (Alsace) may have included a Piete in a stained-glass sequence of scenes from the life of Christ: Bruck, 53 and plate 16. However, "MŽmoire du Baron de Schauenbourg," Congres archŽologique de France, 1859, 261-63, does not mention this image among the fragments of the church before it was restored, no doubt after post-1325 models (cf. above, n. 25). The Piete pose crept into Lamentations abroad later in the fourteenth century, but that was something again: Georg Swarzenski, 130.
53. Walter Passarge, "Das deutsche Vesperbild im Mittelalter," in Deutsche BeitrŠge zur Kunstwissenschaft, ed. Paul Frank, I (Cologne: Marcan, 1924), 3.
54. Kerte, 8-9.
55. Reiners-Ernst, 36-37.
56. Compare nn. 4-6 above.
57. Panofsky, "Reintegration," 491, and Netherlandish, 44 n.2 - perhaps picking up on Georg Lill, "Die frŸheste deutsche Vespergruppe," Der Cicerone, XVI (1924), 660-62, and Hanns Swarzenski, 142 n.7.
58. On this disintegration see also Auerbach, 61 and 236 n. 43, and Johan Huizinga, The Waning of the Middle Ages (London: Arnold, 1924), 194 and passim.
59. Huizinga, 148.
60. Michael Servetus, Christianismi restitutio (1553), 457 ("ploratus Rachel, quasi tertio repetitus") and passim. The third figural term of Rachel's lamenting in Servetus is not Mary's lamenting, but a chorus of the sons of God, the church, and the angels in heaven.
61. Cf. n. 46 above. On the problematical subject matter of this painting: Mary Ann Graeve, "The Stone of Unction in Caravaggio's Painting for the Chiesa Nuova," The Art Bulletin, XL (1958), 223-38; Tselos, 55-56, 68, and passim.
62. Huizinga, 148.
63. Jeremiah 31:16.

VISUAL SOURCES

MOTHERS BRINGING CHILDREN TO MASSACRE

Mosaic, triumphal arch, Santa Maria Maggiore, Rome: 432-40.

RACHEL-TYPE MOTHERS

Ivory carving, Staatliche Museen, Berlin: c. 430.
Ivory book cover (North Italian), Codex Lat. 10077, Bayerische Staatsbibliothek, Munich: V.
Ivory book cover, Cathedral, Milan: V.
Ivory book cover (Metz), Douce Ms. 176, Bodleian Library, Oxford: c. 800.
Ivory plaque, Bibliotheque Nationale, Paris: IX.
Pericope, Codex Egberti 24, f. 15v, Stadtbibliothek, Trier: 977-993.
Fresco, nave, Urbano alla Caffarella, Rome: early XI.
Pericope of Henry III, b. 21, f. 13r, Staatsbibliothek, Bremen: XI.
Ivory altar front, Cathedral Museum, Salerno: XII.
Enamel plaque, No. 17.190.444, Metropolitan Museum of Art, New York: XII.
Stone tympanum (from St. Pierre Cathedral, Etampes), Museum, Etampes: XII.
Mosaic, crossing, Cathedral, Monreale: late XII.
Ms., Theol. Lat. 2, 487, f. 24v, Staatsbibliothek, Berlin: 1251-75.
Column decoration, St. Julien Church, PoncŽ-sur-le-Loir (Sarthe): XIII.
Fresco (Italian), choir, Basilica of St. Martin, AimŽ (Savoie): mid-XIII.
Psalter, Pal. Lat. 26, f. 8v, Vatican Library, Rome: mid-XIII.
Psalter of Robert de Lisle (Madonna Master), f. 124v, British Library, London: c. 1310.
Enamel statuette base, MusŽe du Louvre, Paris: early XIV.
Fresco, St. Gallus Chapel, Oberstammheim: early XIV.
Baptistery vault decoration, Basilica of San Marco, Venice: XIV.
Fresco, Zeno Church, LŸen, Switzerland: late XIV.

MOTHERS IN PIETË POSE

Drogo Sacramentary (Metz), Lat. 9428, tableau 82a, f. 31a. Bibliotheque Nationale, Paris: c. 850.
Wooden door, Sankt Maria im Kapitol, Cologne: 1050.
Bronze door, Cathedral, Benevento: XII.
Ms., Cotton Caligula, A VII, f. 7r, British Museum, London: late XII.
Sculpture, archivolt, west front, Santo Domingo Cathedral, Soria: late XII.
Sculpture, Tomb of Do–a Blanca, Abbey of Santa Maria la Real, Logro–o (Navarre): late XII.
Sculpture, archivolt, Santo Domingo Monastery, Silos (Burgos): XII-XIII.
Sculpture, external arch, St. Pierre Church, NuaillŽ-sur-Boutonne: XIII.
Wooden sculpture (VŠstergetland), Inventory No. 5669:3-4, Nationalmuseet, Stockholm: late XIII.
Fresco (Palmerino di Guido), Basilica of Santa Chiara, Assisi: c. 1300.
Fresco (Theoskepastos of Trebizond), Kariye Camii, Istanbul: 1310-20.
Hours of Jeanne d'Evreux (Jean Pucelle), 54.1.2, f. 69r, Cloisters, Metropolitan Museum of Art, New York: c. 1325-28.
Panel painting (Simone da Bologna or Jacopo de' Bavasi or Andrea de Bartoli), Pinacoteca, Bologna: early XIV.
Fresco (Barna da Siena), Collegiata of San Gimignano: 1350-55.
Panel painting (Tuscan), Museum, Fiesole: XIV.
Fresco, nave, Monastery Church, Pomposa: XIV.
Wooden polyptych, right wing, Marienberg Church, Helmstedt: XIV.
Panel (Matteo di Giovanni), National Gallery, Naples: 1488.
Panel (Master of Schloss Lichtenstein), Alte Pinakothek, Munich: early XVI.

MOTHERS WITH LIVE CHILDREN IN PIETË POSE

Gospel Book of Otto III, Clm. 4453, Cim. 58, f. 30v, Bayerische Staatsbibliothek, Munich: X-XI.
Ms., Golden Gospel Book of Echternach 156412, f. 19v, Germanisches Nationalmuseum, Nuremberg: 1053-56.
Ms., Lectionary 9428, f. 13r, Bibliotheque Royale, Brussels: early XI.
Mural, arcade, Saint-Aubin Abbey, Angers: 1150.
Fresco, choir, east wall, Saint-Aignan Church, Brinay-sur-Cher: mid-XII.
Gumpertsbibel, f. 322v, University Library, Erlangen: by 1195.
Psalter (Waldkirch), Codex Breviary 125, f. 45v, WŸrttembergische Landesbibliothek, Stuttgart: 1201-15.
Bible (English), Auct. D.3.4., f. 282 v, Bodleian Library, Oxford: early XIII.
Triptych, Kunsthalle, Hamburg: late XIV.
Panel, Germanisches Nationalmuseum, Nuremberg: late XIV-early XV.

MOTHER CRADLING SEVERED INFANT HEAD

Fresco, Church of Saint-Jacques-des-GuŽrets (Loir-et-Cher): early XII.
Bronze door, Sophia Cathedral, Novgorod: mid-XII.
Ingeborgpsalter, Ms. 1695, f. 18v, MusŽe CondŽ, Chantilly: c. 1200.
Bible MoralisŽe, Codex Vindobonensis 2554, f. 16r, …sterreichische Nationalbibliothek, Vienna: early XIII.
Bible MoralisŽe, Lat. 11560, f. 86r, Bibliotheque Nationale, Paris: early XIII.
Stained glass, Childhood of Christ Window, St. Pierre St. Paul Cathedral, Troyes: 1240-50.
Psalter and Hours, Lat. 1073 A, f. 7v, Bibliotheque Nationale, Paris: c. 1260.
Psalter (French), Lewis 185, f.6v, Free Library, Philadelphia: c. 1260.

RACHEL-TYPE PIETË

Ms., Gr. 74, f. 510, Bibliotheque Nationale, Paris: XI.
Ms., 1156, f. 280v, Vangelo del Vaticano, Rome: XI.
Ivory plaque (Lorraine), Victoria and Albert Museum, London: late XI.
Fresco (School of Montecassino), nave, Sant'Angelo in Formis, Capua: XI-XII.
Stone sculpture, east archivolt, St. Trophime Cloister, Arles: c. 1190.
Stone sculpture, south portal, Cathedral, Worms: c. 1300.
Gospel Book, Add. 39627, f. 11r, British Museum, London: 1356.

GROUND-TYPE MOURNING MOTHERS

Stone sculpture, embrasures, Portail Royal, Cathedral, Chartres: 1145-55.
Stained glass, Chapel of the Virgin, "Childhood of Christ" window, Cathedral, St. Denis: c. 1145.
Stained glass, central window, west faade, Cathedral, Chartres: c. 1150.
Stained glass, Church, Westhofen (Alsace): c. 1325?
Antiphonary, I, f. 113v, Biblioteca Capitolare, Padua: XIV.
Breviary for Charles V, Lat. 1052, f. 308r, Bibliotheque Nationale, Paris: late XIV.

LAP-AND-LAMENTATION-TYPE MOURNING MOTHERS

Ms., Smith-Lesou‘f 20, f. 11v, Bibliotheque Nationale, Paris: XIII.
Fresco (Giovanni Pietro and Giuliano da Rimini), Santa Maria in Posto Fuori, Ravenna: late XV.

MIXED SORTS

Ms. (Sedulius), Carmen Paschale, M.17.4, f. 16r, Plantin-Morelus Museum, Antwerp: X.
Fresco, nave, Church of St. Martin, Zillis: XII.
Ms. 500, f. 21r, Bibliotheque Communale, Chartres: XII.
Sculpture, external arch, west side, Cathedral, Le Mans: mid-XII.
Marble pulpit (Nicola Pisano), Cathedral, Siena: 1266-68.
Antiphonary (Sienese), Corale 33-5, C. 168, Cathedral Museum, Siena: c. 1290.
Ms. (Tuscan), Supplicationes Variae, Plut. 25, 3, f. 368v, Laurentian Library, Florence: 1293-1300.
Marble pulpit (Giovanni Pisano), Church of Sant'Andrea, Pistoia: 1301.
Marble pulpit (Giovanni Pisano), Cathedral, Pisa: 1302-11.
Panel painting in tempera (Duccio di Buoninsegna), Maeste, front predella, Cathedral Museum, Siena: 1308-11.
Metal altar front, Zenone Cathedral, Pistoia: 1316.
Ms. (Maestro dei Cavali), Antiphonary F, Initial C, Ms. 9, f. 100r, Biblioteca Capitolare di S. Lorenzo, Perugia: 1320-30.
Fresco (Pietro Lorenzetti), Santa Maria dei Servi, Siena: 1330.
Fresco (Giotto and school), Lower Church of San Francesco, Assisi: early XIV.
Sculpture (Tino di Camaino), Trinite Monastery, Cava dei Tirreni: early XIV.
Cope (English), Museo Civico, Bologna: XIV.
Fresco, Markov Monastery, Serbia: after 1371.
Fresco (Giusto dei Menabuoi), Baptistery, Padua: 1376.
Stone sculpture, west portal, St. Lorenz Church, Nuremberg: XIV.
Fresco, Basilica of San Nicola, Tolentino: XIV.
Decoration (School of Meo da Siena?), Santa Scala, Sacro Speco Monastery, Subiaco: XIV.
Hours of Gian Galeazzo, Landau Finaly 22, f. 29r, Biblioteca Nazionale Centrale, Florence: late XIV.
Panel painting (Niccol˜ di Tommaso), Uffizi Gallery, Florence: late XIV.
Panel painting (Bartolo di Fredi or Andrea di Bartolo), Walters Art Gallery, Baltimore: late XIV.
Ms., Landau Finaly, Biblioteca Nazionale Centrale, Florence: late XIV.
Fresco (Andrea da Lecce), Cathedral, Atri (Abruzzo): mid-XV.
Panel painting (Fra Angelico), San Marco Museum, Florence: mid-XV.
Fresco (Theophanes), Lavra Monastery, Mont Athos: 1535.

REPRESENTATIVE LAMENTATIONS

Wall painting, Panteleiman Church, Nerezi (Macedonia): c. 1164.
Tempera on parchment attached to wood (Master of the San Matteo Crucifix), Museo Nazionale, Pisa: early XIII.
Painted cross (Coppo di Marcovaldo), Museo Civico, San Gimignano: 1260s.
Mosaic, cupola, Baptistry, Florence: XIII.
Painted cross (Salerno di Coppo), sacristy, Cathedral, Pistoia: XIII.
Fresco (Giotto), Arena Chapel, Padua: 1305-08.
Tempera on parchment attached to wood (Pacino di Bonaguida), Pierpont Morgan Library, New York: c. 1303-20.
Rohan Hours (Rohan Master), Lat. 9471, Bibliotheque Nationale, Paris: 1414-18.
Painting (Rogier van der Weyden), Capilla Real (Granada): 1435-38.
Painting (Caravaggio, Entombment), Vatican Museum, Rome: 1603.

SELECTIVE BIBLIOGRAPHY FOR PIETË

Beck, Herbert, and Horst Bredekamp. "Kompilation der Form in der Skulptur um 1400," in StŠdel-Jahrbuch, Neue Folge, VI. Munich: Prestel, 1977: 129-57.
Belting, Hans. The Image and Its Public in the Middle Ages. New Rochelle, NY: Caratzas, 1981.
Bloch, Peter. "Die Piete SchnŸtgen," in Museion; Studien aus Kunst und Geschichte fŸr Otto H. Ferster, ed. Heinz Ladendorf. Cologne: Schauberg, 1960: 211-14.
Dobrzeniecki, Tadeusz. "Mediaeval Sources of the Piete," Bulletin du MusŽe National de Varsovie, 8 (1967): 5-24.
Forsyth, William H. The Piete in French Later Gothic Sculpture. Regional Variations. New York: Metropolitan Museum of Art, 1995.
Gravenkamp, Curt. Marienklage. Das deutsche Vesperbild im vierzehnten und im frŸhen fŸnfzehnten Jahrhundert. Aschaffenburg: Pattloch, 1948.
Hamann, Richard and Kurt Wilhelm-KŠstner. Die Elisabethkirche zu Marburg und ihre kŸnstlerische Nachfolge, II: "Die Plastik." Marburg: Kunstgeschichtliches Seminar der UniversitŠt, 1929: 317-64.
Hasse, Max. "Studien zur Skulptur des ausgehenden XIV. Jahrhunderts," StŠdel-Jahrbuch, Neue Folge, VI. Munich: Prestel, 1977: 99-128.
Hawel, Peter. Die Piete: Eine BlŸte der Kunst. WŸrzburg: Echter, 1985.
Kerte, Werner. "Deutsche Vesperbilder in Italien," Kunstgeschichtliches Jahrbuch der Bibliotheca Hertziana, I (1937): 1-138.
Krenig, Wolfgang. Rheinische Vesperbilder. Menchengladbach: KŸhlen, 1967.
Krenig, Wolfgang. "Rheinische Vesperbilder aus Leder und ihr Umkreis," Wallraf-Richartz-Jahrbuch, XXIV (1962): 97-191.
KŸnstle, Karl. Ikonographie der christlichen Kunst, I. Freiburg im Breisgau: Herder, 1928: 484-89.
KŸppers, Leonhard. "Marienklage," in Die Gottesmutter. Marienbild in Rheinland und in Westfalen, I, ed. Leonhard KŸppers. Recklinghausen: Bongers, 1974: 277-90.
Lill, Georg. "Die frŸheste deutsche Verspergruppe," Der Cicerone, XVI (1924): 660-62.
Passarge, Walter. Das deutsche Vesperbild im Mittelalter. Cologne: Marcan, 1924.
Pinder, Wilhelm. Die Piete. Leipzig: Seemann, 1922.
Reiners-Ernst, Elisabeth. Das freudevolle Vesperbild und die AnfŠnge der Piete-Vorstellung. Munich: Filser, 1939.
Schiller, Gertrud. "Die Marienklage - Die Piete - Das Vesperbild," Ikonographie der christlichen Kunst, II, 2: "Die Passion Jesu Christi." GŸtersloh: Gard Mohn, 1968: 192-95; 582-89.
Schneider, Arthur von. "Ein frŸhes Versperbild vom Oberrhein," Der Cicerone, XIX (1927): 10-14.
Suckale, Robert. "Arma Christi," StŠdel-Jahrbuch, Neue Folge, VI. Munich: Prestel, 1977: 177-208.
Swarzenski, Georg. "Italienische Quellen der deutschen Piete," in Festschrift Heinrich Welfflin. BeitrŠge zur Kunst und Geistesgeschichte zum 21. Juni 1924, Ÿberreicht von Freunden und SchŸlern. Munich: Hugo Schmidt, 1924: 127-34.

PHOTO CREDITS

1) Bildarchiv Foto Marburg. 2) Bibliotheque Nationale. 3) Victoria & Albert Museum. 4) Inventaire GŽnŽral Centre S.P.A.D.E.M., R. Malnoury. 5) Albert Schmidt. 6) Hirmer Fotoarchiv. 7) Meg Flynn. 8) Albert Schmidt. 9) Giraudon. 10) Bibliotheque Nationale. 11) Gabriel Millet. 12-13) Alinari. 14-15) Albert Schmidt. 16-21) Alinari. 22-23) Albert Schmidt. 24-25) Alinari. 26) Bodleian Library. 27) Albert Schmidt. 28-29) Bildarchiv Foto Marburg. 30) Inventaire GŽnŽral de la Loire.