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VALE, PATER OPTIME, ET VENI. THE CULT OF ST. JOHN OF CAPISTRANO IN THE TERRITORY OF PRESENT-DAY SLOVAKIA IN THE MIDDLE AGES

100%

Hlavačková M.

Historický časopis (Historical Journal)

2021

tom 69

nr 5

815 – 837

In spite of the fact that no locality now in the territory of Slovakia but then a part of the medieval Kingdom of Hungary, appears in the itinerary of the Franciscan, Church lawyer and reformer of the order John of Capistrano, news of the “miracle working preacher” reached here and motivated people to travel to him in the hope of being healed of various illnesses, to write letters to him, to support observant foundations, or to join monasteries founded or reformed by him. The present study based on sources such as documents on acceptance into the Confraternity of Observant Franciscans, collections of miracles at the Collegio San Isidoro in Rome, medieval charters and chronicles, is devoted to the veneration of Capistrano and its spread in our territory. However, the aim of the study is not to take developments connected with Capistrano out of the context of the history of the Kingdom of Hungary or to place them in isolation, but to point out that this theme deserves attention from present-day Slovak historiography.

Viduslaiku miniatūra ‘Krustā sistais ar Mariju un Jāni’ no ‘Missale Rigense’

75%

Grosmane E.

tom 20

6-15

The unique ancient Livonian cultural and religious testimony ‘Missale Rigense’ is held by the Department of Manuscripts and Rare Books of the Academic Library of the University of Latvia. In line with the common medieval practice, ‘Missale Rigense’ has an oak cover binding with brown leather finish and two clasps (damaged). The manuscript consists of 192 spread pages (36 x 27 x 10 cm) and two parts: a calendar and missale with one canonical illustration ‘Crucifixion with Mary and St. John’. The central foreground image is of Christ crucified on a large cross with three massive iron nails. The heavy head falling sideways and closed eyes with swollen eyelids indicate that Christ is already dead; so the expression of suffering is somewhat subdued, but the link with Crucifixus dolorosus common in European Gothic art has not been lost completely. The Saviour’s touched up wounds continue to bleed; the grey-toned body suspended by thin arms also conforms to the message. However, dramatic exaggerations are not accentuated. The Saviour’s sad foreground image is contemplated from the back by Mary and the Apostle John standing a little way off. Both have soft and handsome features, but the well-considered costume gatherings reveal typical late Gothic repeated V-shaped rhythms, the so-called cornet and hairpin-style folding elements. The three-figure composition set against green grassland, low horizon line and blue sky do not strive for emotional overstatement. The artist’s rejection of Gothic expression is deliberate and most likely anticipates the new Renaissance epoch. Considering all research aspects related to the ‘Missale Rigense’ miniature, dating it to the 1460s–1490s looks most plausible. As the number of digitalised manuscripts grows, there will possibly be a chance to specify the origin of this sheet in subsequent years.