A new Interpretation of Style and Iconography of MS Marlay Cutting It. 12, Fitzwilliam Museum, Cambridge

Two sences are presented within the single large pictoral field (24.7 x 27 cm.) To the left is a sainted run in her tomb, with an image of the same holy woman being raised up by angels above the supine body. At the right is a departing ship carrying monastic figures, a monastic saint and three layma...

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Bibliographic Details
Author:Kristi A. Wormhoudt
Volume:30
Pages:19-20
Notes:Conférence signalée dans l'article: The twelfth Saint Louis Conference on Manuscript Studies, 3-20
Periodical:Manuscripta
Format:Article
Topic:- Biography > Person and Life > Augustin in the iconography > Cambridge
Status:Needs Review
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Summary:Two sences are presented within the single large pictoral field (24.7 x 27 cm.) To the left is a sainted run in her tomb, with an image of the same holy woman being raised up by angels above the supine body. At the right is a departing ship carrying monastic figures, a monastic saint and three layman. Previous iconographic interpretations have assumed that the same Benedictine nun is pictured in both scenes. By comparing the miniature with other Tuscan of female manostic saints I have determined that the scenes represent the Death of St. Monica and the Departure of St. Augustine for Afrika. The Style of the painting, as it accords with works by Sassetta, suggests a date btween 4130 and 1440, a point in time which coincides with the increased interest in St. Monica after the transport of some of her relics from Ostia to Rome in 1430.