Index of Subjects
Page numbers in italics indicate illustrations
Abraham
198, 207, 208, 218, 222–23, 224, 227, 231
Abraham and the Three Angels (Assisi)
207n.16, 222, 224
active, and contemplative, life
107
Adam
34–37, 43, 65, 143, 207, 232
The Adoration of the Magi (Nicola Pisano)
140, 141, 142, 150
Altarpiece of Saint Dominic (Francesco Traini)
14–15n
animals
51, 138, 139, 142, 143, 147, 170, 172n.65, 200
(
ear[s]
)
Anna (mother of Virgin Mary)
87, 120, 121
Anna (prophet)
150, 153, 154, 155, 162, 164, 168, 173, 174, 176, 178, 182–83, 189, 198, 199
The Annunciation to Anna (Giotto)
90, 120n.55
The Annunciations to Joachim (Joachim’s Sacrifice, Joachim’s Dream) (Giotto)
120n.55
The Annunciation to the Shepherds (Nicola Pisano)
141, 147, 150
The Annunciation to the Virgin Mary (Assisi)
225
The Annunciation to the Virgin Mary (Fra Angelico)
28
The Annunciation to the Virgin Mary (Nicola Pisano)
85, 141, 147, 150, 157, 162
The Annunciation to Zechariah (Andrea Pisano)
157
The Annunciation to Zechariah (Pisa baptistery)
157, 159, 167
The Annunciation to Zechariah (Venice baptistery)
171
Apulia
160n, 194–95
artistic styles, periods, geographies (beyond late medieval Italy)
Byzantine
27, 47, 127n.74, 156n.40, 167, 170, 171n, 198n.65
early Christian
205
early medieval
4, 27, 75, 160n, 171n
early Netherlandish
83n.64
Flemish Baroque
255–56
Greek/Hellenistic
36, 74–75, 90–91, 131, 173, 176
medieval
4, 72–73, 81, 83, 134, 248
northern Gothic
4, 47, 73–74, 79, 134, 137
pseudo-Arabic/Kufic
47, 240
pseudo-Mongolian
47
Renaissance
27, 28, 72–73, 75–78, 81, 134, 206n.12, 253, 255
Roman
74–75, 79, 89–90, 131, 137, 174, 178–81, 184–85, 240
Romanesque
4, 27, 79, 145, 153, 155–56n.39, 167, 171n, 174
southern Italian classical revival
47, 134, 174, 194
artists
as auditory engineers
18, 25, 32, 137, 207
hearing patrons, advisors
13, 17, 31, 100n, 130, 131, 137, 168, 180, 190, 247, 252, 260
listening and speaking to other artists
13–14, 22, 47
Assisi
43
titles of individual works
Church of San Francesco
68, 201–2, 249–52
frescoes, Upper Church of San Francesco
67n.7, 79–80, 201, 202, 203, 204, 207, 209, 210, 212, 214, 221, 222, 223, 224, 225, 226, 233, 235, 237, 238, 241, 244, 248, 249–52
astonishment, awe
30, 52, 165, 200, 216, 217, 225, 228, 230, 232–33, 235, 247
(
marveling; wonder
)
attitude(s) of listening
17, 21, 23, 24, 26, 29, 31, 33, 49, 57, 58, 99, 112, 118, 191, 199, 227, 258–59
auditory: distinctions; caritas; chastity; doubt; faith; hearing, inner; humility; obedience
attention
53, 58, 65, 69, 188–89, 227, 253
avidity, eagerness
8, 9, 17, 112
caritas (charity, love)
33, 97, 99, 112, 126–27, 131
chastity
27, 33, 120, 121, 137, 173
concentration
9, 69, 106, 253
devotion
45, 58, 227
distrust
14, 38n.3
envy
87, 88, 90, 129
faith
17, 38n.3, 162, 169, 172, 173, 187, 190, 191, 200, 230, 233, 247–48
humility
26, 33, 57, 62, 64, 258
importance of, relative to content retention
97n.6, 108
mindfulness
58
obedience
5, 15, 17, 26, 29, 38n.3, 53, 57, 64, 69–70, 97, 102, 106, 112, 117–18, 172, 211, 221, 222, 227
readiness
92, 106, 227
reverence
17, 59
silence
15, 58, 59, 69–70, 139, 150, 190
stillness
65, 69–70, 93, 94, 106–7, 110, 112, 150
utility
58
audience(s)
clerical
58, 59–60, 183, 186–88, 189, 190–91, 192, 228
communal
21–23, 49–50
disruptive
50
expectations regarding
19–20, 23, 49–50, 54, 55–58
like ignorant “sheep”
53
students
38, 42, 65
auditory
deafness; ear(s); hearing; listening; sound
conditioning
(
see “edification of the senses”; listening: cultivation of disciplined
)
distinctions
67, 69–70, 107–8, 110, 112, 118, 119, 211–12
inattention
1, 2, 18–19, 34, 50
underpinnings of artistic production
13–14
auditory engineering, some pictorial components of
naturalism; pictures
alignment
70, 119, 134
antitheses and contrasts
27, 69, 103, 108, 112, 129, 142–43, 159–60, 162, 165, 170, 172, 178, 209–10n.24
‘book-ending’ (symmetry)
157–58, 160, 162, 242
center-periphery
94, 123–24, 150
diptych- or triptych-like formats
37–38, 114, 127, 171, 207
group composition
153–54, 155, 182
internal framing
114, 153, 160, 242, 256
isolation
114, 182–83, 198
juxtaposition
69, 120, 122, 131, 162, 168, 176, 183
narrative sequence and simultaneity
99–100, 112, 127, 170, 207–8, 213
pairing
37, 69, 108, 110, 112, 153–54, 165, 167, 182, 207, 208, 248
scale (gamut)
82, 106, 112, 198, 212
scale (size)
106, 128, 162
authority
2, 12, 50, 110, 130, 134, 137, 143, 150, 172, 173, 184, 185, 188–89, 192, 197, 199, 200, 247, 252, 260
(
clergy; pictures
)
Bacchus
176, 178, 180, 181
baptism
54, 55, 128, 136, 182, 184, 191, 192, 198, 232n.95
(
Ephpheta
)
The Bathing of Christ (Nicola Pisano)
141, 142
Beijing, drum tower and bell tower in
29
bells
38, 41, 43, 53, 130, 193, 200, 255
Benedict XI
130
Benedict of Nursia
38
Benedict of Nursia, Saint (Giovanni or Nicola Pisano)
38, 40, 50, 65
Benedictus
172n.65
Benevento, frescoes in Church of Santa Sofia
160n, 171n
The Betrayal of Christ (Assisi)
225
The Betrayal of Christ (Giotto)
85, 87
blindness. see ear(s): modern invisibility; envy; Isaac: blindness; sight: limits
bride
114–16, 119–121, 123–24, 126–27, 260
caritas (charity, love)
96–99, 107, 116, 126–27, 128
(
attitude[s] of listening
)
Casauria, pulpit of abbey church
188n.122
catechesis
17, 54, 259
centaurs
243, 245
Charity (Giotto)
129
chastity
114, 120–21, 129, 137, 173, 174, 176, 181, 188, 189–91, 198
(
attitude[s] of listening: chastity; continence; and under Virgin Mary; Zechariah
)
Christ
12, 20, 21, 23, 26, 84, 96, 107, 132, 181n.93, 192, 220, 228, 231, 233, 234, 235
Eucharist; parable of the sower; and titles of individual works
body, in art
233–34
elevated, through art
139, 140, 142, 143, 146–49
embodiment of divine speech
56, 139, 140
enabler of inner hearing
57n.83, 58, 83, 85
listener
122
speaking for God
56, 132
taciturnity
44
urging listening
53, 59, 107
voice
56, 219, 227
in The Wedding Feast at Cana
96, 99, 100, 101, 103n.13, 107, 110, 112, 119, 121, 122, 123, 126, 127
church
alleged excesses in building and decoration
130, 249, 250
dedication and purification
193
doors
(
see thresholds
)
pollution
192
space
3, 10, 29, 30, 49, 50, 66, 70, 128, 129, 252
clergy
audience: clerical; church: pollution; sex
authority
50, 131, 134, 137, 138, 150, 184, 185, 187, 200, 247, 250
faith
137, 187–88, 189, 191, 231
moral unfitness
136–37, 186–87
opening worshipers’ ears
54–55, 57–60
(
catechism; Ephpheta
)
public perception of
186–87n.113, 188–89, 191
and pulpits
53, 132, 139, 143, 145, 149, 188
reform
136, 184, 186–92, 197
violence toward God
192
voice
10, 18, 45, 48, 56, 134, 137, 138, 149, 150, 172, 200, 207, 231, 250–51
concealment
20, 37, 56, 84, 107, 108, 120n.51, 180, 198, 235, 237, 241–43, 246, 248
(
deceit; Eucharist: concealment
)
consecration
181n.93, 193, 200–201, 228, 231, 232, 233, 234
(
spiritual purification
)
continence
137, 176, 182–83, 190
(
chastity
)
The Crucifixion (Giotto)
119n.49
The Crucifixion (Nicola Pisano)
142, 143, 170, 172n.65
curtains
67, 69, 70, 208, 211, 234, 236, 240, 241–42, 256
David
38, 60, 61, 62, 63, 90, 148, 156, 172n.65
David (Nicola Pisano)
38, 39
deafness
auditory inattention; impediments to inner hearing; Jewish perceptual impairment, in Christian ideology; Malchus
physiological
3, 6, 18n.55, 93, 94n.99, 96, 112
spiritual
27, 52, 53, 56, 57, 59n.94, 64, 93–94, 98, 112, 127n.76, 129, 136, 137, 162, 170, 173, 200, 225, 228, 231, 252
deceit
5, 39, 208, 216, 234, 235, 241, 242–43, 246, 247, 248
(
concealment; Eucharist: concealment; Isaac: figure of sensory deception; naturalism: deceit; naturalism: illusionism
)
The Deception of Isaac (Assisi)
26, 27, 32, 201, 202, 203, 205–8, 209, 210, 211, 212, 213, 214, 215–18, 220, 225, 227, 234, 235, 236, 237, 238, 239–40, 241, 242–43, 244, 245–48, 249, 250, 252, 260
disturbance
26, 44, 49, 69, 90, 126, 130, 137, 162, 157, 172, 215, 216, 218, 219–20, 229, 234, 235
doors. see thresholds
doubt
38n.3, 139, 150, 156, 158–59, 190, 210–11, 224n, 248
(
Zechariah: incredulity
)
ear(s)
Malchus; pictures: hearing and listening in
acted upon
54, 67, 83–87
aesthetic problem
73–74, 78
anatomic parts and physical qualities
71, 90, 92–94, 106, 108, 122, 124, 127n.77
of animals
72, 83, 85, 87, 90n.80, 92, 201n.3
in art historiography
72–84, 205n.7
and artistic achievement
67, 74–75, 78–79, 81n.57
artistic models of
74n.25
of asp
55, 56
attribute of Renaissance personifications
85n
blushing
72n.19
carving
154, 155, 198, 199
clues to artistic authorship
75–81, 94
conceptio per aurem
84, 127
in contemporary art
71
conventions in iconographic interpretation
83–84, 94
damaged
74
depicted from various angles
90–91
devil creeping into Eve’s
84
ear hole
93
erectness
91, 92, 127
exposure/visibility
106, 110, 114, 117, 212n.28, 225
expressive limits
78, 94
fingers inserted into
87, 121n.58, 198
(
Ephpheta
)
of Francis of Assisi
91
healing
54, 83, 96
“of the heart”
4, 50, 54n.68, 55, 57, 59, 60, 227
idioms
103
instrument of outer and inner hearing
8–9
malformed
74, 93–94, 112
of Marcus Aurelius
74, 122n.64
mental image of
92–94, 106
of Midas
83n.66
mnemonic device
92–94, 124
modern invisibility
70–74, 94
objects’ resemblance to
110, 117, 118–19
(
ear[s]: and vessel handles
)
openness
92, 106
L’orecchione di Agostino
74n.25
of Panotii
83
poorly executed
91n.82
receptacle of speech
92, 106
shape
76, 77, 79, 87–88, 91, 212
significance of having two
15
size
79, 80, 83, 86–88, 90, 91, 93
social trait
74
stillness
72, 78, 92, 94–95, 106, 110
as threshold
55, 94
tortuous form
93, 108, 124, 127
and vessel handles
75, 117, 119, 212
ecstasy
198, 216, 217n.50, 221, 225
“edification of the senses”
22–23, 24
Elizabeth
120, 154–55, 156, 162, 165, 167, 168, 169, 170, 171n, 172, 173, 174, 176, 178, 182–83, 189–90, 191, 198
Elizabeth in Prayer (Pisa baptistery)
159, 167, 169
emotion
25, 30, 72, 91, 215, 217
(
individual subject headings
)
The Entry into Jerusalem (Giotto)
126
envy
23, 87–88, 90, 97, 114, 116, 126, 129, 173
Envy (Giotto)
87–88, 89, 90, 91, 92, 129, 131
Ephpheta
54–55, 96, 128n.79, 136, 216, 259
Esau
208–209, 210, 211, 212, 213, 215, 216n.48, 217, 218, 220, 232, 240, 242
Eucharist
192, 200, 228, 232, 233, 235, 237, 248, 250, 251
consecration; Francis of Assisi: and Eucharist; Isaac: and eucharistic perception; listening: and divine presence
concealment
200, 228, 223–33, 234, 235, 243, 246, 247
in moral philosophy
247, 250–51
ocular communion
200, 231n.92
and pictorial art
233–34
Eve
34–38, 39, 43, 50, 51, 57, 62, 65, 84, 97, 127n.76, 198n, 207, 221, 232
Eve (Nicola Pisano, in Pisa)
165n
eye(s)
5, 12, 25, 26, 28, 32, 34, 61, 63, 69, 72, 78, 88, 101, 116, 150, 200, 209, 236–37, 238, 242, 246
(
Isaac: blindness; pictures: looking in; sight
)
Ezra
132
face
12, 72–73, 78, 91, 160, 199, 201, 215n.36, 219
faith
137, 139, 150, 155, 159, 164, 165, 167, 172, 190, 191, 198, 200, 224, 232, 238, 247, 248, 250
(
attitude[s] of listening: faith; clergy: faith; hearing: primary sense in matters of faith; hearing: source of faith
)
fame
13, 52, 85n, 225, 251
fear
15n.46, 43, 52, 156, 172, 191, 215–18, 224n.71
(
horror, and terror
)
Florence
46
titles of individual works
frescoes by Giotto (and assistants), Church of Santa Croce
15, 16, 26, 27, 66, 67, 68, 69, 70–71, 157
sculpture by Andrea Pisano, Baptistery of San Giovanni
157, 158
Fra Agostino
66–67, 69, 70, 94, 208, 225
Francis of Assisi
66–67, 68–70, 225, 249, 252
and Eucharist
228, 230, 231, 233, 234
and listening
227–29
voice
45
Franciscans
43, 66, 185, 227, 228, 230, 231, 239, 247, 249–50
garments
28, 84, 85n, 108, 110, 114, 129, 145, 153, 167n.55, 176, 180, 198, 199, 211, 234, 240, 241
Genzken, Isa
71
Giotto
2, 4, 12–13, 30–31, 32, 33, 67, 75n.31, 131
titles of individual works
and ancient art
90–91, 122n.64
in art historiography
67, 75n.31, 79–80, 81–83, 90, 98
attribution of Isaac frescoes to
205, 206
and Cimabue, in Dante’s Comedy
52, 251
fame, legendary status
12, 91
frescoes, Arena Chapel
(
see Padua
)
frescoes, Church of Santa Croce
(
see Florence
)
God
231
Holy Spirit
as artist
63, 233, 234, 243, 251
disobeyed
34, 35, 37, 62
voice
20–21, 37, 56–57, 215
word of
7–9, 17, 48, 53, 54, 55, 56, 59, 64, 65, 83, 92–94, 97, 107, 112, 120, 127, 128, 132, 136, 137, 140, 145, 183, 187, 189, 201, 227–28, 219, 248, 259
grace
7, 8, 9, 20, 54, 58, 59, 88, 122, 169, 185, 220, 234
(
Holy Spirit
)
hearing
attitude(s) of listening; audience; auditory; ear(s); “edification of the senses”; listening; “period ear”; pictures: hearing and listening in
ancient physiological theories
6, 7, 8, 30n.83
certification function
67, 69, 155
collaborative process
24–25, 28, 30–31
dependability
219
detraction
130–31
disruptive of perceived reality
218–20, 234
and emotional response
(
see attitude[s] of listening; individual subject headings
)
enabler of sight
219
habitual
21–22, 24
with heart and/or head
7, 8, 58, 59, 60
historical conditions
24, 31–32, 43–50, 230–31, 251, 252
historicization
24, 32
inner or spiritual
(
see hearing, inner
)
limits
21, 51
local conditions of
31–32, 129–30, 185–89, 192, 249–50, 251–52, 260
meaningful difficulty in
19, 21, 112
as object of knowledge, contemplation, practice
6–7, 24, 92–94
outweighed by other senses
200, 211, 219–20, 229–31
primary sense in matters of faith
5, 219, 229, 230, 260
restorative of sight
219
in rhetoric
45, 49–50
source of faith
17, 85, 155, 165, 219, 230, 247–48
surpassing sight in perceiving Christ
219
(
Eucharist
)
and travel
46–47
hearing, inner
7–9, 31, 54
attitudes of listening; ear(s); pictures: hearing and listening in; pictures: speech and other utterances in
activation
28–29, 58–59, 60, 92–94, 129, 192, 199, 258
(
Ephpheta
)
as chewing, rumination
93, 108, 112, 124, 227
concepts
8
divine empowerment
7, 8, 54, 57, 58, 139, 169, 185
(
grace; Holy Spirit
)
drawing much from brief speech
93
as drinking-in
92, 110, 112, 122
effects on hearer
8, 29–31, 54n.68, 218–20
ever-readiness for
92, 127–28
external supports
8, 9, 24, 26, 30–31
“fruitful”
19–20, 197
impediments
(
see impediments to inner hearing
)
internal sounding of pictorially evoked speech
28–29, 61, 63–64, 67, 100, 101–2, 115, 127, 128, 155, 165, 169–70, 190, 201, 234, 242, 247–48, 258
and practices for returning to God’s heard word
93, 128
prayer for
58, 169, 170, 185
and spiritual purification
187
and remembering
93
test of
52, 126, 232
worshipers’ responsibility for
9, 53, 136
Hearing (Jan Brueghel the Elder and Peter Paul Rubens)
255, 256, 258, 259
heart
7, 19, 55, 94, 112, 139, 178, 188
(
ear[s]: “of the heart”; hearing: with heart and/or head; sight, inner: “eyes of the heart”
)
Heaven
53, 61, 62, 63, 66, 67, 123, 126, 130, 215
Hell
51, 52, 72, 126, 127n.76
Hippolytus
174, 176, 183
Holy Spirit
7, 54, 57, 58, 65, 139, 149, 151, 154, 155, 156, 159, 164, 165, 169, 172, 221, 225, 235, 243
horror, and terror
215, 217
(
fear
)
humility
57, 62, 63, 64, 155, 159, 164, 165, 182, 191, 216, 260
(
attitude[s] of listening: humility; personifications: humility
)
idolatry
182, 231
impediments to inner hearing
2, 9, 23, 24, 27, 31, 49, 53, 56, 57, 59, 94, 207, 228, 231, 248, 260
deafness: spiritual; doubt; envy; inebriation; pride
intellectual
162, 172, 190, 191, 231, 247, 248
sensory
28, 229–30, 246, 247, 248
sexual
(
see lust; sex; unchastity
)
social
130, 252
sonic
34, 50, 51–52, 53, 251
unpreparedness
227–28
visual
28, 51, 130, 246, 247, 251–52, 260
incense
61, 153, 156, 167
incredulity see doubt
inebriation
110, 137, 176, 178, 180, 181, 182, 198
inscriptions
1, 14–15, 28, 35n, 37n, 38, 40, 47, 48, 174, 188n.22, 196–97, 251
intentiones subtiles
245–46
Isaac
208, 212–13, 215, 213n.31, 222, 223, 225, 227, 240, 260
blindness
206, 208, 221, 235, 241, 246
and eucharistic perception
229–30, 232–33, 246, 247
figure of sensory deception
219, 229–31, 242, 247
hearing
202–3, 211, 212, 215, 219, 220, 227, 229–30, 232, 235
spiritually transitional
202, 221
symbolic associations
221
“trembling”
213, 215–20, 235, 229
Isaac Master, so-called
205
Jacob
148, 206, 208, 210, 211, 213, 216, 217, 218, 220, 221, 225, 227, 229, 234, 235, 240, 241, 242, 246, 247
Jacopo del Casentino
79
Jesus. see Christ
Jewish perceptual impairment, in Christian ideology
20, 83, 170, 190, 221
(
Malchus
)
Joachim
87, 97, 120n.55, 121
John the Baptist
135, 154, 156, 167, 172
John the Baptist (Nicola Pisano)
167n.56
John the Evangelist
119, 121, 139
Joseph (husband of Virgin Mary)
121, 151, 153, 154, 165, 172n.65, 173
Joseph of Egypt
176, 207
justice
15n.46, 49, 52, 62, 64, 143
kinship, spiritual
154, 155, 182, 187, 191, 197, 198
laments
43, 44, 49, 51, 52, 82, 126, 63n.113
The Lamentation (Giotto)
81, 82, 112, 123, 125
The Last Judgment (Giotto)
86–87, 120n.54, 127n.76, 252
The Last Judgment (Nicola Pisano)
142, 143, 144, 165n.50, 172n.65, 197, 260
listening
32
attitudes of listening; audience; auditory; ear(s); hearing; hearing, inner; pictures: hearing and listening in
and activity
106–8, 112
and commerce
14, 59
cultivation of disciplined
14–15, 32, 92–95, 98–99, 137, 189–92, 247, 258–59
cultural constructed-ness
22–23, 31
and divine presence
200, 228, 231, 232, 233, 243, 246
(
Eucharist
)
effects on listener
8, 31, 64, 69, 227
(
individual subject headings
)
as instrument of social control
50
prophetic
162
and receptivity
2–3, 49–50, 87, 95, 98, 119, 120, 121, 128, 150, 162, 189n.127, 217, 251
“regimes of”
18n, 24
and standing
63, 65, 69, 70, 94–95, 106, 150
ultimate consequences
34
urged by inscribed images
14–15
vocational
14
liturgy
10, 45, 57, 136, 151n.33, 153, 188, 200
(
Eucharist; Mass; Nunc dimittis; speech, in religious contexts
)
looking
eye(s); pictures: looking in; senses, bodily; sight
blindness in
(
see sight: limits
)
close
60–62, 63, 64, 241
(
intentiones subtiles
)
at pictures, literary accounts of
12, 13, 60–64
prolonged
60–61, 64, 112, 153, 245–46, 248, 249, 251, 252
self-awareness in
241, 245–46, 248
spiritual validity
260
The Lord’s Reprimand (Nicola Pisano)
26–27, 35–36, 37, 38, 65
love
.
see caritas
lust
129, 178, 181, 182, 186n.113, 189
(
seduction; sex; unchastity; Venus
)
Malchus
83, 85, 127n.76, 219, 225
Martha
93, 106–7, 108n.29, 228n.82
marveling
35, 60, 232, 258
(
astonishment, awe; wonder
)
Mary Magdalen
93, 106–7, 108, 119n.49, 228n.82
Mass
136, 189n.128, 200, 220, 228, 231–32, 233, 235, 249–50
Maurus
38, 40, 50, 65
The Meeting at the Golden Gate (Giotto)
87, 88, 90, 121n.58
Miki, Tomio
71
The Miracle at Greccio (Assisi)
225
Moissac, monastery sculpture in
79
“monumental”
29–31
Moses
38, 122, 132, 151, 156n.41
Moses Draws Water from the Rock (Giotto)
122, 125
Muses
255
music
38, 43, 51, 62, 83n.66, 126, 176, 201n.3, 253, 260
(
singing
)
Music (Nicola Pisano)
38, 41
musical instruments
38, 39, 41, 51, 58, 81, 127n.76, 149, 253, 255
musicians
38, 39, 43, 44, 176, 253
The Naming of the Baptist (Giotto)
157
The Naming of the Baptist (Giovanni Pisano)
157
The Nativity of Christ (Nicola Pisano)
140, 141, 160
naturalism
3, 12, 13, 18, 24, 25, 26, 28, 32, 61, 62, 64, 67, 79, 97–98, 122, 128, 131, 140, 145, 197, 199, 201, 202, 213, 236, 240, 246, 249, 258
and ancient art
89–90, 131, 176, 197, 199, 240
in Dante’s Comedy (Purg. 10)
60, 61, 62, 64, 258
and deceit
12, 13, 236, 243, 246n.136
ears
67, 70, 79, 199
emulation of materials
118, 122, 131, 240, 241
engagement of viewer
12, 13, 28–29, 32, 60, 62, 64, 70, 134, 258, 260
illusionism
70, 128, 240–41, 246, 256
psychological aspects
205, 213
spatial aspects
70, 128, 205, 236, 246
tempered
80, 180, 197–98
Neo-Attic krater (Pisa)
173, 175, 176, 178, 182, 197
Nicholas IV
202, 249
Noah
207, 221, 227, 237
Noah Listens to God, The Building of the Ark (Assisi)
223
Nunc dimittis
153, 164–65, 191
nurse(s)
174, 175, 176, 178, 198, 241, 245
(
servant[s];vetula
)
obedience
5, 13–14, 15, 17, 38n.3, 53, 56, 64, 69, 95, 102, 106, 112, 117, 157, 172, 211
(
attitude[s] of listening
)
Obedience (Giotto)
15, 16, 66, 69–70
optics
134, 207, 236, 237–38, 239, 243n.131, 246, 247
(
intentiones subtiles; pictures: and optics; sight
)
oratory
39, 43, 48, 49–50, 183, 185
(
rhetoric; speech, in religious contexts: preaching
)
Orpheus
255
Orvieto
47
façade sculptures, cathedral
1, 2
tomb by Arnolfo di Cambio, Church of San Domenico
240
Our Lady of Mercy (image type)
167n.55
Padua
46, 130, 131
titles of individual works
Arena (Scrovegni) Chapel
86, 97, 128, 129, 130
frescoes by Giotto (and assistants), Arena Chapel
4, 80, 82, 85, 86, 87, 88, 89, 90–91, 97, 98, 99–100, 101, 102, 103, 104, 105, 106–8, 109, 110, 111, 112, 113, 114, 115, 116, 117, 118, 119–22, 123, 124, 125, 126–29, 130–31, 201, 206, 239, 246n.136, 252
parable of the sower
19–20, 23, 120n.53, 227–28, 255
Parma, frescoes in baptistery
171n
Paul
17, 20, 78–79, 120, 126, 198
Pentecost
58, 65, 97, 126, 215–16
Pentecost (Assisi)
225
Pentecost (Giotto and workshop)
65n.2
“period ear”
21–22, 24
Persephone
181–82
personifications
252
ear(s): attribute of Renaissance personifications
charity
33, 129
chastity
33
envy
87–88, 89, 90, 91, 129
faith
17
humility
33n, 62, 63, 64, 251
impiety
85
music
38, 41
obedience
15, 16, 66, 69–70
rhetoric
38, 42, 65, 69
Perugia
38, 44, 47, 48
titles of individual works
Fontana Maggiore
35, 38, 47
fountain sculptures by Nicola and Giovanni Pisano
35, 36, 37, 38, 39, 40, 41, 42, 47, 48
Peter
81n.57, 83, 219, 225
Phaedra
174, 176, 178, 180
physiognomy
45, 91–92
pictures
2–3, 6, 10, 17, 25, 31, 32
artistic styles; auditory engineering, some pictorial components of; impediments to inner hearing: visual; listening; “monumental”; naturalism; skill(s); “vision, age of”; and titles of individual works
authority of
12, 138, 143–44, 197–99, 251–52, 260
blessing of
193
catching and holding attention
13, 60, 128, 145
(
looking: close; looking: prolonged
)
in Dante’s Comedy
34, 60–64, 67, 126, 162, 251, 258
demands on viewer
13, 128, 172, 249, 251, 252, 258–59
hearing and listening in
4, 26, 37–38, 62, 64, 65–67, 69–71, 78, 81, 85–86, 88, 90, 95, 98, 101–3, 106–8, 110, 112, 114, 115, 116, 119, 122, 123–124, 126–27, 131, 137, 153, 155, 162, 165, 176, 183, 201, 211–12, 221, 222, 223, 225, 253, 255, 256, 260
looking in
37, 67, 69, 70, 81, 100–101, 114, 142, 153, 165, 205–6, 208–9
materiality
60, 90
multisensory
22, 27, 61, 98, 100–103, 153, 167, 199
and optics
12n.38, 134, 207, 236, 237, 239, 246, 247
(
intentiones subtiles; optics
)
permanence
3, 30, 60, 191, 220
and religious instruction
10, 31
reminders of sacred stories
31, 60, 61
and scholarly listening for the past
3–4
speech and other utterances evoked by
1, 4, 13, 28–29, 35, 66–67, 81, 99, 100, 102–3, 112, 115, 123, 127, 143, 147–49, 150, 155, 162, 162, 164, 165, 169, 170, 174, 176, 183, 199, 221, 222, 223, 225, 234, 247–48, 255, 256
(
hearing, inner: and internal sounding; “visible speech”
)
spiritualized by pictorial means
180, 197–98, 260
spiritual validity
32, 260
‘visual’ mediums and arts represented in
97, 118, 122, 127–28, 150, 225, 240, 243, 245, 249, 255–56
and worship
5, 10, 31, 238, 249–50, 251
Pisa
43, 47, 136, 167, 172, 180, 192
titles of individual works
antiquities
173–74
(
Neo-Attic krater; Sarcophagus of Hippolytus and Phaedra
)
baptistery portal sculpture
159, 169, 170
baptistery pulpit by Nicola Pisano
26, 85, 133, 134, 136–39, 140, 141, 142, 143, 144, 151, 152, 153, 160, 161, 163, 164, 166, 184, 191, 193, 196, 197, 198, 201, 239, 251
Baptistery of San Giovanni
135, 136, 137, 138, 157, 167, 169, 174, 184, 189, 191, 250
Candelaria (Candlemas)
181–82, 189
cathedral doors by Bonanno of Pisa
145, 146
cathedral, preaching in
58, 169, 181, 183, 186, 189, 191
Church of Santa Maria del Carmine
253
former cathedral pulpit by Guglielmo
145, 147
Pisa Altarpiece (Masaccio)
253, 254, 256
Pisano, Nicola
133, 137, 251
titles of individual works
in art historiography
75n.31, 134, 178–81, 193–97
immigration and citizenship
134, 194–97
name(s) in inscriptions and notarial documents
194–97, 251
and notions of rebirth
193–97
para-baptismal power
197, 198
reuses of ancient styles and motifs
131, 134, 136, 174, 176, 178–81, 184–85, 193, 197–98, 199, 260
sculptures, baptistery pulpit
(
see Pisa
)
sculptures, Fontana Maggiore
(
see Perugia
)
Pistoia, sculptures on Church of Sant’Andrea
155–56n.39, 167, 171n
Pluto
181
Polykleitos
61, 178
portal(s). see thresholds
Potiphar’s wife
176
The Presentation of Christ in the Temple (Bonanno of Pisa)
145n.26, 153
The Presentation of Christ in the Temple (Guglielmo)
145n.26, 149, 153
The Presentation of Christ in the Temple (Nicola Pisano)
26, 27, 32, 140, 142, 143, 150, 151, 152, 153–55, 157–58, 160, 161, 162, 163, 164, 165, 166, 168–72, 173, 174, 176, 178, 180, 182–83, 186, 190–91, 193, 197–98, 207, 260
The Presentation of the Virgin (Giotto)
90
pride
23, 56, 63, 64, 97
“principle of disjunction”
180–81
professors
38, 42, 48, 65
psychoacoustics
25
pulpit(s)
48–49, 53, 132, 136n.13, 201
clergy; Pisa
acoustic function
132, 138
authorizing function
138–39, 143, 145, 147
biblical prototypes
132
and faith
139
lecterns
139, 150
mountain-like
132, 183–84
protection
139, 143, 145
Purgatory
51, 52, 60, 63, 64, 126, 258
The Raising of Lazarus (Giotto)
108n.29, 116–17n.44, 123, 124, 125, 126, 127n.76
Rebekah
208, 209n.24, 211, 213, 220–21, 234, 242
Reims, sculpture on cathedral of
78–79
rhetoric
30, 33, 38, 39, 43, 44, 45, 48, 49–50, 197
Rhetoric (Nicola Pisano)
38, 42, 65, 69
Rome
46, 239, 249
ciborium by Arnolfo di Cambio, Church of San Paolo fuori le mura
240
mosaics by Pietro Cavallini, Church of Santa Maria in Trastevere
212n.28, 240n.121
pictorial decoration, Church of Santa Maria Maggiore
81n.57, 204
The Sacrifice of Isaac (Assisi)
207n.15, 222
Saint Francis before the Crucifix of San Damiano (Assisi)
222, 225, 226
Saint Francis Preaches before Honorius III (Assisi)
225
Sarah
156n.41, 224
Sarcophagus of Hippolytus and Phaedra (Pisa)
173, 174, 176, 177, 178, 179, 180, 182, 183, 197
Saul (king)
38, 90
Scrovegni, Enrico
97, 99, 128–31
seduction
43, 65, 174, 176, 178
(
Eve; lust; Phaedra; Potiphar’s wife; sex) unchastity; vetula
)
senses, bodily
“edification of the senses”; hearing; listening; sight
arousal of, through looking
61
collaboration among
24–25
conflation
61
contradiction among
61, 200, 211, 219–20
(
Isaac: figure of sensory deception
)
cultural constructed-ness
22–23, 31
difficulty of knowing
6
historicization
24
loss of
(
see ecstasy; horror, and terror
)
medieval categorization of
5
multisensory integration
25
smell
61, 101, 153, 156, 167, 211, 220, 229, 230
taste
101, 110, 120, 211, 220, 227, 229, 230
touch
101, 153, 155, 160, 162, 165, 190, 210, 211, 219, 220, 229, 230, 234
and truth
219, 220, 229–30, 238, 246, 247, 252
servants
99, 100–114, 117, 122, 126–27, 128, 129
(
nurse[s]
)
sex
186, 192
(
lust; seduction; unchastity; Venus
)
sight
32
eye(s); impediments to inner hearing; Isaac: blindness; looking; optics; senses; sight, inner
affecting other senses
61
ambivalence toward
201, 242
certifying function
5, 238, 245–46
cultural ascendance
10–13, 18, 32
(
“vision, age of”
)
and devotion
5, 10, 11, 31, 231n.92, 249
fallibility
5, 61, 229, 230, 238, 246
generative of socially consequential talk
130–31
humbled
32
impeded
106, 211, 241, 242, 245
invited
241, 242–43
limits
5, 32, 232, 235, 237, 243, 247, 248
overriding hearing
25, 231, 247, 248
pictorial appeals to
18, 35, 60–61, 134, 249
and understanding
5, 238
sight, inner
inner or spiritual vision
66, 67, 165, 246n.136
“eyes of the heart”
221, 223
Simeon
140, 143, 150, 151, 153–154, 155, 164, 165, 168, 173, 186, 189, 191, 208
singing
1, 26, 38, 43, 45, 53, 59n.94, 61, 90, 132, 188n.122, 255, 258
(
music; voice[s], human
)
sins and vices
34, 37n.2, 52, 54, 56, 64, 186–87n.113, 193
(
individual subject headings; personifications
)
skepticism
.
see doubt
skill
artistic
12, 13, 74, 78, 197, 134, 205, 236, 243, 246, 258
auditory
19n.56, 21–22, 24
(
attitude[s] of listening; listening: cultivation of disciplined
)
in deceit
232–33, 234–35, 236, 243
divine
61, 62, 63, 232–33, 234–35, 236, 243
in speech
116, 185
(
oratory; rhetoric
)
social class
24, 44, 46, 48, 49, 114, 119, 129, 174, 185
Solomon
132
sound(s)
impediments to inner hearing: sonic; “monumental”; music; pictures: speech and other utterances evoked by; singing; sonic; speech; voice(s), human
as affect
30
art historical interest in
4
of devotion
43
as distraction
18n, 53
gap between acoustic quality and spiritual effect
30, 251
of languages
43, 44
in late medieval writings
43, 51–52, 126
of speech (as distinct from words)
9, 63, 126
and spiritual transition
66–67, 70, 116, 125–27, 137, 165, 170, 183
(
Isaac: spiritually transitional; Zechariah: spiritually transitional
)
transience of
3, 60, 64, 93, 253
of urban life
43, 48, 59
“soundscape”
18n.55, 19, 21, 24, 25, 29
sound studies
3
speech
pictures: speech and other utterances in; “visible speech”; voice(s), human
acoustic qualities
(
see voice[s], human
)
associated with social class
44, 46, 48, 49
civic
(
see speech, in civic contexts
)
codes of conduct
44
dialects
43, 51
dinner table
44
“fruitful”
20, 127n.74
“horizontal” versus “vertical”
48, 50
immigrants’
46–47
impeded
43, 56
(
voice[s], human: aphonia; Zechariah: mute
)
knocking on ear’s ‘door’
55
in late medieval writings
43, 46
“new speech” in thirteenth century
48–49, 185
“the power of”
30
preaching outside the Church
49, 134, 185
religious
(
see speech, in religious contexts
)
repression of
49
styles
51–52, 53
vernacular
43, 48
speech, in civic contexts
moderation
43
oratory
48
political
44, 48, 49, 50
regulation
43–44, 49
and societal cohesion
44
speech, in religious contexts
clergy; God: word of; Virgin Mary: speech; voice(s), human
blessing
193
coming audibly from material image
225
consecration
193, 200
divinely enabled
58, 169, 172, 185
(
grace; Holy Spirit
)
gospel reading
45, 132, 136, 137, 139, 149, 150, 188
moderation
9, 132, 220
and moral status of speakers
188–89
prayer for
58, 169, 170, 185
preaching
23, 43, 45–46, 48, 53, 54, 55, 57–60, 92, 136, 149, 169, 170, 183, 185, 187, 189n.127, 229–30, 233, 237, 241, 259
prophetic
143, 153, 155, 156, 164–65, 169n.59, 172
regained
(
see voice[s], human: regained
)
sinful
49n.41, 178
(
envy; lust
)
spiritual hearing
.
see hearing, inner
spiritual purification
63, 99, 151, 181n.93, 182, 186, 187, 188, 189, 193, 197, 198
spiritual reproduction
120–21, 127
spiritual transition
.
see Isaac; sound; Zechariah
storytelling, mythical auditory rationale for
34
students
38, 42, 46, 59n.94, 65
Stuttgart Psalter
4
sumptuary laws
44
surprise
211–12
The Temptation (Assisi)
222
The Temptation (Nicola Pisano)
26–27, 35, 36, 37, 57, 65
terror
.
see horror, and terror
thresholds
10, 51, 65, 122, 126, 191, 246n.136
ear(s)
church doors, portals
55, 94
Tomb of Giovanni da Legnagno (Jacobello and Pierpaolo dalle Masegne)
65n.1
trade
14, 46, 129
Trajan, Emperor
60, 61, 62, 63, 64
truth(s)
219, 220, 237–38, 246–48, 252
unchastity
120
(
lust
)
unfaith
.
see doubt
universities
6, 19, 46, 49, 65
unsteadiness
106, 157, 170, 176, 212, 220
Utrecht Psalter
4
Venice
47, 167n.55, 170, 253
Venus
181, 192
vetula
178
Virgin Mary
ear(s): conceptio per aurem; and titles of individual works
The Annunciation to the
28, 33, 60, 61, 62, 63, 64, 65, 84, 126, 149, 155, 159, 225, 255, 256
caritas
97, 116, 119, 127
chastity
84, 121, 173, 178, 180, 182, 189
and Elizabeth
154–55, 162, 165
and Eve
62, 165n
faith
155, 158–60, 162, 169
humility
62, 182
listener
62, 65, 84
prayer to, for speech and inner hearing
169, 170, 191
in The Presentation of Christ in the Temple
151, 153, 154, 165, 168, 173, 181n.93, 182
speech
116, 127, 218
taciturnity
44, 116
The Visitation
154–55, 165, 167, 169
in The Wedding Feast at Cana
99, 100, 112, 114, 127
and Zechariah
(
see Zechariah
)
Visconti, Federico
136, 137, 183–91, 192, 197
(
Pisa: cathedral, preaching in
)
“visible speech” (visibile parlare)
61–64, 67, 126, 153, 159, 258
“vision, age of”
10–11, 28, 32, 130, 134, 207, 237
Eucharist: ocular communion; pictures: authority of; pictures: and optics sight
cultural manifestations
11, 237
late medieval worship
10, 12, 200
medieval study of vision
(
see optics
)
pictorial art as evidence of
11–12, 201
The Visions of Fra Agostino and the Bishop of Assisi (Assisi)
67n.7, 225
The Visions of Fra Agostino and the Bishop of Assisi (Giotto)
26, 27, 66, 67, 68, 69,70–71, 79, 83, 94–95, 131, 199
The Visitation (Bonanno of Pisa)
145n.26, 167, 168
The Visitation (Giotto)
90, 120n.55
The Visitation (Guglielmo)
145n.26, 147, 167
The Visitation (Nicola Pisano, in Siena)
154n.36
Viterbo
.
see optics
voice(s), human
artists; clergy
acoustic amplification
132, 138
acoustic qualities
9, 30, 45, 217, 251
aphonia
66, 157, 162
(
Zechariah: mute
)
children’s
43, 48, 51
competing for attention
34
disembodied
218
disruptive
44, 50, 66–67, 94, 165n.51, 218
distracting from meaning
9, 53
empty, morally
188n.122
enchanting
55
and fear
(
see fear
)
in late medieval writings
43, 51–52
modulation
43
perceived excesses
43
in physiognomic texts
45
of preacher
43, 58
regained
66–67, 69, 70, 157, 165, 172, 191, 192
restraint
9, 48, 132
in rhetoric
45
of teacher
7, 20
uncanny
218
in urban life
43, 48
women’s
49, 50, 51
water
38, 48, 51, 96, 99, 102, 106, 110, 122, 123, 183, 188, 193, 215, 221
wealth
128–30
The Wedding Feast at Cana (Duccio)
121
The Wedding Feast at Cana (Giotto)
26, 27, 31–32, 90, 97, 98, 99–100, 101, 102, 103, 104, 105, 106–8, 109, 110, 111, 112, 113, 114, 115, 116, 117, 118, 119–22, 123, 124, 125, 126–29, 131, 137, 154, 199, 207, 211–12, 240n.123, 240n.124, 252, 260
The Wedding Feast at Cana (Veronese)
253, 255, 257
wind
116, 126, 215
wine
96, 100, 106, 110, 116, 122, 128, 176, 181, 212, 228
witnessing
12, 60, 62, 67, 70, 107, 110, 112, 116, 119–20, 153, 155, 156, 165, 182
womb
127, 154, 155, 169, 224
wonder
62, 66–67, 69, 106, 165, 190, 216, 233, 243
(
astonishment, awe; marveling
)
Zechariah
155, 167, 174, 176, 178, 182, 188, 191, 200, 212, 260
titles of individual works
The Annunciation to
120n.55, 156, 170, 224n
chastity
189–90, 191
and Elizabeth
155, 168, 169, 170, 172, 173
faith
172, 182, 191
incredulity
156, 159, 170, 182
(
doubt
)
model of virtue
172, 173
mute
157, 162, 165, 170, 172, 190, 191
Mute before the People
157, 160n, 170, 171–72n.64
The Naming of the Baptist
157, 172n.64
in pictorial tradition
155n.39, 157, 160n, 167–68, 171–72n.64
powerful speaker
156, 162, 172, 191
and prophecy
155, 156
return home
170–72, 173
spiritually transitional
170, 172, 191
and Virgin Mary
156n.40, 159–60, 162, 168
and The Visitation
167, 172n.64
Zechariah and Elizabeth (Venice baptistery)
170, 171
Zechariah Mute before the People (Andrea Pisano)
157, 158
Zechariah Mute before the People (Venice baptistery)
171