Publications by Susannah Fisher
Arte medievale, Jan 1, 2007
La Formule au Moyen Âge , 2012
Rather than revealing the lack of originality of medieval artists, I propose that the formulas us... more Rather than revealing the lack of originality of medieval artists, I propose that the formulas used on the treasury bindings of liturgical manuscripts facilitated the creation of these works and influenced medieval reception of the Word of God. First, I examine how the conditions of production in Late Antiquity, in which artists often used formulas, established a tradition for the iconography of bindings. The motifs of these bindings were often more concerned with the environment outside the liturgical manuscript than the text inside. Inspired by scholarship about orality and oral cultures, which builds upon "Oral-Formulaic Theory", I explore how the visual motifs, familiar and often repeated, functioned similarly to the spoken formulas of the liturgy. Finally, I suggest that the use of these bindings in the liturgy as well as the oral nature of the society of the Early Middle Ages helped to crystallize the understanding of the Word of God as an object.
Dissertation by Susannah Fisher
Ornately bound gospel books served as the centerpieces of liturgical and imperial ceremonies thro... more Ornately bound gospel books served as the centerpieces of liturgical and imperial ceremonies throughout early eleventh-century Germany. This project is the first examination of Ottonian treasury bindings as a discrete type and explores the ways in which these covers negotiated the complex relationships between viewers and the Word of God. A cross-disciplinary approach that draws on reception theory, aesthetics, history, liturgical studies, cognitive psychology, and neuroscience is used
to provide a new model for working with liturgical objects once dismissed as primarily decorative.
Chapter 1 introduces the six case studies of the project: the Codex Aureus of Echternach (Nuremberg, Germanisches Nationalmuseum); the Reichenau Gospels (Munich, Clm 4454); the Pericopes of Henry II (Munich, Clm 4452); the Uta Codex (Munich, Clm 13601); the Theophanu Gospels (Essen, Münsterschatz); and the Aachen Covers (Domschatz). The second chapter explores the traditions of early medieval cover design, which Ottonian creators copied and adapted. I propose that the patrons and artists of the treasury bindings utilized visual formulae in order to efficiently communicate with audiences. Chapter 3 begins with a reconstruction of the Easter vigil of Bamberg Cathedral, and then examines the other ceremonies in
which treasury bindings were used to establish the original viewing contexts of the
ii
covers. Further situating the covers, the chapter ends with an exploration of the role of luxury bindings in the collections of religious institutions and elite patrons.
The final chapter explores the Ottonians’ relationship to the written word, and offers an innovative analysis of how treasury bindings captured viewer attention and functioned in a performative context. To highlight how precious materials shaped viewer reception, the chapter reconciles a variety of medieval statements about the function and meaning of such materials with the findings of modern neuroscientists and cognitive psychologists. I demonstrate that Ottonian artists exploited innate and learned responses to different visual elements, such as reflective materials, centralized compositions, and the human face, in order to attract viewer attention. These visually captivating covers then reflected and amplified the spoken words of the liturgy and
provided visual exegesis about the contained scripture.
Talks by Susannah Fisher
Studies of Ottonian manuscript illumination invariably mention the timeless quality of the Christ... more Studies of Ottonian manuscript illumination invariably mention the timeless quality of the Christological narrative cycles. Standing in fields emptied of space, silhouetted against gold grounds, figures seem arrested in a moment in time as they gesture across the page. This paper argues that these frozen pantomimes paradoxically free Ottonian paintings from the deadening fixity of the past, both the biblical past and the past occasion of artistic production. The emphatic gestures, visual signs of the spoken word, compel the reader to give voice to these silent speeches. Time is collapsed, as the visually staged past is reanimated through the spoken performance of the reader in the present. Inhabiting the predominately oral world of the Ottonian Germany, viewers of these manuscripts were keenly aware of the fleeting nature of the spoken word. The impermanence of their own speech gave special resonance to those speeches captured on the manuscript page.
Medieval inscriptions on treasury bindings, entries in inventories, and descriptions of liturgica... more Medieval inscriptions on treasury bindings, entries in inventories, and descriptions of liturgical art emphasized the material splendor of these works, often employing descriptors such as “glittering,” “shining,” and “glowing.” I propose that the creators of Ottonian liturgical manuscript covers intuitively harnessed innate responses to visual stimuli to capture viewers’ attention and communicate medieval interpretations of the nature of scripture. Drawing on theories of visual perception proposed by cognitive psychologists and neuroscientists, it is possible to see how specific elements of the covers’ appearance—the reflected light and colorful materials; the three-dimensional representations of holy figures; and the emphasis of the center—engaged viewers. The power of these designs to elicit viewer response is evidenced through their widespread use across Western Europe before, during, and after the Ottonian period. The efficacy of the covers is also revealed through an examination of the written responses of theologians, which justify the use of these materials and images even when they were directly at odds with Church teachings. It follows that if precious materials and sculpted figures were not extremely effective and highly valued, there would be no motivation to defend them in order to safeguard their continued use. Thus, by utilizing the evidence provided by modern scientific theories and early medieval writings, we can begin to appreciate how ornate covers mediated between scripture and viewers.
Physically bound to the written word, Ottonian liturgical manuscript covers had a different relat... more Physically bound to the written word, Ottonian liturgical manuscript covers had a different relationship to the biblical text than contemporary manuscript illustration. This paper proposes that the iconography of the treasury bindings, in contrast to the illuminations, shared a greater affinity to the spoken words of the mass, while nevertheless speaking to the nature of the contained text. I use the early eleventh-century Easter liturgy of Bamberg Cathedral as a lens through which to view the ways treasury bindings mediated between worshippers and the written word during the performance of the mass. Bamberg serves as an ideal site, because from here are preserved not only a remarkable nine treasury bindings from the Ottonian period, but also a number of sacramentaries, pontificals, and graduals that enable a reconstruction of the services during the Easter Triduum. From archaeological and written sources it is possible to envision both the performative space of Bamberg cathedral and the actors and audiences who participated in these rituals. A close analysis of the covers viewed in tandem with the prayers and lections of the services reveals that these treasury bindings did not merely illustrate either the spoken or written words, but rather reflected and amplified the aural experience of the Liturgy of the Word for viewers from across the empire.
Ottonian treasury bindings served as mediators between worshippers and the Word of God. A focuse... more Ottonian treasury bindings served as mediators between worshippers and the Word of God. A focused study of these covers, largely ignored in previous scholarship, is essential for our understanding of the function and reception of medieval luxury manuscripts. This dissertation argues that the covers offer unparalleled insight into early medieval aesthetics, Ottonian conceptions of the Word, as well as viewer response to ornamentation and representations of the human figure.
This study explores not only the covers’ relationship to the contained manuscripts, but also how their imagery intensified the words spoken during the liturgy. I demonstrate that the covers also served the needs of elite patrons, who, through their images and inscriptions on the bindings, inserted themselves as additional mediators between believers and scripture. Examining Ottonian collecting practices and spoliation, I explore how collectors in turn utilized these objects to shape and preserve institutional memory. Finally, I propose that the covers made the abstract Word a tangible presence for viewers and that cognitive science can help explain their effectiveness. I turn to medieval sources—from the covers’ inscriptions to exegetical literature that use precious materials metaphorically— to reveal how period viewers rationalized their unconscious attraction to such objects.
From the tenth to the twelfth century, ivory plaques fashioned in Constantinople made their way i... more From the tenth to the twelfth century, ivory plaques fashioned in Constantinople made their way into the hands of patrons in the West. From southern Italy and France to Spain and Germany, these ivories were affixed to the covers of deluxe liturgical manuscripts and given sumptuous new settings of gold and precious gems. Despite their importance during the period, these treasure bindings have received little scholarly attention. In these rare discussions, the reuse of Byzantine ivories for the liturgical manuscript covers has been interpreted primarily as a visual statement made by the patron (usually German and associated with, if not part of, the ruling elite) about his status and/or association with the Byzantine court. However, the widespread use of such ivories across Western Europe by royal, ecclesiastical, and monastic patrons indicates that this interpretation only represents a piece of a larger trend.
This paper examines a sample of treasure bindings with Byzantine ivories made for a range of patrons in order to expand upon our understanding of this practice of reuse in the ornamentation of sacred books. By comparing the covers produced for a variety of contexts, it becomes apparent that the patron—whether an abbot in Naples or queen in Spain—had certain expectations of what subject matter was deemed appropriate and how such treasure bindings were to appear. Working within these constraints and with ‘ready-made’ ivories, artisans managed to create covers that addressed the individual needs of the patron. This comparative study, unlike previous examinations limited to one cover or one region, offers a more comprehensive view of patrons’ expectations regarding the reuse of these ivories and the artists’ resulting creations
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Publications by Susannah Fisher
Dissertation by Susannah Fisher
to provide a new model for working with liturgical objects once dismissed as primarily decorative.
Chapter 1 introduces the six case studies of the project: the Codex Aureus of Echternach (Nuremberg, Germanisches Nationalmuseum); the Reichenau Gospels (Munich, Clm 4454); the Pericopes of Henry II (Munich, Clm 4452); the Uta Codex (Munich, Clm 13601); the Theophanu Gospels (Essen, Münsterschatz); and the Aachen Covers (Domschatz). The second chapter explores the traditions of early medieval cover design, which Ottonian creators copied and adapted. I propose that the patrons and artists of the treasury bindings utilized visual formulae in order to efficiently communicate with audiences. Chapter 3 begins with a reconstruction of the Easter vigil of Bamberg Cathedral, and then examines the other ceremonies in
which treasury bindings were used to establish the original viewing contexts of the
ii
covers. Further situating the covers, the chapter ends with an exploration of the role of luxury bindings in the collections of religious institutions and elite patrons.
The final chapter explores the Ottonians’ relationship to the written word, and offers an innovative analysis of how treasury bindings captured viewer attention and functioned in a performative context. To highlight how precious materials shaped viewer reception, the chapter reconciles a variety of medieval statements about the function and meaning of such materials with the findings of modern neuroscientists and cognitive psychologists. I demonstrate that Ottonian artists exploited innate and learned responses to different visual elements, such as reflective materials, centralized compositions, and the human face, in order to attract viewer attention. These visually captivating covers then reflected and amplified the spoken words of the liturgy and
provided visual exegesis about the contained scripture.
Talks by Susannah Fisher
This study explores not only the covers’ relationship to the contained manuscripts, but also how their imagery intensified the words spoken during the liturgy. I demonstrate that the covers also served the needs of elite patrons, who, through their images and inscriptions on the bindings, inserted themselves as additional mediators between believers and scripture. Examining Ottonian collecting practices and spoliation, I explore how collectors in turn utilized these objects to shape and preserve institutional memory. Finally, I propose that the covers made the abstract Word a tangible presence for viewers and that cognitive science can help explain their effectiveness. I turn to medieval sources—from the covers’ inscriptions to exegetical literature that use precious materials metaphorically— to reveal how period viewers rationalized their unconscious attraction to such objects.
This paper examines a sample of treasure bindings with Byzantine ivories made for a range of patrons in order to expand upon our understanding of this practice of reuse in the ornamentation of sacred books. By comparing the covers produced for a variety of contexts, it becomes apparent that the patron—whether an abbot in Naples or queen in Spain—had certain expectations of what subject matter was deemed appropriate and how such treasure bindings were to appear. Working within these constraints and with ‘ready-made’ ivories, artisans managed to create covers that addressed the individual needs of the patron. This comparative study, unlike previous examinations limited to one cover or one region, offers a more comprehensive view of patrons’ expectations regarding the reuse of these ivories and the artists’ resulting creations
to provide a new model for working with liturgical objects once dismissed as primarily decorative.
Chapter 1 introduces the six case studies of the project: the Codex Aureus of Echternach (Nuremberg, Germanisches Nationalmuseum); the Reichenau Gospels (Munich, Clm 4454); the Pericopes of Henry II (Munich, Clm 4452); the Uta Codex (Munich, Clm 13601); the Theophanu Gospels (Essen, Münsterschatz); and the Aachen Covers (Domschatz). The second chapter explores the traditions of early medieval cover design, which Ottonian creators copied and adapted. I propose that the patrons and artists of the treasury bindings utilized visual formulae in order to efficiently communicate with audiences. Chapter 3 begins with a reconstruction of the Easter vigil of Bamberg Cathedral, and then examines the other ceremonies in
which treasury bindings were used to establish the original viewing contexts of the
ii
covers. Further situating the covers, the chapter ends with an exploration of the role of luxury bindings in the collections of religious institutions and elite patrons.
The final chapter explores the Ottonians’ relationship to the written word, and offers an innovative analysis of how treasury bindings captured viewer attention and functioned in a performative context. To highlight how precious materials shaped viewer reception, the chapter reconciles a variety of medieval statements about the function and meaning of such materials with the findings of modern neuroscientists and cognitive psychologists. I demonstrate that Ottonian artists exploited innate and learned responses to different visual elements, such as reflective materials, centralized compositions, and the human face, in order to attract viewer attention. These visually captivating covers then reflected and amplified the spoken words of the liturgy and
provided visual exegesis about the contained scripture.
This study explores not only the covers’ relationship to the contained manuscripts, but also how their imagery intensified the words spoken during the liturgy. I demonstrate that the covers also served the needs of elite patrons, who, through their images and inscriptions on the bindings, inserted themselves as additional mediators between believers and scripture. Examining Ottonian collecting practices and spoliation, I explore how collectors in turn utilized these objects to shape and preserve institutional memory. Finally, I propose that the covers made the abstract Word a tangible presence for viewers and that cognitive science can help explain their effectiveness. I turn to medieval sources—from the covers’ inscriptions to exegetical literature that use precious materials metaphorically— to reveal how period viewers rationalized their unconscious attraction to such objects.
This paper examines a sample of treasure bindings with Byzantine ivories made for a range of patrons in order to expand upon our understanding of this practice of reuse in the ornamentation of sacred books. By comparing the covers produced for a variety of contexts, it becomes apparent that the patron—whether an abbot in Naples or queen in Spain—had certain expectations of what subject matter was deemed appropriate and how such treasure bindings were to appear. Working within these constraints and with ‘ready-made’ ivories, artisans managed to create covers that addressed the individual needs of the patron. This comparative study, unlike previous examinations limited to one cover or one region, offers a more comprehensive view of patrons’ expectations regarding the reuse of these ivories and the artists’ resulting creations