Viduslaiku miniatūra ‘Krustā sistais ar Mariju un Jāni’ no ‘Missale Rigense’
Medieval Miniature ‘Crucifixion with Mary and St. John’ from ‘Missale Rigense’

Summary/Abstract: 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 City Librarian Georg Berkholz was the first to notice the 'Missale Rigense' in 1874; he dated it from the late 14th or early 15th century, also establishing its relation to the lectern near the Altar of the Holy Cross in the Riga Dom Cathedral. In the early 20th century, Hermann von Bruiningk offered a detailed analysis that confirmed the book’s belonging to the Cathedral’s Altar of the Holy Cross but he claimed Berkholz’s hypothesis of its placement on the lectern was erroneous. Typologically it was described as a Missale plenum. The canonical image 'Crucifixion with Mary and St. John' was described too, typified as a three-nail crucifix with the Mother of God to the right and the youthful Apostle John to the left. The description emphasised the contoured drawing and the golden nimbuses around the heads; the colours were named as well as the use of lights and shades. Musicologist Guntars Prānis’ PhD work 'Chants of the Missale Rigense in the context of medieval European Gregorian traditions' has added up-to-date details. The latest palaeographic analysis permits the dating of the book to the 1460s–1490s. Prānis’ study examines the canonical miniature 'Crucifixion with Mary and St. John' too, dating it to the first half of the 15th century, unlike the manuscript text. Such a chronological difference between the text and image is theoretically possible. Evidence of this might be that the text does not continue on the miniature’s back side which was left blank with a commentary added later. To test this hypothesis, iconographic, stylistic and comparative analysis of this miniature was carried out. We should begin with a description of the picture. 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. A significant question is that of the artist’s creative independence. Did he want to be original or closely follow some example in front of him? 15th century engravings printed by various German publishers reveal several elements used in the 'Missale Rigense' illustration but no direct imitation pointing towards the source of inspiration can be found. The quite common iconographic type 'Crucifixion with Mary and St. John' is seen in various art schools from Italy to the German lands. Looking for similar features in a large number of examples, attention is drawn to the closest analogies to the 'Missale Rigense' miniature. One of them is the work of Pietro Perugino who was among the initiators of Renaissance classicism in Umbrian art. The central panel of his triptych 'Crucifixion with the Virgin and St. John. Stabat Mater' (1482–1485) and Missale Rigense display not just thematic but also formal parallels such as the loin cloth, especially the right-side knot. Moving northwards, German Martin Schongauer who made refined 15th century Madonnas, in his paintings repeated images of Mary with hands crossed on her chest, just as in the 'Missale Rigense'. From Schongauer’s copperplate engravings printed in hundreds of copies mostly in the early 1470s, 'Little Golgotha Scene' resembles the Missale Rigense solution most. The position of the Virgin’s hands as well as the simple cloak folds and the mirror image of the Apostle John touching the book are comparable; the soft facial features and curly hair look similar too. A few words should be added on the initials and ornaments that were current in scribes’ and miniature painters’ circles. In the 'Missale Rigense' there are few: about eight larger letters painted in blue, green and red inks. Their form still reflects influences from the simple ornament of so-called Fleuronée initials created in 12th century France. Simple red and blue lombards initiate paragraphs in most cases. The origins of the canonical miniature and possibly the whole book can be clarified by a brief description of medieval liturgy and its diverse forms of manifestation. The 'Missale Rigense' was a popular item placed on the public lay altar of the Holy Cross at the juncture of the nave and transept. This explains the book’s remarkable wear and tear: repairs to torn parchment sheets, well-thumbed spread with the kissing slip as well as the patched sheet with the canonical miniature. The inscription 'Memoria vivorum Johannis Capistrani' on the back of the miniature parchment sheet is important regarding its dating. The Franciscan friar John of Capistrano (San Giovanni da Capestrano) became famous in Europe as a wandering preacher, theologian and inquisitor, nicknamed 'the soldier saint' as he led a crusade against the Ottoman Empire aged 70. Henceforth the Catholic Church related the victory over the Turks with the celebration of Transfiguratio Domini (included in the liturgical calendar after 1475). This event is mentioned in connection with the introduction of this festivity and the victory over the Turks together with the name of John of Capistrano in the first Riga breviary printed in Paris in 1513. In his study Prānis related this inscription in memory of John of Capistrano to this prominent individual’s lifetime, thus dating the miniature to the first half of the 15th century. 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.

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