The Bernward Gospels

The Bernward Gospels
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Few works of art better illustrate the splendor of eleventh-century painting than the manuscript often referred to as the “precious gospels” of Bishop Bernward of Hildesheim, with its peculiar combination of sophistication and naïveté, its dramatically gesturing figures, and the saturated colors of its densely ornamented surfaces. In The Bernward Gospels , Jennifer Kingsley offers the first interpretive study of the pictorial program of this famed manuscript and considers how the gospel book conditioned contemporary and future viewers to remember the bishop. The codex constructs a complex image of a minister caring for his diocese not only through a life of service but also by means of his exceptional artistic patronage; of a bishop exercising the sacerdotal authority of his office; and of a man fundamentally preoccupied with his own salvation and desire to unite with God through both his sight and touch. Kingsley insightfully demonstrates how this prominent member of the early medieval episcopate presented his role to the saints and to the communities called upon to remember him.

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Jennifer P. Kingsley. The Bernward Gospels

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THE

BERNWARD

.....

Then, having ascended the throne of the church of Bennopolis, I wanted to carry out in deed that which I had long been planning in my heart, that is, I wanted to prepare a felicitous memorial to my name as someone who had built churches, instituted the service of God in them and donated all his possessions to the Lord. Now God’s decrees are hidden but always just. I therefore began, with the joyous consent of the faithful, to construct a new house of God, and in so doing both fulfilled my own promise and served the best interests of Christendom, to the praise and glory of the name of the Lord, by settling monks there who were beloved of God. However, when the foundations of the building had been laid, and the outlines of the individual rooms were already visible, I was stricken with fever and was ill for five years[.... ] But since nothing on earth occurs without a reason, I believe and trust that the Lord was correcting me with his chastisements, yet he did not deliver me unto death, and thus prevented the work of my hope from being interrupted by my absence. I caused monks to occupy this place, which was dedicated to God, the holy cross, the ever pure Virgin Mary and the holy archangel Michael. I united them here according to the principle that, being removed from the activity of this world as laid down in the rule of monks, they might be free of all hindrances of worldly duties. Therefore, with the consent of the Lord and Emperor Henry and of my superior, the archbishop, I gave away everything I had inherited or acquired by my private means in worldly goods, estates, farms, lands, fields, pastures, waters, forests, meadows, churches, relics, books, gold, and silver, and whatever else there might be. Aside from what I bequeathed to the altar of the blessed Mary in the cathedral in the form of golden crowns, chalices, candlesticks, vestments and other ornaments, I made over everything by the hand of my testamentary guardian to God and his saints for the use and benefit of the brothers. I have bequeathed it for the salvation of my aforementioned Lords and Emperors, of myself and my successors, as well as of all those from whom I have acquired inheritances, so that the servants of Christ, free of all earthly duties, secure in the protection of my successors, may enjoy peaceful times and devote themselves to the life of pious contemplation for the salvation of all men.38

It is tempting to read in this text something personal about Bernward’s artistic projects during the period from the laying of the abbey’s foundation in 1010 through the probable duration of his illness (1013–18).39 The bishop’s account suggests a patron suffering for years from an inexplicable and recurrent disease who is anticipating his own death, worrying about his sins and driven to show himself worthy of salvation.

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