Czére Andrea szerk.: A Szépművészeti Múzeum közleményei 104. (Budapest, 2006)

ANNA EÖRSI: "...there is One Among You Whom You Do Not Recognise": Some Golden Threads to Miklós Boskovits with Reference to Duccio's Saint John the Baptist

i: He appears on the road to Emmaus; M. Davies, National Gallery Catalogues. The Early Italian Schools Before 1400, rev. D. Gordon, London 1988, 19; Hall 1992, 35; see further the text belonging to note 46. 13 Pigler 1967, 197; J. H. Stubblebine, "The Back Predella of Duccio's Maestà," in Studies in Late Medieval and Renaissance Painting in Honor of Millard Meiss, ed. I. Lavin and J. Plummer, New York 1977, vol. 1, 433-34; J. H. Stubblebine, Duccio di Buoninsegna and His School, Princeton 1979, vol. 1, 53-54. 14 Mt 3:3; 3:11; 11:10; Mk 1:7-8; Lk 3:16. 15 Jn 1:6-7. 16 Jn 1:15; 1:23; 1:26; 1:27; 1:29; 1:30; 1:32; 1:34; 1:35; 1:37; 3:22-36. 17 L. Réau, Iconographie de l'art chrétien IL Iconographie de la Bible I. Ancient testament, Paris 1956, 448, nos. 7, 8, 10; A. Masseron, Saint Jean Baptiste dans l'art, Paris 1957, 75-85; G. Millet, Recherches sur l'iconographie de l'évangile aux XlVe, XVe et XVIe siècles d'après les monuments de Mistra, de la Macédonie et du Mont-Athos, Paris 1960, 186-91; P. A. Underwood, The Kariye Djami, New York 1966, vol. 1, 111; E. Weis, "Johannes der Täufer," in Lexikon der christlichen Ikonographie, ed. E. Kirschbaum and W. Braunfels, Rome, Freiburg, Basel, and Vienna 1968-1976, vol. 7, 181-82, nos. 18, 20, 22; J. Bialostocki, Die Predigt Johannis des Täufers von Pieter Bruegel dem Alteren, Nedcc 1986; F.-A. Metzsch von, Johannes der Täufer. Seine Geschichte und seine Darstellung in der Kunst, Munich 1989, 51; B. Hartwieg, D. Lüdke, Vier gotische Tafeln aus dem Leben Johannes'des Täufers, Karlsruhe 1994, 35; Zs. Urbach, "An Ecce Agnus Dei Attributed to Juan de Flandes. A Lost Panel from a Hypothetical Altarpiece," Jaarboek van het Koninklijk Museum voor Schone Künsten 2001, 193. 18 Fig. 5 e.g., in the present article belongs to the former category. The latter is typical of eleventh- to twelfth-century Byzantine gospels. See I. Falk, Studien zu Andrea Pisano, Hamburg 1940, 108. 19 See Istanbul, Chora Church (Kariye Djami), exonarthex, second vault: an image related to Jn 1:2934, but with the inscription Jn 1:15 (Millet 1960, 189). The "ecce agnus dei" is uttered two times (Jn 1:29 and 1:36); this fact is either recognised by artists and art historians, or not. See II. Belting, "Das Zeugnis des Johannes und die Verkündigung an Maria. Die beiden Szenen des Einhardsbogens," in Das Einhardskreuz. Vorträge und Studien der Münsteraner Diskussion zum accus Einhard! ed. K. I lauck, Göttingen 1974, 73; Stubblebine 1977, 433: distinguishes not only between the two "ecce agnus dei" occasions ("first and second Recognition"), but also separates the "testimonies" from them ("John the Baptist Bearing Witness of Christ"). :

" It often happens that the depictions of Saint John Bearing Witness figure under the title of the Preaching of Saint John, which is partly justified but is only one facet of the truth. See Falk 1940, passim; I. Falk and J. Lányi, "The Genesis of Andrea Pisano's Bronze Doors," The Art Bulletin 25 (1943), 140-42; J. Kaak, Rembrandts Grisaille Johannes der Täuferpredigend, Hildesheim, Zurich, and New York 1994, 35-36.