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
Falk 1940, 152: "Fin sehr schönes Motiv, das sonst nirgendwo nachzuweisen ist, bringt den jungen Christusknaben unter die Menge der Zuhörer." and n. 334: "Nach Lohmeyer... geht die Vorstellung von Jesus als Schüler des Johannes auf Job. 3.22 und 4. 1 zurück" (I cannot share this view); W. Sauerlander, Gotische Skulptur in Frankreich 1 140-1270, Munich 1970, 179: "Predigt des Täufers. Unter den Zuhörer Christus." Munich, Bayerische Staatsbibliothek, Cod. Fat. 23043, fol. llOv. (Marburgmi02405dl2); see further a French illustration from the end of 15th century of the second chapter of Book X of Saint Augustine's City of God: during the Baptist's preaching, noticed exclusively by him, descends from heaven the naked body of the infant Redeemer radiating with light (The Hague MMW 1 OA 11, fol. 429v). Pigler 1974, Bd. 1, 273. The situation is the same with Jesus standing farther from the crowd in the preaching scene in the left background of Joachim Patinir's Baptism (Vienna, Kunsthistorisches Museum). I think that Christ's presence visible only to John (and the viewer) is much less frequent in the representations of the Preaching than is suggested in literature. See Pigler 1974, Bd. 1, 273; Bialostocki 1986. In the preaching scene of Fra Filippo Lippi's fresco in Prato, the half-figure in the background raising his hand in blessing is probably not Christ either, hut John himself. See S. Roettgen, Wandmalerei der Frührenaissance in Italien 1400-1470, Munich 1996, 307-8. In Domenico Ghirlandaio's fresco in Santa Maria Novella, Florence, Christ's figure emerges behind the preaching John, unnoticed by people, in the upper left corner of the composition. This time the painter found an adequate solution for the illustration of the next line, "It is He who coming after me, is preferred before me for He was before me" (Jn 1:27). See R. G. Kecks, Domenico Ghirlandaio und die Malerei der Florentiner Renaissance, Munich and Berlin 2000, no. 15/s (I do not agree with the iconographical analysis). Origène, Commentaire sur Suint Jean II, éd. C. Blanc, Paris 1970 (Sources chrétiennes 157), 246-47, 268-69. Sancti Circgorii Magni, XL hoiniliarum in evangelia, lib. I. homil. VII, éd. J. P. Migne, Patrologia Latina Series Compléta, Paris 1844-1864 (in the following: PL), 76, HOL Bede Venerabilis expresses it in a similar way: S.Joannis evangélium expositio, II. 1. PL, 92 647. S Paschasii Radberti, Expositio im Matthaetim, lib. XI, Cap. 25, PL, 120, 848. Ruperti Abbatis Tuitiensis, Comment in Joan, lib. I. PL, 169, 224. Ludolphus de Saxonia, Vita Jesu Christi e quatuor evangeliis, 2 vols. ed. A. C. Bolard, R. AI. Rigollot, and J. Carnandet, Paris and Rome 1865, 1, 93-94. The author of the Meditationes vitae Christi does not mention this passage of the gospel, but the quotation by Saint Bernardinus, which he inserts into the reflection before the Baptism is equivalent to the meaning of Jn 1:26: "In the multitude he came to John' baptising. He came as one from the people [...]. Who would have thought that he is God's son? Who w r ould have thought that he is the Lord of Glory? Lord, [...1 you have hidden yourself too much!
