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Cambridge University Press
978-1-107-04047-2 - French Visual Culture and the Making of Medieval Theater
Laura Weigert
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FRENCH VISUAL CULTURE AND THE MAKING
OF MEDIEVAL THEATER
This book revives what was unique, strange, and exciting about the variety
of performances that took place in the realms of the French kings and
Burgundian dukes. Laura Weigert brings together a wealth of visual artifacts
and practices to explore this tradition of late medieval performance located
not in “theaters” but in churches, courts, and city streets and squares. By
stressing the theatricality rather than the realism of fifteenth-century visual
culture and the spectacular rather than the devotional nature of its effects,
she offers a new way of thinking about late medieval representation and
spectatorship. She shows how images that ostensibly document medieval
performance instead revise its characteristic features to conform to a playgoing experience that was associated with classical antiquity. This retrospective vision of the late medieval performance tradition contributed to its
demise in sixteenth-century France and promoted assumptions about medieval theater that continue to inform the contemporary disciplines of art and
theater history.
Laura Weigert is Associate Professor of Art History at Rutgers University.
She is the recipient of grants from the American Philosophical Society, the
National Endowment for the Humanities, and the Humboldt Foundation,
and she was a Samuel H. Kress Senior Fellow at the Center for Advanced
Study in the Visual Arts and a Felix Gilbert Member at the Institute for
Advanced Study. Her publications include Weaving Sacred Stories: French
Choir Tapestries and the Performance of Clerical Identity (2004) and articles in
Art History, the Oxford Art Journal, Gesta, Studies in Iconography, The Art
Bulletin, Art Journal, and EMF: Studies in Early Modern France, as well as in
numerous collections of essays.
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FRENCH VISUAL
CULTURE AND THE
MAKING OF MEDIEVAL
THEATER
LAURA WEIGERT
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32 Avenue of the Americas, New York, ny 10013-2473, usa
Cambridge University Press is part of the University of Cambridge.
It furthers the University’s mission by disseminating knowledge in the pursuit of
education, learning, and research at the highest international levels of excellence.
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Information on this title: www.cambridge.org/9781107040472
© Laura Weigert 2015
This publication is in copyright. Subject to statutory exception
and to the provisions of relevant collective licensing agreements,
no reproduction of any part may take place without the written
permission of Cambridge University Press.
First published 2015
Printed in the United States of America
A catalog record for this publication is available from the British Library.
Library of Congress Cataloging-in-Publication Data
Weigert, Laura.
French visual culture and the making of medieval theater / Laura Weigert.
pages cm
Includes bibliographical references and index.
isbn 978-1-107-04047-2 (Hardback)
1. Theater in art. 2. Art and society–France–History–To 1500. 3. Art and society–
France–History–16th century. 4. Theater and society–France–History–To 1500.
5. Theater and society–France–History–16th century. 6. Performing arts–Social aspects–
France–History–To 1500. 7. Performing arts–Social aspects–France–History–16th century.
I. Title.
N8252.W45 2015
700.9440 09031–dc23 2015018958
isbn 978-1-107-04047-2 Hardback
Cambridge University Press has no responsibility for the persistence or accuracy
of URLs for external or third-party Internet Web sites referred to in this publication
and does not guarantee that any content on such Web sites is, or will remain,
accurate or appropriate.
The Research Council of Rutgers University and a Millard Meiss grant from the College Art
Association contributed to the illustration of this book.
MM
Publication of this book has been aided by a grant from the Millard Meiss Publication Fund of
the College Art Association.
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For Hector, Theo, and Fabien
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CONTENTS
List of Illustrations
page viii
Acknowledgments
INTRODUCTION: FROM THEATRICALITY
T O T HE A T E R
1
2
3
4
5
xviii
1
“VOCAMUS PERSONAGIAS”: THE ENLIVENED
FIGURES OF EPHEMERAL STAGINGS
26
“OUVREZ VOS YEUX ET REGARDEZ”:
ILLUMINATED PASSION PLAYS AND THE
COMMEMORATION OF PERFORMANCE
74
“ F A I R E S E M B L A N T ” : MA KE - B E L I E V E A N D T H E
E XP E R I E N C E O F HE R O I C BA T T L E S
125
“ C Y S ’E N S U I T L E M Y S T È R E ” : C R E A T I N G A S P E C T A T O R
AND A READER OF FRENCH PLAYS
161
“ C ’É T A I T QU ’ U N J E U I N D U S T R I E U X ” : A R T I F I C E A N D
A U T HE N T I C I T Y I N T HE D E V I L ’ S P L A Y
189
C O N C L U S I O N : M Y S T E R I O U S E N D S , 1 5 4 8 – 15 77
219
Notes
227
Bibliography
260
Index
279
vii
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LIST OF ILLUSTRATIONS
color plates
Color plates follow page xx.
I View of Jerusalem, first cloth of a Vengeance set, Reims, Musée des
Beaux-Arts (photo: C. Devleeschauwer, Musée des Beaux-Arts, Reims).
II Berlin, Kupferstichkabinett, MS 78 D 5, fol. 11 (photo: bpk,
Berlin / Kupferstichkabinett, Staatliche Museen, Berlin / Jörg
P. Anders / Art Resource, NY).
III Berlin, Kupferstichkabinett, MS 78 D 5, fol. 59 (photo: bpk, Berlin /
Kupferstichkabinett, Staatliche Museen, Berlin / Jörg P. Anders /
Art Resource, NY).
IV Arras, Bibliothèque Municipale, MS 697, fols. 203 verso, 204, 205,
and 206 verso (photo: author and Pascale Charron, with permission
of the Médiathèque d’Arras).
V Arras, Bibliothèque Municipale, MS 697, fols. 14 verso and 259
(photo: author and Pascale Charron, with permission of the
Médiathèque d’Arras).
VI The siege of Jerusalem, tapestry from a Vengeance set, Tournai,
Musée de la Tapisserie et des Arts du Tissu (photo: IRPA-KIK, Brussels).
VII Penthesilea enters the battle, tapestry from a set of the story of Troy,
London, Victoria and Albert Museum (photo: Victoria and Albert
Museum, London).
VIII Hubert Cailleau, “Le theatre ou hourdement comme il estoit quand
fut jouer le Mistere de la passion nostre Seigneur Jesus Christ anno 1547,”
in Le Mistere par personnaiges de la vie, passion, mort, resurrection et assention
de nostre Seigneur Jesus Christ en 25 journées, Paris, Bibliothèque
Nationale de France, MS fr. Rothschild I-7-3, frontispiece
(photo: BnF).
illustrations
1
Hubert Cailleau, “Le theatre ou hourdement comme il estoit
quand fut jouer le Mistere de la passion nostre Seigneur Jesus
Christ anno 1547,” in Le Mistere par personnaiges de la vie, passion,
mort, resurrection et assention de Nostre Seigneur Jesus Christ en 25
viii
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journées, Paris, Bibliothèque Nationale de France, MS fr.
Rothschild I-7-3, frontispiece (photo: BnF).
Hubert Cailleau, detail of “Le theatre ou hourdement,” in Le
Mistere par personnaiges de la vie, passion, mort, resurrection et assention
de Nostre Seigneur Jesus Christ en 25 journées, Paris, Bibliothèque
Nationale de France, MS fr. Rothschild I-7-3, frontispiece
(photo: BnF).
Jean Pucelle, Miracle of Theophilus, from Les Miracles de Nostre Dame,
Paris, Bibliothèque Nationale de France, MS N.A.F. 24541, fol. 8
verso (photo: BnF).
The Roman theater and Terence giving his book to Calliopius,
miniature from Terence, Comoediae, Paris, Bibliothèque Nationale
de France, MS lat. 7907 A, fol. 2 verso (photo: BnF).
Theatrum, introductory woodcut for Terence, Comoediae (Lyon:
Johann Trechsel, 1493), a4 verso, Washington, D.C., National
Gallery of Art, Department of Prints and Drawings (photo:
National Gallery of Art).
Theatrum, introductory woodcut for Terence, Comoediae
(Strasbourg: Johann Grüninger, 1496), frontispiece, Houghton
Library, Harvard University (photo: Inc. 473, Houghton Library,
Harvard University).
Le Theatre, introductory woodcut for the Térence en François (Paris:
Anthoine Vérard, 1496), frontispiece, Paris, Bibliothèque nationale
de France, Réserve (photo: BnF).
Terence, Comoediae, title page with Guido Juvenalis in his study
(Lyon: Johann Trechsel, 1493), Washington, D.C., National
Gallery of Art, Department of Prints and Drawings (photo:
National Gallery of Art).
Jean Fouquet, The Martyrdom of Saint Apollonia, Livre d’Heures
d’Étienne Chevalier, Chantilly, Musée Condé, MS fr. 71, fol. 39
(photo: RMN / Art Resource, NY).
Model presented at the Universal Exposition, Paris, 1878, Opera
de Paris, Palais Garnier (photo: BnF).
Visitors’ guide, International Exposition, Paris, 1937 (Le théâtre en
France au moyen-âge: catalogue guide illustré [Paris: Éditions Denoël,
1937], fig. 28, p. 10).
Berlin, Kupferstichkabinett, MS 78 D 5, fol. 4 (photo: Jörg
P. Anders, bpk, Berlin / Kupferstichkabinett, Staatliche Museen,
Berlin / Art Resource, NY).
page 2
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Berlin, Kupferstichkabinett, MS 78 D 5, fol. 32 (photo:
Kupferstichkabinett, Staatliche Museen, Berlin).
Berlin, Kupferstichkabinett, MS 78 D 5, fol. 58 (photo: Volker-H.
Schneider, bpk, Berlin / Kupferstichkabinett, Staatliche Museen,
Tournament, from Traittié de la forme et devis comme on fait les
tournois, Paris, Bibliothèque nationale de France, MS fr. 2693,
fols. 60 verso and 61 (photo: BnF).
Berlin, Kupferstichkabinett, MS 78 D 5, fol. 39 (photo:
Kupferstichkabinett, Staatliche Museen, Berlin).
Remy du Puys, Vienna, Österreichische Nationalbibliothek,
Cod. 2591, fol. 13 verso (photo: Österreichische
Nationalbibliothek).
Cod. 2591, fol. 16 (photo: Österreichische Nationalbibliothek).
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Jan van Eyck, Altarpiece of the Holy Lamb, Ghent, the Cathedral of
Saint Bavo (photo: Scala / Art Resource, NY).
Troyes (?), Altarpiece of the Resurrection, Paris, Musée du Louvre
Virgin of the Living Water, Paris, Musée du Louvre (photo: RMN /
Art Resource).
Rogier van der Weyden, Saint Luke Painting the Virgin, Boston,
Museum of Fine Arts (photo: [2015] Museum of Fine Arts,
Boston).
Berlin, Kupferstichkabinett, MS 78 D 5, fol. 16 (photo: Volker-H.
Schneider, bpk, Berlin / Kupferstichkabinett, Staatliche Museen,
Entrance of Isabeau of Bavaria into Paris, from Jean Froissart’s
Chroniques, Paris, Bibliothèque Nationale de France, MS fr. 2646,
fol. 6 (photo: BnF).
Cod. 2591, fol. 8, detail (photo: Österreichische
Berlin, Kupferstichkabinett, MS 78 D 5, fol. 11, detail (photo: Jörg
“La demoiselle montre à la mere antechriste son enfant nu,” in Le
Jour du Jugement, Besançon, Bibliothèque Municipale, MS 579,
fol. 8 verso (photo: CNRS-IRHT © Bibliothèque municipale de
Besançon, MS 579 fol. 8 verso).
Miracle d’un marchant et un juif, miracle #35, from the Miracles de
Nostre Dame, Paris, Bibliothèque nationale de France, MS fr.
819–820, fol. 192 (photo: BnF).
Arnoul Gréban, Dieu le Père, in Mystère de la Passion par personnages,
Paris, Bibliothèque nationale de France, MS fr. 815, fol. 1
(photo: BnF).
Arras, Bibliothèque Municipale, MS 697, fol. 28 (photo: author
and Pascale Charron, with permission of the Médiathèque
d’Arras).
Attributed to the Master of the View of Sainte-Gudule, Saint Géry
Preaching, Paris, Musée du Louvre (photo: RMN / Erich Lessing /
Art Resource, NY).
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Arras, Bibliothèque Municipale, MS 697, fol. 174 verso (photo:
author and Pascale Charron, with permission of the Médiathèque
d’Arras).
Adoration of the Magi, Sens, Cathedral Treasure (photo: Emmanuel
Berry / Centre des Monuments nationaux, Paris).
d’Arras).
d’Arras).
d’Arras).
d’Arras).
d’Arras).
d’Arras).
d’Arras).
d’Arras).
d’Arras).
d’Arras).
d’Arras).
d’Arras).
d’Arras).
Arras, Bibliothèque Municipale, MS 697, fol. 14 verso (photo: author
and Pascale Charron, with permission of the Médiathèque d’Arras).
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d’Arras).
d’Arras).
d’Arras).
d’Arras).
d’Arras).
d’Arras).
Paris, Bibliothèque Nationale de France, MS fr. 12536, fol. 1
verso–2 bis (photo: BnF).
Paris, Bibliothèque Nationale de France, MS fr. Rothschild I-7-3,
fol. 14 verso–15 recto (photo: BnF).
Paris, Bibliothèque Nationale de France, MS fr. 12536, fol. 15 verso
(photo: BnF).
fol. 14 verso, detail (photo: BnF).
fols. 231 verso–232 (photo: BnF).
(photo: BnF).
fol. 281, detail (photo: BnF).
fol. 163 (photo: BnF).
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83 Paris, Bibliothèque Nationale de France, MS fr. 12536, fol. 102
(photo: BnF).
84 Paris, Bibliothèque Nationale de France, MS fr. Rothschild I-7-3,
86 Paris, Bibliothèque Nationale de France, MS fr. 12536, fols. 2 ter–3
(photo: BnF).
88 Paris, Bibliothèque Nationale de France, MS fr. 12536, fols. 266
89 Banquet of Charles V, Grandes Chroniques de France de Charles V,
Paris, Bibliothèque nationale de France, MS fr. 2813, fol. 473 verso
(photo: BnF).
90 Très Riches Heures du Duc de Berry, fol. 1, Chantilly, Musée Condé
91 Renward Cysat, diagram for day 1 of the Lucerne Passion play, 1583
(photo: ZHB Luzern Sondersammlung [Eigentum Korporation]).
92 Renward Cysat, diagram for day 2 of the Lucerne Passion play,
1583 (photo: ZHB Luzern Sondersammlung [Eigentum
Korporation]).
93 Detail from tapestry fragments from a Vengeance set, New York,
Metropolitan Museum of Art (photo: The Metropolitan Museum
of Art, Rogers Fund, 1909 [09.172]).
94 Nero sends Vespasian and Titus to Judaea, tapestry from a
Vengeance set, Tournai, Musée d’Histoire et des Arts Décoratifs
(photo: IRPA-KIK, Brussels).
95 The siege of Jerusalem, tapestry from a Vengeance set, Tournai,
Musée de la Tapisserie et des Arts du Tissu (photo: IRPA-KIK,
Brussels).
96 Detail from tapestry fragments of a Vengeance set, New York,
97 Nero sends Vespasian to Judaea, tapestry from a Vengeance set,
Lyon, Musée des Tissus (photo: Lyon, Musée des Tissus, Basset).
98 Attributed to the Master of Mary of Burgundy, predella of the
destruction of Jerusalem, Ghent, Museum of Fine Arts (photo:
IRPA-KIK).
99 Attributed to the Master of Mary of Burgundy, detail of the
predella of the destruction of Jerusalem, Ghent, Museum of Fine
Arts (photo: IRPA-KIK).
100 Hector prepares for battle, tapestry from a set of the story of Troy,
Zamora, Cathedral Museum (photo: Photoaisa / Cathedral
Museum, Zamora).
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xv
101 The death of Achilles, detail of a tapestry from a set of the story of
Troy, Zamora, Cathedral Museum (photo: Photoaisa / Cathedral
Museum, Zamora).
102 Penthesilea enters the battle, tapestry from a set of the story of
Troy, London, Victoria and Albert Museum (photo: Victoria and
Albert Museum, London).
103 The fall of Troy, tapestry from a set of the story of Troy, Zamora,
Cathedral Museum (photo: Photoaisa / Cathedral Museum, Zamora).
104 The death of Achilles (from the Trojan War series), tapestry from a
set of the story of Troy, Zamora, Cathedral Museum (photo:
Photoaisa / Cathedral Museum, Zamora).
105 The death of Troilus, detail of a tapestry from a set of the story of
Troy, Zamora, Cathedral Museum (photo: Photoaisa / Cathedral
Museum, Zamora).
106 Caesar crosses the Rubicon and the Battle of Thessalonia, third
tapestry from The Deeds of Julius Caesar set, Bern, Historisches
Museum (photo: Bernisches Historisches Museum, Bern).
107 The war against Gondebaud and Alaric, detail of the second
tapestry of the Story of Clovis set, Reims, Musée du Tau (photo:
Pascal Lemaître / Centre des Monuments nationaux, Paris).
108 Detail of Très Riches Heures du Duc de Berry, fol. 1, Chantilly, Musée
Condé (photo: RMN / Art Resource, NY).
109 Jean Perréal, miniature in Le Trépas de l’hermine regrettée, Paris, Petit
Palais, MS 665, fol. 5 verso, Musée des Beaux-Arts de la Ville de
Paris (photo: Petit Palais / Roger-Viollet).
110 Detail from tapestry fragments from a Vengeance set, New York,
111 Detail of the siege of Jerusalem, tapestry from a Vengeance set,
Tournai, Musée de la Tapisserie et des Arts du Tissu (photo:
IRPA-KIK, Brussels).
112 The siege of Jerusalem, tapestry from a Vengeance set, Venice,
Foundation Cini (photo: Foundation Cini).
Venice, Foundation Cini (photo: Foundation Cini).
Venice, Foundation Cini (photo: Foundation Cini).
115 View of Jerusalem, first cloth of a Vengeance set, Reims, Musée
des Beaux-Arts (photo: C. Devleeschauwer, Musée des
Beaux-Arts, Reims).
116 View of Jerusalem, detail of the first cloth of a Vengeance set,
Reims, Musée des Beaux-Arts (photo: C. Devleeschauwer, Musée
des Beaux-Arts, Reims).
117 Titus attacks Jerusalem, fourth cloth of a Vengeance set, Reims,
Musée des Beaux-Arts (photo: C. Devleeschauwer, Musée des
Beaux-Arts, Reims).
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118 The siege of Jerusalem, fifth cloth of a Vengeance set, Reims,
Beaux-Arts, Reims).
119 The invasion of Jerusalem, sixth cloth of a Vengeance set, Reims,
Musée des Beaux-Arts (photo: C. Dragomirescu, with permission
of the Musée des Beaux-Arts, Reims).
120 The sale and expulsion of the Jews, seventh cloth of a Vengeance
set, Reims, Musée des Beaux-Arts (photo: C. Devleeschauwer,
Musée des Beaux-Arts, Reims).
121 The story of Vespasian, second cloth of a Vengeance set, Reims,
Beaux-Arts, Reims).
122 The story of Pilate, third cloth of a Vengeance set, Reims, Musée
des Beaux-Arts (photo: C. Devleeschauwer, Musée des BeauxArts, Reims).
123 Loyset Liédet, Caiaphas and Judas plot, miniature from the
Vengeance Nostre Seigneur, Bruges, 1467, London, BL MS
Additional 89066/1 (formerly Chatsworth, Library of the Duke of
Devonshire, MS 48.B.), fol. 4 (photo: Collection of the Duke of
Devonshire, Chatsworth).
124 Dedicatory portrait of Vérard’s 1491 edition of the Vengeance Nostre
Seigneur , Bibliothèque nationale de France, Réserve, Yf 72, A.i.
(photo: BnF).
125 The Story of Judith, Reims, Musée des Beaux-Arts (photo:
C. Devleeschauwer, Musée des Beaux-Arts, Reims).
126 Panel from the Credo, Reims, Musée des Beaux-Arts (photo:
C. Devleeschauwer, Musée des Beaux-Arts, Reims).
127 The Last Supper and the entrance into Jerusalem, first cloth of a
Passion series, Reims, Musée des Beaux-Arts (photo: Musée des
Beaux-Arts de la Ville de Reims).
128 Miracle of Laon, woodcut print included in Recueil de textes et
documents concernant le miracle de Laon 1565–1566, 1570-71, Paris,
Bibliothèque Nationale de France, MS lat. 3224, page 44
(photo: BnF).
129 Le Miracle que Jesus Christ au s. sacrement ha consummé a Laon ceste
année 1566, au vif representé, et escript en cinq langues, Paris,
Bibliothèque Sainte-Geneviève, D 8o 11 058, Réserve (photo:
Bibliothèque Ste-Geneviève, Paris [cliché N. Boutros]).
130 Miracle of Laon, broadsheet (Paris: Nicolas Chesnau, 1578),
Washington, D.C., Folger Library (photo: Folger Library,
Washington, D.C.).
131 Detail of Miracle of Laon, broadsheet (Paris: Nicolas Chesnau,
1578), Washington, D.C., Folger Library (photo: Folger Library,
Washington, D.C.).
Washington, D.C.).
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Washington, D.C.).
Washington, D.C.).
Washington, D.C.).
136 The Mass of Saint Gregory, woodcut print, Paris, ca. 1490,
Rosenwald Collection, National Gallery of Art, Washington, D.C.
(photo: Washington, D.C., National Gallery of Art).
137 The Mass of Saint Gregory, Nuremberg, Germanisches
Nationalmuseum (photo: Germanisches Nationalmuseum,
Nürnberg).
138 Rogier van der Weyden and his workshop, Seven Sacraments
altarpiece, Antwerp, Royal Museum of Fine Arts (photo: Erich
Lessing / Art Resource).
139 Detail of the third tapestry of The Life of Saint Martin set,
Montpézat-de-Quercy, Collegiate Church of Saint-Martin
(photo: Jean-François Peiré, Drac-Midi-Pyrénées).
140 Fifth tapestry of The Life of Saint Martin set, Montpézat-de-Quercy,
Collegiate Church of Saint-Martin (photo: Jean-François Peiré,
Drac-Midi-Pyrénées).
141 Theatre, from Le second Livre de perspective de Sebastian Serlio
Bolognois, mis en langue franchoise par Iehan Martin, secretaire de
monseigneur reverendissime cardinal de Lenoncourt, avec privilege du Roy
(Paris: Jean Barbé, 1545), fol. 64, Washington, D.C., Library of
Congress (photo: Courtesy of the Rare Book Division of the
Library of Congress, Washington, D.C.).
142 Stage for Comedy, from Le second Livre de perspective de Sebastian Serlio
Bolognois, mis en langue franchoise par Iehan Martin, secretaire de
(Paris: Jean Barbé, 1545), fol. 67 verso, Washington, D.C., Library
of Congress (photo: Courtesy of the Rare Book Division of the
Library of Congress, Washington, D.C.).
143 Diagram for a Theater, from Le second Livre de perspective de Sebastian
Serlio Bolognois, mis en langue franchoise par Iehan Martin, secretaire de
(Paris: Jean Barbé, 1545), fol. 66 verso, Princeton, NJ, Marquand
Library Rare Books Collection, Princeton University (photo:
Marquand Library Rare Books, Princeton University).
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ACKNOWLEDGMENTS
My first debt of gratitude goes to the Institute for Advanced Study, where
I began and completed this book. Thanks to Caroline Bynum and Yve-Alain
Bois, for the initial invitation, and to Marcia Tucker, Kirstie Venanzi, Nancy
Kriegner, and the library staff, for their kindness and a quiet carrel at which to
write at the end. Katherine Zieman, Celia Chazelle, Sarah McPhee, Marie
Anne Polo de Beaulieu, Mechthild Fend, Michael Braddick, Karen Harvey,
the late Oleg Grabar, and Marilyn and Irving Lavin helped get the topic off the
ground that first year; at the final stretch, Heinrich van Staden and Christopher
Jones were daily reminders that scholarship is not just a job.
During the time in between, I was lucky to receive the support of other
institutions: the American Philosophical Society, the Center for Advanced
Study in the Visual Arts, the National Endowment for the Humanities, and
Rutgers University. Princeton University made available its extraordinary
collection of books. My research would not have been possible without the
assistance of curators, librarians, and researchers at the Bibliothèque nationale
de France (BnF), particularly, François Avril, Marie-Pierre Lafitte, and Nicolas
Petit, as well as those at the municipal libraries of Laon, Douai, and Arras.
I owe a special thanks to the chairs of the Art History Department at Rutgers –
Archer St. Clair Harvey and Catherine Puglisi – and to the humanities deans –
Ann Fabian and Jimmy Swenson – for recognizing that research is also part of
my job.
Conversations with many colleagues and friends over the years helped
generate and refine the ideas presented in this book. My thanks go out to all
those who shared bibliographies or their knowledge, invited me to speak,
or simply nodded to confirm that I was headed in the right direction:
Pamela Sheingorn, Susannah Crowder, Whitney Davis, Elisabeth Dyssegaard, David Areford, Elizabeth Brown, Andrea von Hülsen Esch, Peter
Arnade, Elina Gertsman, Paul Binski, Claire Sponsler, Valentin Groebner,
Etienne Jollet, Kathleen Ashley, Alex Nagel, Jean-Claude Schmitt, Peter
and Linda Parshall, Dominique van Wijnberghe, Theresa Coletti, Bonnie
Wheeler, Mark Cruse, Nina Rowe, Joyce Coleman, François Cornilliat,
Ana Pairet, Robert Clark, Carol Symes, Nino Zchomelidse, Giovanni
Freni, Gerda Panofsky, Abby McGehee, Thomas Lentes, Tanja Michalsky,
xviii
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Laura Weigert
Frontmatter
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xix
ACKNOWLEDGMENTS
Klara Benesovska, Elly Truitt, Marie Bouhaïk-Gironès, Véronique
Dominguez, Sarah McHam, Benjamin Paul, Andres Zervigon, Susan
Sidlauskas, Sarah Brett-Smith, Susan Solomon, Christoph Wagner, Dagmar
Eichberger, Wim Blockmans, and Lofton Durham. I also thank those who
helped keep my scholarship alive at Reed – James Van Dyke, David Sachs,
Ariadna Garcia-Bryce, and William Diebold – and those who enlivened my
time at the Center for Advanced Study in the Visual Arts: Elizabeth Sears,
Daniela Bode, Carmen Bambach, Beatrice Kitzinger, Shira Brisman, Jason
LaFountain, Marden Fitzpatrick Nichols, Mary Beard, Julia Burke, Peter
Lukehart, and Elizabeth Cropper.
Special thanks are due to Jody Enders, for her inspirational publications
on medieval French theater; to Henry Turner, for insisting that I contribute
the essay “Stage” to his volume; to Kathryn Smith, for years of conversations, advice, and careful editing; to Susan Boynton, for always making me
feel like a medievalist but still helping me with Latin; to Carolyn Rouse, for
encouraging me to take my time; to Alexandra Heerdt, for the basics;
to Carla Yanni, for stepping in at the right moment; to the memory
of Graham Runnalls, in recognition of his scholarly legacy and model of
collaboration; to James Marrow, for generously sharing a “scoop”; to
Pascale Charron, for many hours spent pouring over the Arras manuscript;
to Christopher Wood, whose comments and enthusiasm energized the
project at several key junctures; to Anne D. Hedeman, for her confidence
in my work from the start, and for a stimulating conversation with her
students at the University of Kansas; to my students in two Rutgers
seminars: Brenna Graham, Alexandra Venizelos, Allison Perlman, Simon
Chemama, Catherine Kupiek, and Kira Maye; to Corneliu Dragomirescu,
Ljuba Milanovic, and Isabel Bartolome, for their research assistance; to
Charles Reeve, for his editorial wisdom; to Beatrice Rehl, who assured
me that people would read a book on fifteenth-century art even if it wasn’t
only about panel painting; to Larry Silver, for telling me it was ready; and
to the two anonymous readers, whose encouraging and critical comments
armed me for the long process of revision.
My final thanks go to a few people who were directly involved in the
evolution of this project. Helen Solterer read an entire draft and asked the right
questions during long walks in Paris. Annual conversations and frequent e-mail
exchanges with Mario Longtin helped shape many of the ideas behind this
book; I apologize to him for retaining the term “theatricality.” Sarah Betzer’s
wisdom, encouragement, and practicality got the book on track; her friendship
has helped me through each stage toward its completion. My parents’ contribution to my scholarship goes way back, but more recently I am grateful to my
father for his initial skepticism, which inspired me to reformulate the question
and come up with what I hope he will consider to be a more elegant proof,
www.cambridge.org
Laura Weigert
Frontmatter
More information
xx
ACKNOWLEDGMENTS
and to my mother for weekly dinners in Washington and for saving my early
forays into the Middle Ages.
I dedicate this book to Theo, Hector, and Fabien Capeilleres. Time spent
working on it took me away from them. Hector and Theo did not have a
choice; Fabien did. I thank him for the one he made.
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Front Matter - Assets - Cambridge

Transcription

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