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NOTES
Notes
1 Ruth Mazo Karras, Sexuality in Medieval Europe: Doing unto Others (London: Routledge, 2017), 100.
2 For more on this terminology of social interaction, see Raymond Williams, “Dominant, Residual, and Emergent,” in Marxism and Literature (New York: Oxford University Press, 1977), 121–27.
3 Studies of medieval traces of use-wear are indebted to the work of Kathryn M. Rudy, who pioneered the use of the densitometer to measure the grime that original readers deposited in their books. Her article “Kissing Images, Unfurling Rolls, Measuring Wounds, Sewing Badges and Carrying Talismans: Considering Some Harley Manuscripts through the Physical Rituals They Reveal,” Electronic British Library Journal (2011), article 5, is particularly relevant to this article and appears as a source throughout the text. Rudy’s article, “Dirty Books: Quantifying Patterns of Use in Medieval Manuscripts Using a Densitometer,” Journal of Historians of Netherlandish Art 2, nos. 1–2 (Summer 2010), is also referenced when considering the general trace of manuscript use-wear.
4 Bill Burgwinkle, “Queer Theory and the Middle Ages,” French Studies 60, no. 1 (Jan. 2006): 79.
5 C. M. Kauffmann, “The Iconographical Origins of the Miniatures,” in The Baths of Pozzuoli: A Study of Medieval Illuminations of Peter of Eboli’s Poem (London: William Clowes and Sons, 1959), 65.
6 The only images containing Christian iconography appear on folio 15r, depicting the bath of Tripergula, with a “Harrowing of Hell” scene on the bottom half of the image. This iconography is related to the name and place of the bath it depicts and thus is both a religious and cultural reference to the location and sacred nature of the bath.
7 Georgia Clarke, “Architecture, Languages and Style in Fifteenth-Century Italy,” Journal of the Warburg and Courtauld Institutes 71 (2008): 171.
8 C. M. Kauffmann, “Peter of Eboli and the Dedication of his Poem to Fredrick II,” in The Baths of Pozzuoli, 10–11.
9 Fikret K. Yegül, “The Thermo-Mineral Complex at Baiae and De balneis puteolanis,” The Art Bulletin 78, no. 1 (1996): 137. For more on extant architectural structures, see Jill Caskey’s excellent study, “Steam and ‘Sanitas’ in the Domestic Realm: Baths and Bathing in Southern Italy in the Middle Ages,” Journal of the Society of Architectural Historians 58, no. 2 (1999): 170–95.
10 Marcus Tullius Cicero, Cicero: Pro Marco Caelio (Cambridge, UK: Cambridge University Press, 2013), 15.35, also 16.38, 20.48–50.
11 Clement of Alexandria, Paedogogus: The Instructor, ed. Sir James Donaldson and Arthur Cleveland Coxe, trans. Alexander Roberts (1885).
12 Andrew Peterson, “Hammam,” in Dictionary of Islamic Architecture (London: Routledge, 1996), 107–8; and Laura Tohme, “Out of Antiquity: Umayyad Baths in Context,” (PhD diss., MIT, 2005).
13 The medical school at Salerno emerged in the ninth century, reviving the tradition of ancient (imperial) Roman schools. For more on the medieval medical school in Salerno, see Maurizio Bifulco, Magda Marasco, and Simona Pisanti, “Dietary Recommendations in the Medieval Medical School of Salerno,” American Journal of Preventive Medicine 35, no. 6 (2008): 602–3; Jacalyn Duffin, “Salerno, Saints, and Sutton’s Law: On the Origin of Europe’s ‘First’ Medical School,” Medical Hypotheses 73, no. 2 (2009): 265–67; and Paul Oskar Kristeller, “The School of Salerno: Its Development and Its Contribution to the History of Learning,” Bulletin of the History of Medicine 17, no. 2 (1945): 138–94.
14 Raymond J. Clark, “Peter of Eboli, ‘De balneis Puteolanis’: Manuscripts from the Aragonese Scriptorium in Naples,” Traditio 45 (1990): 380. Kauffmann, “Peter of Eboli,” 9.
15 Kauffmann, “Peter of Eboli,” 11.
16 Kauffmann, “Peter of Eboli,” 12. Folio 15r of the Morgan Library and Museum’s MS G.74 contains the only depiction of Christian imagery in the manuscript.
17 Alessandro Nova, “Folengo and Romanino: The Questione della Lingua and Its Eccentric Trends,” The Art Bulletin 76 (1994): 679.
18 The other two manuscripts with dedication images are the Paris manuscript made around 1392—De balneis puteolanis, “Présentation du livre,” Bibliothèque nationale de France, Français 1313, folio 32, Paris—and the Rome manuscript made between 1326 and 1375: De balneis Puteolanis, “Dedication,” Ross. 379, folio 48, Biblioteca Apostolica Vaticana, Vatican City.
19 I have identified the two divergent styles in MS G. 74 and have termed them the Primary and Revisionist programs. I hope to have made a convincing argument for two separate moments of artistic intervention by the end of this article.
20 Charles Ryskamp, ed., Twenty-First Report to the Fellows of the Pierpont Morgan Library, 1984–1986 (New York: Morgan Library, 1989), 107–8.
21 Rudy, “Dirty Books,” 1.
22 “The individual bather is usually pointing to the diseased part of his body, or else carrying out the instructions of the text.” Kauffmann, “The Iconographical Origins,” 55.
23 Sherry Lindquist. “The Meanings of Nudity in Medieval Art: An Introduction,” in The Meanings of Nudity in Medieval Art (Farnham, UK: Ashgate: 2012), 2–3.
24 Nova, “Folengo and Romanino,” 679.
25 Kenneth Clark, The Nude: A Study in Ideal Form (New York: Pantheon Books, 1956), 301–3.
26 Suzanne Lewis, “Introduction: Medieval Bodies: Problems of Ambivalence and Paradox,” in Naked before God: Uncovering the Body in Anglo-Saxon England, ed. Jonathan Wilcox and Benjamin Withers (Morgantown: West Virginia University Press, 2003), 18.
27 Rudy, “Dirty Books,” 1.
28 Rudy, “Patterns of Desire,” 327–38.
29 Rudy, “Patterns of Desire,” 329.
30 There are instances of retouching at least on folios 2r, 4r (possibly in the black lines), 10r, 11r, 19r, 22r, 25r, 29r, 31r, and in the dedication miniature on 32r. It is possible that all of the heavy black lines over figures are later additions to the primary section. Often, these black lines seem to “correct” the ambiguous lines painted by the primary artist, creating a set of gender types. This can be seen, for example, in folio 19r, which depicts the Salviana where a group of ostensibly female figures bathe under a cupola. The frontal figures display the clearest exaggeration of gendered features. The soft lines of the primary artist are clear; they indicate a close hip-to-waist ratio that the black outline, possibly a retouched mark, exaggerates in all three of the frontal figures by tucking the contour inward at the waist and swooping outward at the hip, creating three curving, pear-shaped bodies.
31 Kauffmann, “Peter of Eboli.”
32 Michael Hanly, “An Edition of Richard Eudes’s French Translation of Pietro Da Eboli,” Traditio 51 (1996): 225–55. Richard Eudes dedicates his translation to Louis II of Anjou and claims to have undertaken the task of translation in 1392, hence the Bibliothèque nationale de France dating the manuscript to 1392. Pozzuoli was captured by Louis II between 1390 and 1391, and this may have been the occasion for the translation.
33 Significantly, the books depicted in the Paris manuscript dedication miniature are blank.
34 Anne D. Hedeman, “Performing Documents and Documenting Performance in the Process de Robert d’Artois (BnF, MS fr. 18437) and Charles V’s Grandes chronicles de France (BnF, MS fr. 2813),” in The Social Life of Illumination: Manuscripts, Images, and Communities in the Late Middle Ages, ed. Joyce Coleman, Mark Kruse, and Kathryn Smith, Medieval Texts and Cultures of Northern Europe 21 (Turnhout, Belgium: Brepols, 2013), 350.
35 Joyce Coleman, “The First Presentation Miniature in an English-Language Manuscript,” in The Social Life of Illumination (Turnhout, Belgium: Brepols, 2013), 407.
36 Caroline Walker Bynum, “Viewer Response,” in Christian Materiality (Cambridge, MA: MIT Press, 2011), 65.
37 Lindquist, “The Meanings of Nudity,” 2.
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Kristen N. Racaniello
Kristen Racaniello received an MA in medieval art history and a certificate in curatorial studies from Hunter College, CUNY, in 2017. Her master’s thesis is entitled “The Shrine System: Votive Culture and Cult Sculpture, Enshrining Space in 11th- to 13th-Century France.” She is currently pursuing a PhD in medieval art history at the Graduate Center, CUNY, along with a certificate in medieval studies. Racaniello teaches art history at Queens College and works at Les Enluminures gallery, which specializes in medieval and Renaissance manuscripts and miniature paintings along with small-scale sculpture, rings, and jewelry of the same periods. Racaniello also curates emerging contemporary artists for Field Projects gallery. Racaniello’s reviews and articles have appeared in various contemporary magazines, including Art Papers, Field Magazine, and the Brooklyn Rail. During the International Congress on Medieval Studies at Kalamazoo in the spring of 2019, she presented a lecture entitled “Opulent Accretion: Collecting, Editing and Compiling the Cult of Sainte Foy at Conques.”