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himself with small souls represented as children in his cloak, or held in a napkin in the same way as in the alabasters. By "about the early fourteenth century" such images ceased to be "theologically acceptable", though it seems this news had not reached
Cornwall by the early 16th century, when a
172:
Although no examples of the Bosom of
Abraham Trinity have survived in other media, they probably once existed. English alabasters were exported across Europe and have survived in relatively large numbers on the Continent, especially France, while other publicly displayed artistic media from the
177:. The English alabaster industry is a rather unlikely place for such a bold iconographic innovation in contemporary terms, since it concentrated on turning out large numbers of standard figures and sets of panels that closely followed more high-status forms of art in their iconography.
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kneel beside God's feet; they are at an intermediate scale between God and the souls. The
Burrell figure, dated as 14th century, also has nine "souls" but the figures themselves are apparently restored; God holds an end of the napkin in either hand.
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panels. The Burrel statue is 89 cm tall, and the Boston one 95 cm. The panels are presumably the usual size for such works, typically 40 x 25 cm, perhaps larger if they are the central panel in an
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icons, she holds a small "veil" in her hands in a similar gesture to the
Burrell figure, but this represents the vision of a Byzantine saint, where she spread her veil over the world as a protection.
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139:, a figure usually described as "Synagogue", of youngish appearance with closed eyes, holds a group, with Moses carrying the Tablets above the others, held in the large figure's folded arms.
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sculpture, of which only twelve examples are known to have survived, although there were undoubtedly many more made. They adapt an earlier convention where a figure of
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In the Boston figure, dated 1420–50, nine "souls" are seen, in two rows, with a king and bishop in the centre of the top row, distinguishable by their crown and
387:, Proceedings of the 1986 Harlaxton Symposium: England in the Fifteenth Century, edited by Daniel Williams, pp. 273–295, Paul Watkins Publishing, Donington.
89:. The napkin is not held by God, whose two hands are raised in a blessing gesture; it seems tied around the souls and to rest on God's lap. Male and female
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270:, p. 2 and 383–4, English trans of 3rd edn, 1913, Collins, London (and many other editions). Mâle mentions similar compositions at
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61:" type of the Trinity, a group of tiny figures are seen in a cloth or "napkin" held or supported between the hands of
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65:. These represent the souls of the saved. There are five examples of free-standing statues known, in the
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164:, a standing Mary spreads her cloak wide, sheltering a crowd of figures, representing the living. In the
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There were earlier images, common in the great French Gothic cathedrals of the 13th century, illustrating
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icons, though these are not necessarily direct influences. It was probably associated with the feast of
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In
Hildburgh, op cit. Hildburgh's collection is now in the Victoria and Albert Museum.
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stained glass
Abraham with a napkin of souls was installed in the parish church at
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himself held tiny figures of souls in a cloth between his hands representing the
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holding little figures of souls in a cloth, as angels bring additional figures.
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group. Both terms for the subject are the invention of modern art historians.
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354:
Iconographical
Peculiarities in English Medieval Alabaster Carvings. Part One
224:, p. 514–515, Royal Academy/Weidenfeld & Nicolson, London 1987
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The Gothic Image, Religious Art in France of the
Thirteenth Century
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Ramsay, op cit. Illustrated in Ramsay/Alexander & Binski op cit
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184:, the leading authority on, and collector of, English alabasters.
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The Bosom of
Abraham Trinity: A Late Medieval All Saints Image
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Nigel Ramsay in: Jonathan
Alexander & Paul Binski (eds),
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Age of Chivalry, Art in Plantagenet England, 1200–1400
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The type was first published in 1933 by the art historian
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In addition, the theme combines elements of the Western
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In a detached miniature of about 1150, from a work of
160:, and used on altars with this dedication. In the
361:, Vol. 44, No. 1 (Mar., 1933), pp. 32–56.
254:Ramsay, who is not wholly clear on this point.
326:, p. 282 (with illustration), 1993, Yale UP,
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173:period have mostly been destroyed since the
342:Ramsay, op cit. Sheingorn is of this view.
324:The Pictorial arts of the West, 800-1200
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127:. See below for links to images of the
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426:Sculptures of Hebrew Bible people
123:English alabaster statue of the
431:Cultural depictions of Abraham
57:In a composition showing the "
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305:St Neot parish church website
204:of the early 16th century,
71:Museum of Fine Arts, Boston
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44:English medieval alabaster
73:and elsewhere, and seven
129:Bosom of Abraham Trinity
32:Bosom of Abraham Trinity
310:August 7, 2008, at the
69:Museum in Glasgow, the
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175:Protestant Reformation
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411:Christian iconography
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42:apparently unique to
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182:Walter Leo Hildburgh
34:, also known as the
357:, W. L. Hildburgh,
276:Notre Dame de Paris
137:Hildegard of Bingen
383:Pamela Sheingorn;
280:Chartres Cathedral
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110:(picture below).
67:Burrell Collection
36:Trinity with souls
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416:Gothic sculptures
284:Bourges Cathedral
206:St Neot, Cornwall
108:St Neot, Cornwall
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378:Further reading
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322:Dodwell, C.R.;
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312:Wayback Machine
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162:Virgin of Mercy
145:Virgin of Mercy
120:Throne of Mercy
59:Throne of Mercy
25:Reims Cathedral
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38:, is a rare
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401:English art
75:high relief
40:iconography
406:Gothic art
395:Categories
264:Émile Mâle
157:All Saints
95:banderoles
80:altarpiece
421:Alabaster
359:Folklore
308:Archived
125:Trinity
103:Abraham
48:Abraham
21:Abraham
351:JSTOR
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166:Pokrov
151:Pokrov
188:Notes
131:type.
93:with
87:mitre
328:ISBN
196:The
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30:The
397::
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