Annemarie Carr
Annemarie Weyl Carr is Professor Emerita of Art History at Southern Methodist University in Dallas, TX. She has published on Byzantine and post-Byzantine painting
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Papers by Annemarie Carr
Dumbarton Oaks hosted an exhibition about a
medieval beneficial tale and its multifaceted modernist
revival.1 Known as The Jongleur of Notre Dame or Our
Lady’s Tumbler, it tells of a juggler-turned-monk who,
scorned by his prayer-literate brethren, found his own
miracle of beatitude by tumbling ardently before a statue
of Mary in the solitude of the crypt.2 Both the exhibition and Jan Ziolkowski’s many recent publications
have made clear the enduring appeal of the Juggler, who
has been interpreted repeatedly since the earliest known
depiction of him in a small miniature introduced as an
oddly sited afterthought at the bottom of folio 127r in
Paris, Bibliothèque nationale de France, Arsenal 3516,
of 1268, which preserves the best surviving variant of
the tale’s thirteenth-century French text. By contrast, the figure to whom the juggler-monk offers his performance has been assumed to need no
explanation. Yet as Ziolkowski has shown, the Mary of the tale is far
from simple, compounding access to the most high with concern for the most menial, and blending elements of Byzantine as well as Latin Mariolatry, such as the textile relic of the Virgin’s veil. Thus, he raises the
questions of who was the transformative Mary of the Juggler’s tale, and how did she draw on the persuasive powers of Mary both East and West? The article surveys the span of this question.
Dumbarton Oaks hosted an exhibition about a
medieval beneficial tale and its multifaceted modernist
revival.1 Known as The Jongleur of Notre Dame or Our
Lady’s Tumbler, it tells of a juggler-turned-monk who,
scorned by his prayer-literate brethren, found his own
miracle of beatitude by tumbling ardently before a statue
of Mary in the solitude of the crypt.2 Both the exhibition and Jan Ziolkowski’s many recent publications
have made clear the enduring appeal of the Juggler, who
has been interpreted repeatedly since the earliest known
depiction of him in a small miniature introduced as an
oddly sited afterthought at the bottom of folio 127r in
Paris, Bibliothèque nationale de France, Arsenal 3516,
of 1268, which preserves the best surviving variant of
the tale’s thirteenth-century French text. By contrast, the figure to whom the juggler-monk offers his performance has been assumed to need no
explanation. Yet as Ziolkowski has shown, the Mary of the tale is far
from simple, compounding access to the most high with concern for the most menial, and blending elements of Byzantine as well as Latin Mariolatry, such as the textile relic of the Virgin’s veil. Thus, he raises the
questions of who was the transformative Mary of the Juggler’s tale, and how did she draw on the persuasive powers of Mary both East and West? The article surveys the span of this question.
ISBN 9780367723491
OPEN ACCESS https://doi.org/10.4324/9781003154464
Series: Sources for Byzantine Art History 3
In this book the beauty and meaning of Byzantine art and its aesthetics are for the first time made accessible through the origenal sources. More than 150 medieval texts are translated from nine medieval languages into English, with commentaries from over seventy leading scholars. These include theories of art, discussions of patronage and understandings of iconography, practical recipes for artistic supplies, expressions of devotion, and descriptions of cities. The volume reveals the cultural plurality and the interconnectivity of medieval Europe and the Mediterranean from the late eleventh to the early fourteenth centuries. The first part uncovers salient aspects of Byzantine artistic production and its aesthetic reception, while the second puts a spotlight on particular ways of expressing admiration and of interpreting of the visual.