The Virgin Mary and Sainte-Foy: Chant and the Original Design of the West Façade at Conques

Pentcheva, Bissera V.

doi:10.3390/rel13121229

Cited by 2 publications

(9 citation statements)

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“…443 and MS Lat. 1204), we do not possess other liturgical MSS from this monastery that record the annual liturgical cycle (Huglo 1971(Huglo , 2009Pentcheva 2021bPentcheva , 2022Pentcheva , 2023. In order to understand how major feasts were celebrated at Conques, we need to draw on the examples from St.…”

Section: The Music Of Salve Porta At Conquesmentioning

confidence: 99%

“…Here the saved rise up from their squatting positions; the second figure from the left is likely Sainte-Foy, pivoting to join the procession towards the Savior, led by Mary (Bonne 1984, pp. 226-28;Pentcheva 2023). Sainte-Foy is at the beginning of the spiral, closest to the mortals lying in their tombs.…”

Section: The Female Figure Behind Mary and The Sainte-foy The Patron ...mentioning

confidence: 99%

“…The liturgy for the women saints is modelled after the Assumption of Mary, celebrating the saint as she rises and gets accepted in the celestial courts (Grier 2006, pp. 103-5;Pentcheva 2023). The imitatio Mariae is the principle at work in the fashioning the virgin-martyr.…”

Section: Introductionmentioning

confidence: 99%

“…This special segment of the composition functions like a corner stone, supporting the narrative edifice and in fact, initiating the dynamic of Salvation (Bonne 1984, pp. 243-51;Pentcheva 2023). Sainte-Foy's prayer gives rise to a spiral; it starts with the rise of the dead from their tombs, the weighing of their good and evil actions, and the entry of some into paradise; and then the advance of the procession of the elect on the upper register led by Mary (Bonne 1984, pp.…”

Section: Introductionmentioning

confidence: 99%

“…Sainte-Foy's prayer gives rise to a spiral; it starts with the rise of the dead from their tombs, the weighing of their good and evil actions, and the entry of some into paradise; and then the advance of the procession of the elect on the upper register led by Mary (Bonne 1984, pp. 226-28;Franze 2021;Pentcheva 2023). As Sainte-Foy lifts from her throne and falls in proskynesis, she beseeches the Lord on behalf of her servants.…”

Section: Introductionmentioning

confidence: 99%

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The Virgin Mary in the Middle Ages and the Renaissance: Devotion and Iconography

2023

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Commons Attribution (CC BY) license, which allows users to download, copy and build upon published articles, as long as the author and publisher are properly credited, which ensures maximum dissemination and a wider impact of our publications. Preface to "The Virgin Mary in the Middle Ages and the Renaissance: Devotion and Iconography"As its main scope, this reprint investigates some of the many ways in which Christianity venerated and performed the Virgin Mary in the Middle Ages and the Renaissance. Our motivations for writing this scientific work derive from the conviction that there is still much to rigorously document the various issues related to the Virgin Mary in the period under study. We believe that this book is a good response to this motivation. The reprint is especially addressed to scholars and researchers in religious issues, Christianity, Marian studies, medieval and Renaissance art and culture, as well as to everyone interested in the development of the societies and cultures of medieval and Renaissance Europe. The reprint, written by fifteen researchers in various areas of the Arts and Humanities, consists of two parts. In the first one, "Medieval and Renaissance Marian Iconography", seven papers deal with several iconographic manifestations by which Christians made their devotion to Mary visible in pictorial or sculptural forms. The second part, "Medieval and Renaissance Marian Devotion", six papers analyze some ways through which Christians rendered worship and devotion to the Virgin Mary during this long period. We take the opportunity to sincerely thank the managers and technicians of the Editorial Office of Religions for their valuable help in the difficult task of improving the content and form of each paper incorporated in this reprint.

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Section: The Music Of Salve Porta At Conquesmentioning

confidence: 99%

Section: The Female Figure Behind Mary and The Sainte-foy The Patron ...mentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

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The Virgin Mary in the Middle Ages and the Renaissance: Devotion and Iconography

2023

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The Medieval Chants for Ste Foy Considered through the Prism of Their Nocturnal Performance

Parkes

2023

Arts

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The medieval cult of Ste Foy inspired several sets of liturgical chants, or historiae, including at least two that were probably made for use at Conques in the early eleventh century. Whilst it is widely understood that historia chants belonged within the liturgy of the Divine Office, this article explores the significance of two lesser-known parameters in their performance: their use during the nocturnal hours, above all during the lengthy service known as the Night Office, and their use alongside various modes of sensory augmentation that were employed on major feast days. By exploring these parameters as they might have applied to the medieval Abbey of Conques in the context of Ste Foy’s feast—using sources from Fleury and Saint-Bénigne, Dijon, wherever local evidence is lacking—the article draws attention to the ways in which historiae intersected with non-verbal modes of creativity within the performative frame of the Office liturgy. Ultimately, it argues for a more consciously multidisciplinary approach to this historically ‘musical’ genre.

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The Virgin Mary and Sainte-Foy: Chant and the Original Design of the West Façade at Conques

Cited by 2 publications

References 23 publications

The Virgin Mary in the Middle Ages and the Renaissance: Devotion and Iconography

The Virgin Mary in the Middle Ages and the Renaissance: Devotion and Iconography

The Medieval Chants for Ste Foy Considered through the Prism of Their Nocturnal Performance

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