Hedwig Codex

The Silesian manuscript, otherwise known as the Hedwig Codex, and also known as the Codex of Lubin (Polish: Kodeks lubiński),[1] is a medieval illuminated manuscript from the mid-14th century. Through its sixty-one colored drawings and inscriptions in "comics' style" it tells the life story of Saint Hedwig of Silesia, spouse of the Silesian Piast duke Henry the Bearded, her family, and events related to her canonization (1267). The Hedwig Codex details both the married life of the Hedwig of Silesia and her life within the Cistercian nunnery of Trebnitz.[2] This art piece, a fine example of Central European Gothic art, is valued especially for its depictions of the Tartar invasion of Europe (Silesia).

Hedwig Codex
Saint Hedwig of Silesia venerated by Duke Louis and his consort Agnes (fol. 12v)
Also known asVita beatae Hedwigis
Typeilluminated manuscript
Date1353
Place of originSilesia
Language(s)Latin
Author(s)Nicolaus of Prussia
Illuminated byCourt workshop of Duke Louis I of Legnica
PatronLouis I of Brzeg and Agnes of Głogów-Żagań
MaterialTempera colors, colored washes, and ink on parchment bound between wood boards covered with red-stained pigskin
Size13 7/16 x 9 3/4 in.
Previously keptCollegiate church of St Hedwig, Brzeg

History

Medieval Commission

The Hedwig Codex was commissioned by Ludwig I of Liegnitz with his wife, Agnes of Glogau.[3] Ludwig I of Liegnitz was also Saint Hedwig's great-great-grandson.[4] In spite of the manuscript being made a century after her demise, the codex has come to substitute for the holy saint, having a nearly relic-like status.[4] The commission of the manuscript helped further establish a cult in Silesia that revered Saint Hedwig.[3]

Based on Hedwig's hagiography (Latin: Vita beatae Hedwigis), the illustrated codex was produced in 1353 at the court workshop of Hedwig's descendant, Duke Louis I of Legnica, in Lubin. Duke Louis, the vassal of the Bohemian king and from mother's side his relative, while from his father's side a member of the branch of the Polish royal Piast dynasty, wanted through this opus to contribute to celebration of his famous ancestor and family. The writer (or even illuminator?) of the manuscript was certain Nicolaus of Prussia (Nycolaus Pruzie).[5]

Sixteenth and Seventeenth Centuries

Upon the Protestant Reformation and the dissolution-secularization of the Brzeg collegiate chapter in 1534,[6] the codex was moved to local gymnasium. During the devastating events of the Thirty Years' War the book was transferred to the town of Ostrov (Schlackenwerth) in western Bohemia (this country and Silesia were part of the same Crown at that time) where was subsequently, after 1671, kept at Piarist monastery.

Modern Provenance

Later, it was purchased by Jewish Gutmann family from Vienna. In 1938 Nazi authorities in Austria confiscated Gutmanns' art collection, yet previous owners regained the manuscript in 1947 and passed with it to Canada.[1] For 19 years (1964–83) the manuscript had been returned to Europe again[1] – during that time a facsimile edition, edited by the German art historian Wolfgang Braunfels, was made and published (1972) in Berlin as Der Hedwigs-Codex von 1353 – but finally, the J. Paul Getty Trust from USA has purchased it in 1983. The original manuscript is today part of the Getty Museum collection under the signature Ms. Ludwig XI 7.

Duke Ludwig left the Hedwig Codex to Saint Hedwig in Brzeg, Poland.[3] The manuscript was in Poland for about two-hundred and fifty years. The Hedwig Codex was passed around through Bohemia royalty until its donation to the monastery in the Czech Republic.[3] Two Viennese art dealers got ahold of the manuscript in 1910 and sold it to philanthropist Ritter von Gutmann.[3] The manuscript was then sold to H.P. Kraus from New York City until it was acquired by the Ludwig Collection located in Cologne. Less than a decade later, the Hedwig Codex was purchased by the J. Paul Getty Museum located in Los Angeles, California.[3] The Hedwig Codex has been in thirty-six exhibitions since being in the J. Paul Getty Museum.[7]

St. Hedwig

Hedwig of Silesia married Henry, the future Duke of Silesia, at the age of twelve and had seven children.[8] She did not have much contact with her family, which was common for the upper aristocracy. When she became duchess, she only had contact with one member of her family, her brother Ekbert who was also the bishop-elect of Bamberg, Germany.[9] Hedwig became a widow upon the death of her husband, retreating to the Cistercian nunnery of Trebnitz that she and her husband, Henry, had founded in 1202.[2] Fourteen years later, Hedwig passed away, Hedwig of Silesia was canonized into a Saint.[3]

It was common for noble widows to retreat to a reputable convent in the medieval period.[2] Even though Hedwig retreated to a convent, she never took vows to enter the order formally, due to the fact that she valued her freedom outside and inside the convent.[2] Hedwig told her daughter Gertrude, who was the abbess of the convent, that she could not be officially bound to the order because she needed to look after the needs of Christ's poor in the world.[2] Hedwig wanted to follow the duties Christ designated to his apostles which in return would grant her eternal life.[2]

By the year 1300 in Silesia, people began referring to Hedwig as patron saint of Silesia.[10] Churches in Poland honored Hedwig by adding a feast day dedicated to her on their ceremonial calendars.[10] Due to the large number of Silesian Catholics, King Fredrick the Great commissioned a church for Hedwig in the year 1740, known as St. Hedwig's Cathedrallocated in Berlin, Germany.[10]

Purpose

The purpose of the creation of the Hedwig Codex was to celebrate and codify the canonization of Saint Hedwig of Silesia and to claim what was important in her life and sanctity.[4] What interests art historians about the manuscript are its sixty-one tinted drawings which, unlike the text, were originals instead of copies.[4] While the Hedwig Codex details the Saint's life, it does not provide eyewitness statements of the saint, only of the patron.[4] The manuscript is meant to show the marital and penitential life of Saint Hedwig os Silesia.[2] She lived a life of humility that transferred over to the iconography of the manuscript portraying her through maternal imagery.[2] Saint Hedwig of Silesia was perceived as the mother of the poor and a source of comfort for widows and orphans.[2]

Description

Design

The manuscript has a total of 204 folios.[11] All of the drawings in the Hedwig Codex, with the exception of fol. 9v-12v, are included on single leaves.[4] The material that the manuscript is made out of it red-stained pigskin.[12] The manuscript uses tempera colors and is bounded in between wood boards.[12] Many of the illustrations in the Hedwig Codex have figures on the side to represent witnesses and their appearance also represents the readers.[4] By making the reader a proxy participant, the illustrations in the Hedwig Codex make the legend of Saint Hedwig of Silesia come to life.[4]

Text and Script

The manuscript has a total of 204 folios, 128 of which are only text.[11] The folios containing only text telling the story of Saint Hedwig of Silesia are known as vita maior and vita minor. The vita maior tells the long life of the Saint while the vita minor is shorter containing prayers, sermons, and about her canonization.[11] The manuscript has a large text script in order to make up for the large size of the manuscript.[11] The manuscript has twenty-four lines on each page which makes it simply legible. Since the manuscript was written by only one scribe, Nycolaus Pruzia, it's an indicator of the conceptual unity of the manuscript.[4]

Interpretation

The Hedwig Codex shows Saint Hedwig of Silesia praying, performing miracles, and giving back to those in need.[3] The manuscript is seen as a symbol of female devotion while also sharing the life of the duchess of Silesia. At the beginning of the manuscript, Hedwig's family tree is depicted in folio 9v and folio 10r, which can be interpreted as a symbol of the political climate the country was enduring.[3] Ludwig I who commissioned the codex, omitted Anna of Svídnická who was Hedwig's great-great-great-granddaughter and Ludwig's cousin, as well as St. Elizabeth of Hungary, Hedwig's niece, who was the most famous of the family saints.[13] Since Elizabeth died at an earlier age than Hedwig and had only one daughter as opposed to the seven children Hedwig birthed, Ludwig I wanted to legitimize himself through Hedwig and prove his direct Piast lineage.[3]

Since its arrival to the J. Paul Getty Museum, art historians, like Jaroslav Folda and Jeffrey Hamburger, have noted that this manuscript is an exemplar of Bohemian book illumination and a testament to woman's religious devotion in the Middle Ages.[3] Jeffrey Hamburger gives an interpretation of the manuscript as evidence of the developing status of art within monastic context.[3]

Illuminations

In fol. 10v of the manuscript, Saint Hedwig is depicted with her family.[14] This folio is anachronistic since the people depicted were already deceased, including Saint Hedwig's parents, making the illustration an impossibility.[14]

Ms. Ludwig XI 7 (83.MN.126), fol. 10v

The iconography makes the image of Hedwig of Silesia look like a cult image.[4] In fol. 12v, Saint Hedwig appears wearing a grey cloak while clutching the ivory statue of Virgin and child and a pair of shoes on her hands which she carried in case she met someone who was of importance to wear shoes for.[2] A part of Hedwig's legend includes her leaving trails of blood coming from her feet due to her walking barefoot as an imitation of Christ and his apostles and the cold Polish winter.[4] In fol. 12v., Duke Ludwig I of Liegnitz and his wife Agnes are miniature compared to Hedwig's full-page frontispiece. The ivory statue of Virgin and child that Saint Hedwig is holding in fol. 12v represents her cradling Duke Henry, her deceased son who died fighting the Tartar invaders.[13] Unlike the Virgin Mary, Hedwig is shown without a crown, and instead, is given a red and white halo.[4] Saint Hedwig not having a crown symbolizes her humility.[4]

Sources/Resources/Further
  • Alvis, R. (2013). The Modern Lives of a Medieval Saint: The Cult of St. Hedwig in Twentieth-Century Germany. German Studies Review, 36(1), 1-20.
  • Hamburger, J. F. (January 1, 2009). Representations of reading - reading representations: The female reader from the 'Hedwig Codex' to Châtillon's 'Léopoldine au Livre d'Heures'. Lesende Frau / Hrsg. Von Gabriela Signori, 177-239.
  • Holladay, J. A. (2019). Genealogy and the politics of representation in the high and late Middle Ages.
  • Jung, J. E. (January 1, 2010). The tactile and the visionary: Notes on the place of sculpture in the Medieval religious imagination. Looking Beyond / Index of Christian Art, Department of Art Et Archaeology, Princeton University. Ed. by Colum Hourihane, 203-240.
  • Lyon, J. (2013). Princely Brothers and Sisters: The Sibling Bond in German Politics, 1100-1250 (UPCC book collections on Project MUSE). Ithaca: Cornell University Press.
  • McCann, Allison. (2020) "Women's Books? Gendered Piety and Patronage in Late Medieval Bohemian Illuminated Codices". http://d-scholarship.pitt.edu/37952/ , pp. 85–96.
  • Walter, K. C. (2018). The profession of widowhood: Widows, pastoral care, and medieval models of holiness.
  • Wolfgang Braunfels, ed., Der Hedwigs-Codex von 1353: Sammlung Ludwig, 2 volumes (Berlin, 1972)
  • Jung, Jacqueline E. (2010). "The Tactile and the Visionary: Notes on the Place of Sculpture in the Medieval Religious Imagination" (PDF). In Hourihane, Colum (ed.). Looking Beyond: Visions, Dreams, and Insights in Medieval Art and History. Princeton: Index of Christian Art. pp. 203–40. ISBN 978-0976820284. Retrieved 2017-10-08.
  • Velislaus Bible (1349) – manuscript from neighboring Bohemia, very similar in terms of letters, layout of folios and illuminations' style
  • Vita beatae Hedwigis – at the Getty Museum website
  • J. Paul Getty Trust. (2012). Cultural Objects Name Authority OnlineElektronische Ressource. Los Angeles, Calif: J. Paul Getty Trust. Retrieved from: http://vocab.getty.edu/page/cona/700002319

Notes
  1. Codex of Lubin: From Lubin to Malibu – info from the exhibition "7 Wonders of Wrocław and Lower Silesia" (2016)
  2. Walter, Katherine Clark (2018-09-21). The Profession of Widowhood: Widows, Pastoral Care, and Medieval Models of Holiness. CUA Press. ISBN 978-0-8132-3019-1.
  3. McCann, Allison (2020-01-16). "Women's Books? Gendered Piety and Patronage in Late Medieval Bohemian Illuminated Codices". d-scholarship.pitt.edu. Retrieved 2020-03-24.
  4. Hamburger, Jeffrey. "Representations of Reading - Reading Representations: The Female Reader from the Hedwig Codex to Chatillon's Leopoldine au Livre d'Heures". Cite journal requires |journal= (help)
  5. A colophon (closing inscription) on fol. 148r informs: Scripta est [legenda] autem per manus Nycolai Pruzie foris civitatem Lubyn ("Moreover, [the legend] was written by hands of ...").
  6. More to the history of this institution in: Bernhofen, Georg (1939). "Das Kollegiatstift zu Brieg in seiner persönlichen Zusammensetzung von den Anfängen (1369) bis zur Säkularisation (1534)" [Brzeg's Collegiate Chapter in its Personal Composition from the Beginning until Secularization]. Historische Studien (in German) (356).
  7. "Vita beatae Hedwigis (Getty Museum)". The J. Paul Getty in Los Angeles. Retrieved 2020-03-24.
  8. "Hedwig". Oxford Reference. Retrieved 2020-03-24.
  9. Lyon, Jonathan Reed, author. (18 December 2012). Princely brothers and sisters : the sibling bond in German politics, 1100-1250. ISBN 978-0-8014-6785-1. OCLC 967267414.CS1 maint: multiple names: authors list (link)
  10. Alvis, Robert E. (2013). "The Modern Lives of a Medieval Saint: The Cult of St. Hedwig in Twentieth-Century Germany". German Studies Review. 36 (1): 1–20. ISSN 0149-7952. JSTOR 43555289.
  11. Holladay, Joan A. (2019-01-17). Visualizing Ancestry in the High and Late Middle Ages. Cambridge University Press. ISBN 978-1-108-47018-6.
  12. Getty Trust, J. Paul. "Cultural Objects Names Authority® Full Record Display". Getty.edu.
  13. Jung, Jacqueline E. (2010). The tactile and the visionary : notes on the place of sculpture in the Medieval religious imagination. OCLC 887074556.
  14. "The Family of Berthold VI; The Marriage of Saint Hedwig and Heinrich (Getty Museum)". The J. Paul Getty in Los Angeles. Retrieved 2020-03-24.



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