Search results

1

The Concordia Novi Et Veteris Testamenti in its Juxtaposition of Illustrations: the Hitting of the Hammers of Tubalcain and the Hammering of the Nails into the Hands and Feet of Christ During the Crucifixione

100%

Kobielus S.

Roczniki Humanistyczne

|

2018

|

vol. 66

|

issue 4: Historia sztuki - Selected Papers in English

37-61

EN

The Polish version of the article was published in “Roczniki Humanistyczne,” vol. 61 (2013), issue 4. In the Gospels relating the passion of Christ, there is no description of the act of nailing Him to the cross, but there are clearly other biblical testimonies that nails were used for the crucifixion. In many representations, parallel to the nailing of the members of Christ to the cross or raising it with His body, we find placed alongside it, the scene of hammering iron with hammers by Tubal-Kain for the purpose of drawing out the appropriate tones. He hits on the anvil, while Jabal makes a notation of the tones. With this type of illustration, the sound of the hammers during the crucifixion of Christ meets with the sound of the hammers hitting the anvil. Hence, painting and music meet in the iconography of the crucifixion of Christ. It was a sort of Concordia Novi et Veteris Testamenti. In showing this prefiguration, there is also a going back to the history of Pythagoras. It was also an example for the functioning in the Middle Ages, and still later in the Renaissance, of the formulation of the Concordia divi Moysi et divini Platonis.

2

Personifikacje cnót w dramacie liturgicznym Ordo Virtutum Hildegardy z Bingen i na romańskich kolumnach kościoła św. Trójcy w Strzelnie

100%

Wiąckiewicz (OSB) S. D. J.

Kwartalnik Młodych Muzykologów UJ

|

2016

|

issue 4(31)

24-56

EN

Composed by Hildegard of Bingen in the Rhine-Hessen region in the middle of the 12th century, the liturgical drama Ordo Virtutum depicts a symbolic internal struggle for the fate of the soul between the virtues and the devil and is originally transposed into the language of low-relief found in the church owned by the Canonesses Nuns conventn in Strzelno, a little town situated on the border of Kujawy and Wielkopolska regions in Poland. The aim of this article is to present how two visions of the same concept complement each other in an intriguing way, although they are expressed by two separate, yet merging languages of music linked with the text and low relief. Most of the musical and literary personifications of both Ordo Virtutum and low reliefs featuring figures in Strzelno are still comprehensible, despite being created eight centuries ago. They introduce the audience to the world of medieval sermons, theological treatises, lectures on ethics and moral theology. Both works show a holistic vision of the world, held by people of the medieval era. In that vision what is spiritual, mystical and elusive for the outward physical senses intertwines and is closely linked with what is tangible, material and directly perceptible. Hildegard’s music praised not only the works of God but also the virtues as deeply human attributes, linked with effort and choices of a free human being, capable of establishing a relationship with God. The column of virtues in Strzelno introduces to the sacred sphere a multitude of figures that become an icon of widely accessible perfection. It seems that both artists aimed at educating their audience as beauty was supposed to ennoble by giving the strength to the truth so that it could lead to good, also the ultimate good — God.

3

Kogo upamiętnia gotycki nagrobek biskupa w Chełmnie?

100%

Jurkowlaniec T.

Biuletyn Historii Sztuki

|

2013

|

vol. 75

|

issue 4

625-640

DE

In der ehemaligen Dominikanerkirche zu Kulm befindet sich eine gotische Grabplatte mit eingeritzter Darstellung eines Bischofs. Wegen ihres schlechten Erhaltungszustands ist die diese Darstellung einfassende Inschrift nur teilweise entziffert worden. Zudem wurde sein in der Inschrift genanntes Sterbedatum unterschiedlich interpretiert: als 1259, 1309 oder 1360. Seit den 80. Jahren des 19. Jhs stützten sich die Aussagen über das Grabmal hauptsächlich auf die Feststellungen Johann Heises, der meinte, dass es sich hierbei um ein Denkmal eines unbekannten Bischofs handele, der Mitglied des Dominikanerordens gewesen und 1360 verstorben sei. Diese Interpretation wurde bis in 70. Jahre des 20. Jahrhunderts wiederholt, obschon manche Forscher vermuteten, dass die Grabplatte dem Andenken eines anderen, früher verstorbenen Würdenträgers gegolten habe; dabei wurde meist der Name Heidenreich genannt, der Name des ersten Bischofs von Kulm (†1263). Teresa Mroczko identifizierte den Verstorbenen weiterhin als Heidenreich, doch verschob sie die Datierung der Grabplatte aufgrund ihrer stilistisch-formalen Eigenschaften auf das 13./14. Jh. Die von Mroczko vorgeschlagene Datierung wurde von Forschern diverser Disziplinen übernommen. Zuletzt gelang es, weitere Fragmente der undeutlichen Borteninschrift zulesen, darunter nicht zuletzt einen wesentlichen Teil der Titulatur des Verstorbenen, was es möglich machte, ihn zu identifizieren: + A(n)NO • D(omi)NI • M • CCC • LX (Leerstelle) • O(biit) • FR(ater) •/ I(o)h(ann)ES• DE • DIECO • DIGnA(…) • […………]• EP(iscopu)C • SCODRIen(sis) • ORDIN(is)• / PREDICATORU(m) DE PROUINCIA / • SAXONIE • IN • DIE • (Leerstelle) CUI(us) • An[I]MA • D(e)O • ET • B(ea)TE•uirGiNI • COMEND[ET(ur)] • A(men) Im Gebiet der heutigen Republik Polen war im Mittelalter nur ein einziger Geistlicher tätig, welcher den Titel eines Bischofs von Skodra führte. Dabei handelt es sich um den Dominikaner Johannes, dem die Bischofswürde von Papst Klemens VI. 1345 verliehen wurde. Es steht außer Zweifel, dass dieser Dominikaner Johannes, Bischof von Skodra, tätig in der Diözese Krakau und danach im Erzdiakonat Pomerellen der Diözese Leslau, identisch ist mit dem 1360 (oder eher in den Folgejahren) verstorbenen Johannes de Dieco (oder Diecea, Decia, Dietia, Dietsa = Diez); im kurtrierischen Gebiet, heute Rheinland-Pfalz), Bischof von Skodra, Ordensmitglied der Dominikaner der Provinz Sachsen, der mit dem Grabmal in der Kulmer Dominikanerkirche geehrt und vermutlich auch dort bestattet wurde. Die Grabplatte präsentiert die einfachste Variante des konventionellen Darstellungsschemas eines verstorbenen Bischofs (ohne Arkade, Wappen oder weiterer Zusatzmotive) und ist ein in künstlerischer Hinsicht wenig qualitätvolles und im kom¬plexen Bild der Sepulkralkunst des 14. Jahrhunderts im Deutschordensstaat Preußen vereinzeltes Werk. Darüber hinaus stellt sie einen kleinen, doch gewichtigen Beitrag zur Geschichte der Kirche im 14. Jahrhundert dar.

4

„Relikwiarzowy” program architektoniczny fary św. Katarzyny w Brodnicy

88%

Adamski J.

Studia Elbląskie

|

2015

|

vol. 16

109-121

EN

The article addresses the mural painting in Corpus Christi parish church in Pręgowo near Gdańsk (executed ca. 1350), uncovered and restored at the turn of 2008 and 2009. Here, the codified gothic image of the Last Judgement (Mt 25,31–46), was unexpectedly complemented with the motif of the bird placed in near the head of the man rising from the dead. The author interprets this motif by linking it with the bestiary of demons. Together with other species of animals, it featured in many works of Medieval art, especially the Romanesque monumental sculpture. The fundamental written source for these motifs was the Apocalypse of St. John, while iconographic models were codified by illustrators of Apocalypse-related manuscripts, which inspired the production of infinite richness of animal forms, both realand fantastic, often hybrid creatures. The author studied the Apocalyptic bestiary of evil (including the motifs of birds) many years ago – on the example of the Golden Portal in Malbork Castle (The Fifth and Sixth Angelic Trumpet, Ap 9,1–21), diss. published in 1968; and recently on the Gateway in Bierzgłowo Castle (The Faithful and True Rider, without the Vision of God’s Great Supper, Ap 19,117–18,21), in print. Both monuments of sculpture ofthe Teutonic Knights (last quarter of the 13th c.) the author defines as „un-majestic” compositions of the Last Judgement, different from the commonly executed „majestic” versions that included the dominant element of „Maiestas Domini” (Ap 4,1–9).

5

Ptaki w średniowiecznym dramacie końca świata. Z inspiracji malowidła ściennego, odkrytego w kościele Bożego Ciała w Pręgowie koło Gdańska

88%

Jakubowska B.

Studia Elbląskie

|

2015

|

vol. 16

109-121

EN

The article addresses the mural painting in Corpus Christi parish church in Pręgowo near Gdańsk (executed ca. 1350), uncovered and restored at the turn of 2008 and 2009. Here, the codified gothic image of the Last Judgement (Mt 25,31–46), was unexpectedly complemented with the motif of the bird placed in near the head of the man rising from the dead. The author interprets this motif by linking it with the bestiary of demons. Together with other species of animals, it featured in many works of Medieval art, especially the Romanesque monumental sculpture. The fundamental written source for these motifs was the Apocalypse of St. John, while iconographic models were codified by illustrators of Apocalypse-related manuscripts, which inspired the production of infinite richness of animal forms, both realand fantastic, often hybrid creatures. The author studied the Apocalyptic bestiary of evil (including the motifs of birds) many years ago – on the example of the Golden Portal in Malbork Castle (The Fifth and Sixth Angelic Trumpet, Ap 9,1–21), diss. published in 1968; and recently on the Gateway in Bierzgłowo Castle (The Faithful and True Rider, without the Vision of God’s Great Supper, Ap 19,117–18,21), in print. Both monuments of sculpture ofthe Teutonic Knights (last quarter of the 13th c.) the author defines as „un-majestic” compositions of the Last Judgement, different from the commonly executed „majestic” versions that included the dominant element of „Maiestas Domini” (Ap 4,1–9).

6

„Mentis oculos levavit”. Obrazowe aspekty mistyki Doroty z Mątów

75%

Jakubek-Raczkowska M.

Studia Elbląskie

|

2013

|

vol. 14

307-326

EN

The medieval iconography of Dorothy of Montau is exceptionally scanty. The oldest image of her is dating back to the late 15th century, and the possible reception of her visions in the art remains a hypothesis, despite of their creative suggestibility, that could have influenced the artistic creation. On the other hand, many of her visions reveal the dependence on earlier imagery sources, that with use of knowledge of artistic phenomena can be recognized. This is the task for art historian. Such research is of great potential, as the revelations of Dorothy include sensual aspect (characteristic of the Late-medieval feminine mysticism), sensitivity for pictorial details and evidences for her individual sense of beauty. The paper analyses visual aspects of Dorothy’s mysticism, above all basing on treatises of Johannes von Marienwerder: Liber de festis, Septililium, Vita latina. Discussed are types of revelations, their imagery elements and the way of their perception and description by the Prussian visionary. Considering those revelations against the background of sacral iconography demonstrates close associations between mystical experience and the experience of the image. It can be seen in the relations between the description of events, persons (appearance, attributes, garment), places, motifs and the popular iconography (Adoration of the Magi, Coronation of the Virgin etc.). The relationship between contemplation of the vision and the emotional reception of devotional images can be also reconstructed. The key for the interpretation of the sources and meaning of Dorothy’s visions is the consideration in context of scholastic epistemology and ars memorativa as well as from the point of view of anthropology of image (external image / sight – internal image / eye – mystic as medium). By this analysis the mental power and mnemonic function of religious imagery can be proved. The questions for character of revelations have to stay unanswered (supernatural mystical vision, appearing in the mind of visionary as the images that are easy to assimilate for her? Subjective realisation of the “dialogue with image” in her imagination through external images? Subconscious choice of those elements from the whole revelation, that were possible to recognize, understand and explain?). Thus, her religious experience, described using canonical sacral images, is a part of phenomenon of mutual relations of art and mysticism in the late Middle Ages.

7

Średniowieczne przedstawienia chrztu św. na ziemiach polskich

75%

Kliś Z.

Folia Historica Cracoviensia

|

1999

|

vol. 6

EN

The article discusses each of the phases of christening depicted in medieval images of the sacrament in Poland.

PL

Artykuł omawia poszczególne fazy chrztu świętego ukazane na średniowiecznych przedstawieniach tego sakramentu na ziemiach polskich.

8

Idea Paschy w sztuce średniowiecznej

75%

Tabor D.

Folia Historica Cracoviensia

|

2008

|

vol. 14

EN

Studies on medieval images of the life of Jesus Christ have so far focused either on the narrative perspective of the Christological cycle, presenting in a holistic and synthetic way the life and work of the Saviour, or isolated the Passion cycle revealing the suffering and death of Christ. However, in the Middle Ages there was a clear trend which focused on the events of last days of his life and events following his death. Such events are referred to as the Passover of Christ or the Paschal Mystery. This study is aimed not only to indicate sample presentations of the Passover but also attempts to interpret them.

PL

Badania nad średniowiecznymi przedstawieniami życia Chrystusa koncentrowały się bądź to na ujęciu narracyjnych cykli chrystologicznych, przedstawiających w sposób całościowy, syntetyczny życie i dzieło Zbawiciela, bądź to na wyodrębnieniu z nich cyklu pasyjnego, unaoczniającego Mękę i Śmierć Jezusa. Istnieje jednak w wiekach średnich wyraźny nurt myślowy, który wyodrębniał z cyklu życia Chrystusa sekwencje wydarzeń ostatnich dni jego życia oraz tego, co się wydarzyło po Jego śmierci. Chodzi tutaj o Paschę Chrystusa lub inaczej o Misterium Paschalne. Niniejsze opracowanie ma na celu nie tylko wskazania przykładowych realizacji paschalnych, ale podjęcie próby ich odczytania.

9

Kaplice czy kaplica? O zawiłych dziejach kaplic(y) św. Bartłomieja i św. Jadwigi w gdańskim kościele Najświętszej Maryi Panny i o ich znaczeniu dla badań nad średniowiecznymi elementami wystroju

75%

Grabowska-Lysenko A.

Zapiski Historyczne

|

2022

|

vol. 87

|

issue 1

27-62

EN

According to the findings of the research into the history of St. Mary’s Church in Gdańsk, in its eastern part, behind the main altar, three liturgical centres operated in the Middle Ages: the Chapels of the Holy Sepulchre and of St. Bartholomew, which divided the wide architectural space on the axis of the temple, as well as the Chapel of St. Hedwig, located to the south of them. In the latter, a set of wall paintings and a reredos have survived to the present day, the aspects of which have been analysed mainly in relation to the scanty information on the history of this chapel. The example of the decoration of a chapel referred to as ‘Chapel of St. Hedwig’ shows how important, from the point of view of historical and artistic research, it is to use written sources, both those contemporary to the created works of art, and those from a later period. An in-depth analysis of various source materials related to the history of the chapels mentioned above, especially documents related to the Chapel of St. Bartholomew, founded in 1451, has made it possible to establish that in fact there were formerly only two chapels behind the main altar: The Chapel of the Holy Sepulchre (later also called the Chapel of St. Gertrude) and – on the southern side – the Chapel of St. Bartholomew, which as early as at the beginning of the 16th century was commonly referred to as the Chapel of St. Hedwig. Putting this issue in order will make it easier to analyse the objects found in the Chapel of St. Bartholomew/Hedwig in a more comprehensive manner – as a group of works that are the effect of a more uniform concept, and it will enable a more precise dating of the works, which in turn may serve as a starting point for further research into the artistic environment of mid-15th century Gdańsk.

10

Christianization of Fourteenth-Century Gdańsk

75%

Pac T.

Historica: revue pro historii a příbuzné vědy (Historica: Review in history and related sciences)

|

2015

|

vol. 6

|

issue 1

1-16

EN

The article studies the dynamics of the construction of a Christian image in fourteenth-century Gdańsk, as manifested in architecture, urban space, and artwork. This study demonstrates that the city’s Christian image was not only formed by the Teutonic Knights, a Christian military order that governed Gdańsk during this time, but by many social groups representing all strata of the city’s residents, sometimes supported by external powers, in the process of negotiating social and urban statuses. Consequently, the city’s architecture, urban space, and artwork were not only an expression of religious beliefs or of a particular artistic style, but also a manifestation of social, economic, and political identities.

11

Concordia Novi et Veteris Testamenti w zestawieniach ilustracji: uderzenia młotków Tubal-Kaina oraz wbijania gwoździ w ręce i nogi Chrystusa podczas krzyżowania

63%

Kobielus S.

Roczniki Humanistyczne

|

2013

|

vol. 61

|

issue 4: Historia Sztuki

5-28

EN

In the Gospels relating the passion of Christ, there is no description of the act of nailing Him to the cross with nails, but there are clearly other biblical testimonies that nails were used for the crucifixion. In many representations, parallel to the nailing of the members of Christ to the cross or raising it with His body, we find placed alongside it, the scene of hammering iron with hammers by Tubal-Kain for the purpose of drawing out the appropriate tones. He hits on the anvil, while Jubal makes a notation of the tones. With this type of illustration, the sound of the hammers during the crucifixion of Christ meets with the sound of the hammers hitting the anvil. Hence, painting and music meet in the iconography of the crucifixion of Christ. It was a sort of Concordia Novi et Veteris Testamenti. In showing this prefiguration, there is also a going back to the history of Pythagoras. It was also an example for the functioning in the Middle Ages, and still later in the Renaissance, of the formulation of the Concordia divi Moysi et divini Platonis.

12

I quattro elementi nell’iconografia medievale del Giudizio Universale? Una nuova proposta iconografica per la lettura del mosaico della parete ovest a Torcello (Venezia, Italia) – parte I

51%

Krauze-Kołodziej A.

Roczniki Humanistyczne

|

2020

|

vol. 68

|

issue 4

237-257

EN

The article aims to present the issues concentrated on early medieval iconography of the four elements being an integral part of the scene of the Last Judgment. The selected problem was shown basing on the representation from the western wall of the Basilica of the Assumption of the Mary on the island of Torcello (Italy). The author poses a question about the possible occurrence and symbolic significance of the four elements in the abovementioned mosaic, comparing it with other representations of the Last Judgment from the same and the earlier period. Basing on a thorough iconographic analysis of the representation present in her earlier publications and the doctoral dissertation, the author presents a new interpretation hypothesis outlined by the presence of the iconography of the four elements as a symbol of the original act of creation in the Last Judgment.

PL

Cztery żywioły w średniowiecznej ikonografii sądu ostatecznego? Propozycja nowej interpretacji ikonograficznej dekoracji mozaikowej ze ściany zachodniej bazyliki na Torcello – część i Artykuł ma na celu przedstawienie problematyki skupionej wokół niektórych elementów wczesnośredniowiecznej ikonografii czterech żywiołów stanowiących integralną część sceny Sądu Ostatecznego. Wybrany problem został pokazany na bazie przedstawienia ze ściany zachodniej Bazyliki Wniebowzięcia Najświętszej Maryi Panny na wyspie Torcello (Włochy). Autorka stawia pytanie o możliwe występowanie i symboliczne znaczenie czterech żywiołów w wyżej wymienionej mozaice, porównując ją z innymi przedstawieniami Sądu Ostatecznego z tego samego i wcześniejszego okresu. Na podstawie przesłanek wynikających z gruntownej analizy ikonograficznej przedstawienia, dokonanej we wcześniejszych publikacjach oraz rozprawie doktorskiej, autorka proponuje nową hipotezę interpretacyjną zarysowaną przez obecność ikonografii czterech żywiołów jako symbolu pierwotnego aktu stworzenia w przedstawieniu Sądu Ostatecznego.

13

Hermeneutyka sztuki średniowiecznej: własna lub zapożyczona? Próba zastosowania procedur hermeneutyki filozoficznej do badań nad sztuką

51%

Tabor D.

Roczniki Humanistyczne

|

2021

|

vol. 69

|

issue 4

7-33

EN

Max Imdahl’s hermeneutics distinguishes seeing that recognizes an iconographic subject and one that sees a specific structure of an image. Godfried Böhme’s hermeneutics is a transposition of the visual medium to the pictorial medium, while finding what both have in common, i.e. Bildlichkeit. Oskar Bätschmann’s hermenutics rejects the reductions done by iconology to a work of art and seeks to discover what the work of art reveals by itself. These three hermeneutics direct the researcher’s attention towards the unique, specific structure of the work, irreducible to discourse. The study of medieval art requires going beyond the strict visual structure. An attempt was made to apply procedures inherent in the philosophical hermeneutics of Hans-Georg Gadamer. The basis of this hermeneutics is the existence of pre-cognition, which is the actual knowledge of the work, and the use of language that excludes the unreflective use of codes. A circular research path leads from pre-recognition to tradition. However, in the process of studying medieval art, the reference of a work to tradition cannot be made straight away. A given work must be placed against the horizon which is the reality surrounding it, namely in relation to the liturgical, exegetical, spiritual and theological-political horizons. The spiral line runs then towards the horizon, spiraling into moments of the tradition along the timeline. A confrontation with tradition is finding the sense of belonging, a moment in tradition, a moment of commonality of the basic contents of both the work and the reality, which both belong to tradition. Applying the notion of a sense of belonging will not result in the loss of its own hermeneutics of art in favor of hermeneutics appropriate to the content of tradition.

PL

Hermeneutyka Maxa Imdahla wyróżnia widzenie rozpoznające temat ikonograficzny oraz widzenie widzące szczególną strukturę obrazu. Hermeneutyka Godfrieda Böhme jest przekładem zamiany medium wizualnego na medium obrazowe, przy znalezieniu tego, co obu wspólne (Bildlichkeit). Oskar Bätschmann odrzuca redukcje, jakim poddaje dzieło sztuki ikonologia i dąży do odkrycia tego, co dzieło samo z siebie ujawnia. Te hermeneutyki kierują ku wyjątkowej swoistej, nieredukowalnej do dyskursu strukturze dzieła. Badanie sztuki średniowiecznej wymaga wyjścia poza ścisłą strukturę wizualną. Podjęto próbę zastosowania procedur właściwych hermeneutyce filozoficznej Hansa Georga Gadamera. Jej podstawą jest istnienie przedpoznania, rzeczywistej wiedzy na temat dzieła oraz stosowanie języka wykluczającego bezrefleksyjne stosowanie kodów. Droga badawcza dalej skierowana jest ku tradycji. W procesie badanie sztuki średniowiecznej nie można od razu zastosować odniesienia dzieła do tradycji. Trzeba postawić dzieło wobec wybranego horyzontu, rzeczywistości, które je otacza, w relacji do horyzontu liturgicznego, egzegetycznego, duchowego i teologiczno-politycznego. Linia spirali biegnie ku horyzontowi, ku momentom tradycji na linii czasu. Konfrontacja z tradycją, to odnalezienie sensu przynależności, momentu w tradycji, momentu wspólności podstawowych zawartości dzieła i rzeczywistości, należących do tradycji. Zastosowanie pojęcia sensu przynależności nie spowoduje utraty własnej hermeneutyki sztuki na rzecz hermeneutyk właściwych dla zawartości tradycji.

Refine search results

The Concordia Novi Et Veteris Testamenti in its Juxtaposition of Illustrations: the Hitting of the Hammers of Tubalcain and the Hammering of the Nails into the Hands and Feet of Christ During the Crucifixione

Personifikacje cnót w dramacie liturgicznym Ordo Virtutum Hildegardy z Bingen i na romańskich kolumnach kościoła św. Trójcy w Strzelnie

Kogo upamiętnia gotycki nagrobek biskupa w Chełmnie?

„Relikwiarzowy” program architektoniczny fary św. Katarzyny w Brodnicy

Ptaki w średniowiecznym dramacie końca świata. Z inspiracji malowidła ściennego, odkrytego w kościele Bożego Ciała w Pręgowie koło Gdańska

„Mentis oculos levavit”. Obrazowe aspekty mistyki Doroty z Mątów

Średniowieczne przedstawienia chrztu św. na ziemiach polskich

Idea Paschy w sztuce średniowiecznej

Kaplice czy kaplica? O zawiłych dziejach kaplic(y) św. Bartłomieja i św. Jadwigi w gdańskim kościele Najświętszej Maryi Panny i o ich znaczeniu dla badań nad średniowiecznymi elementami wystroju

Christianization of Fourteenth-Century Gdańsk

Concordia Novi et Veteris Testamenti w zestawieniach ilustracji: uderzenia młotków Tubal-Kaina oraz wbijania gwoździ w ręce i nogi Chrystusa podczas krzyżowania

I quattro elementi nell’iconografia medievale del Giudizio Universale? Una nuova proposta iconografica per la lettura del m­osaico della parete ovest a Torcello (Venezia, Italia) – parte I

Hermeneutyka sztuki średniowiecznej: własna lub zapożyczona? Próba zastosowania procedur hermeneutyki filozoficznej do badań nad sztuką

I quattro elementi nell’iconografia medievale del Giudizio Universale? Una nuova proposta iconografica per la lettura del mosaico della parete ovest a Torcello (Venezia, Italia) – parte I