Robert Couzin – författare

The bearded and mature figure of Christ stands majestically raising his right hand, open palm facing the viewer. In his left he holds an unfurled scroll. Saints Peter and Paul appear on either side, Peter approaching to catch or protect the dangling bookroll. This image, the so-called traditio legis, first appeared in late fourthcentury Rome in a variety of media, from the monumental to the miniature, including mosaic, catacomb painting, gold-glass and, the most numerous group, marble relief carving on sarcophagi. This monograph engages in a close reading of the traditio legis, highlighting its novelty and complexity to early Christian viewers. The image is analyzed as a conflation of two distinct forms of representation, each constructed of unusual and potentially multivalent elements. Iconographical details like the hirsute Christ, his gesture, Peter’s covered hands and the unorthodox positioning of the two saints are examined in isolation and as elements of the whole. The synthetic composition invited alternative and over-determined meanings.

The bearded and mature figure of Christ stands majestically raising his right hand, open palm facing the viewer. In his left he holds an unfurled scroll. Saints Peter and Paul appear on either side, Peter approaching to catch or protect the dangling bookroll. This image, the so-called traditio legis, first appeared in late fourthcentury Rome in a variety of media, from the monumental to the miniature, including mosaic, catacomb painting, gold-glass and, the most numerous group, marble relief carving on sarcophagi.This monograph engages in a close reading of the traditio legis, highlighting its novelty and complexity to early Christian viewers. The image is analyzed as a conflation of two distinct forms of representation, each constructed of unusual and potentially multivalent elements. Iconographical details like the hirsute Christ, his gesture, Peter’s covered hands and the unorthodox positioning of the two saints are examined in isolation and as elements of the whole. The synthetic composition invited alternative and over-determined meanings.

Robert Couzin’s Right and Left in Early Christian and Medieval Art is the first in-depth study of handedness, position, and direction in the visual culture of Europe and Byzantium from the fourth to the fourteenth century. Heretofore largely unnoticed or ignored, the pre-eminence of the right and lapses or intentional departures from that norm in medieval imagery are relevant to such major themes as iconography, visuality, reception, narrative, form, gender, production, and patronage. The author’s investigation of right and left in visual culture is informed by modern experimental research on laterality and contextualized within prevailing theological doctrines and socio-cultural practices. Illustrations in the text are complemented by hundreds more made available on Brill's Arkyves platform here.See inside the book.