Chapter 17 note(2)

[21] See, for example, Louis-Sébastien Messier's Paris, Paris, 1783, vol. III, p. 138. [22] For St. Joseph's portraits, see G. Kaster's overview in Lexikon der Christlichen Ikonographie, Part VII, Freiburg, 1974, col. 210-221. [23] J. De Coo, In Josephs Hosen Jhesus ghewonden wart, from Aachener kunstblatter, Vol. 30, 1965, pp. 144-184; ibid., Das Josephhosen-Motivin Weinachtslied und in der bildenden Kunst, from Jahrbuch f Volksliedforschung, ed. Eleventh, 1966, pp. 58-89. ［24］For the coat of arms of France and the sensibility of medieval fretwork, see M. Pasturo, King of the Lilies, Emblem of the Dynasty and Symbol of the King, from the National Archives. "The Collection of Medieval French Seals, Volume 2, King's Seals" (author M? Dara), Paris, 1991, pp. 35-54.

[25] Die Darstellung des Teufels in der Christlichen kunst, OA Erich, Berlin, 1931; M. Pasturo's "Christ's Animals, Devil's Animals, Animal Symbols and How to Represent the Sacred in Medieval Paintings", from "Color , Pictures, Symbols", (Paris, 1989, pp. 85-110).Reddish brown hair has a little connection with freckles.Reddish-brown hair, freckled skin, or striped clothing were almost always seen by medieval people as signs of low status, or bad fortune, in varying degrees or different ways. [26] C. De Tornay and P. Bianconi, "The Complete Works of Bruegel's Paintings", Paris, 1968, pl. xxv; F. Grossman's "Pieter Bruegel The Complete Collection of Paintings, London, 1974.

［27］ I hope that the semantic field of the words varius and diversus in Classical and Medieval Latin will be studied in depth in the near future.Generally speaking, varius is visually reminiscent of various overlaps (with a centripetal tendency), while diversit is succinct and ambiguous. arietas instead of diversitas.In contrast, stripes belong to both varietas and diversitas, with stripes appearing to be the superlative form of spots.For the etymology and rich lexical field of varius and diversus, see A. Hernou and A. Meyer, Latin Etymological Dictionary, 4th ed., Paris, 1959, pp. 713-714 and 725-726 .

［28］The decline in value of the leopard in the 12th and 13th centuries caused the lion to attribute all its negative characteristics to it, and thus eventually became the king of animals in Western culture.See M? Pasturo's "Who Is King of the Animals?" ", from "The Animal World and Its Representations in the Middle Ages" (11th-15th centuries); "Proceedings of the 15th Congress of the Association of Historians of Medieval Cultural Studies in Higher Public Educational Institutions", (Toulouse, May 25-26, 1984 Japan), Toulouse, 1985, pp. 133-142. [29] See the articles collected by C. Gessner, Historia animalium. Liber Primus de quadrupedibus viviparis, Zurich, 1551, pp. 784-785.For the interesting fact that Vincent de Beauvais, the encyclopedia writer in the middle of the thirteenth century, seems to have confused the zebra with the wild ass, see his Looking Glass, Book XIX, Chapter 95 (de diversis generibus onagrorum ), published by Douai Press, col. 1434-1435.

[30] See A. Ott's "Color Studies in Old French" at several places for numerous examples. (Paris, 1899), see also A.M. Botier's excellent work: "The Contribution of the Medieval Horse to History," in Philosophical and Historical Bulletin of the Commission for Historical and Scientific Works, 1976, pp. 209- 249, and 1978, pp. 9-75.For the devaluation of striped and spotted animals in biblical cultures, see Genes, 30, 25-43. ［31］Although there are many books on the beast of Gewodan, they are often disappointing.See: F. Fabre's "The Beast of Gervaudan of Auvergne", Saint-Flour, 1901; X. Pique's "The Beast of Gervaudan and the Man-eater of Auvergne", Paris, 1971; Pourchet The Priest: The History of the Beast of Gervaudan, the Real Calamity of God, Mende, 1889.On this theme, see the engravings in D. Bernard's "Man and Wolf", Paris, 1981, pp. 48-57.

[32] At the end of the 18th century and the first half of the 19th century, Germany also had its "beast of Gewodan".Also, since the last world war, "mysterious felines" (V? Campion-Vincent's term) have abounded in England and France, bearing certain resemblance to "The Beast", sometimes with striped fur . CNRS organized a workshop on this topic in Paris in November 1990. [33] On medieval prostitutes and their attire: Die Dirne und ihr Anhang in der deutschen Vergangenheit by M. Bauer, Berlin, 1912, Prostitution in the Middle Ages by J. Rossio, Paris, 1988.Regarding the clothing of quack entertainers and musicians, among the many treatises, see M.Von Boehn's Das Bünenkost im Altertum, Mittelalter und Neuzeit, Berlin, 1921; W.Salmen's Der fahrende Musiker im europäschen Mittelalter, Ka Searle, 1961; R. Hammerstein's Diabolus in Musica, Studien zur Ikonographie der Musik im Mittelalter, Bern and Munich, 1974; WöHartung's Die Spielleute. Eine Randgruppe in der Gesellschaft des Mittelalters, Wiesbaden, 1982.

［34］ I will return to this problem later, and the speckled thing needs to have two levels.Something with stripes, in some cases just one layer. [35] See my own treatise on the origin and prevalence of heraldry, especially my On Heraldry, Paris, 1979, pp. 20-58.Also my essays collected in Black and Green Patterns on a Silver Ground—A Study of Medieval Heraldry, Paris, 1982. [36] V. Seresda: "The Semiotics of Andes Fabrics", from "ESC Chronicle", 1978, pp. 1017-1035. Y. De La Porte: "Clothing Features", from "Humanity", No. 20, 3, pp. 109-142. ［37］T? Innes? De Lenny: "Scottish Tribal Plaid Fabric", London, Fifth Edition, 1949; F? Adam: "Scottish Highland Tribes, Nations and Legions", London, 1952.Note the absence of striped plaid, all Scottish tweed.

[38] See my article mentioned above, notes 18 and 25. [39] There is very early legend (attested in the thirteenth century) to explain the origin of these coats of arms: the Count of Barcelona, ​​the ancestor of the king of Aragon, had a coat of arms all in gold.He was mortally wounded in helping Charlemagne in the battle against the Saracens (some say it was the war between the bald Charles and the Normans), and the king came to his aid when he was dying, and he put his finger in the dying man's chest. The wound left five vertical red stripes on his golden coat of arms in honor of the honored dead.This legend survived until the 17th century and is recorded in all treatises on the coat of arms.In fact, the coat of arms of the King of Aragon is often a golden coat of arms with four (rather than five) red vertical stripes, which originated in Provence in Burgundy and is related to the feudal history of the Kingdom of Arles.See M? Pasturo's "The Arms of the Kingdom of Aragon Originated in Switzerland", selected from "Swiss Arms Archives", 1980, pp. 3-10.But the legend emphasizes the easy transition from "traces" to "marks" in terms of stripes, and even all "traces" can become "marks".

[40] In Roman drama, servants and janitors sometimes wore striped or gaudy clothes.Like a scurra (clown), a mime or a effeminate person.In addition to the old work of M. Von. Boehn mentioned in the note [33], you can also refer to J. Andre's "Studies on Color Vocabulary in Latin", Paris, 1949, pages 149-150 and 295-296. [41] There are countless examples in this regard, both excerpted from the original text and represented by images.Several such examples are analyzed or mentioned in the treatise of V. Mertens (see supra note 20), and also in A. Schulz's Deutsches Leben im XIV, und XV, Jahrhundert, Leipzig, 1892.In southern Germany, Tyrol, and eastern Switzerland, the custom of retainers wearing striped clothing seems to have continued into modern times.

[42] See supra note [20]. [43] C. Verlandant: "Slavery in Medieval Europe, II, Italy, the Italian Colonies of Livand, Latin Livand, Byzantine Empire", Ghent, 1977; M. Mora and J. De Weiss: "The Black Image in Western Art", Part II, Freiburg, 1979, pp. 137-160. [44] There are many treatises on the portraits of the Three Kings, and they are generally of a high level.This is outlined in A. Weiss's Lexikon der Christlichen Ikonographie, vol. 1, commentary Drei kölge, Freiburg, 1968, col. 539-549.For the black king in stripes, see M. Mora and J. Dewes, op. cit., Part II, pp. 172-185.One of the most splendid examples is the 1507 illustration for Hans Baldung Grien's Adoration of the Three Kings (Gem 妉degalerie, Berlin).

[45] In most medieval images, Jean-Baptiste the Savage wears a striped coat or coat reminiscent of his goat and camel skins.It can also be seen here that stripes are related to the concept of blending.