1. Shaun Wright
Florida State Univ.
Vagantes
March 13, 2010
Per Visibila Invisibla:
Caryatidic Metaphors in the Hours of Jeanne d’Evreux
The Hours of Jeanne d’Evreux, commissioned by King Charles IV of France and
illuminated by Jean Pucelle, was acquired by the Cloisters in 1953. The 208 miniature folios are
organized in the Dominican division with the illustrative program primarily consisting of fifteen
full-page narrative scenes in grisaille at the opening of each prayer cycle. The Book of Hours
contains both the Hours of the Virgin, which include scenes of the Passion as well as the Early
Life of Christ and the Hours of St. Louis, which depict his Acts of Mercy. [SLIDE 2] For this
manuscript, it is remarkable that we know who the patron, artist, and intended reader were,
allowing for a unique exploration of these framed narrative scenes. In this paper, I am particularly
focusing on the numerous paired figural supports located below each narrative scene, whose
unusual inclusion and purpose I will examine in terms of function and reception. [SLIDE 3]
James J. Rorimer, in his 1957 commentary on the Hours, provides the earliest mention of
these numerous paired figures and labels them as caryatids, but neither he nor any other scholar
since has undertaken a serious exploration of the group. These caryatids are often constantly
weighed down as the compressive force of the framed narrative scenes twist and contort their
bodies. Moreover, many of the figures further warp to interact with the narrative in a manner that
seems to indicate that their function is something more than mere decoration. [SLIDE 4] The
inclusion of such figures below the narrative scenes in Jeanne’s Hours begs for explanation,
especially given that similar contemporary books of hours and even other books attributed to
Pucelle and his followers do not make use of this particular and rather peculiar illustrative feature.

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[SLIDE 5] Jeremy Lowe notes that attempting to generate a suitable explanation for this
particular manuscript is problematic due to the nature of the marginal imagery. While the narrative
scenes are inherently systematic and interconnected, he observes that seeking to construct a
coherent subject narrative from the desperate components of the inferential marginal imagery is
incorrect because one simply does not exist. In order to explain the function of these figures in the
visual program of Jeanne’s Hours I propose to define them as visual cognitive metaphors that
greatly affect Jeanne’s reception and experience of the Book of Hours. Effectively, the mere
presence of the extra figures on the page, located outside of the framed narrative scenes, serve as a
continual distraction from both the contemplative visuals and the text. However, as these figures
interact with the scene on a number of levels, they increase the involvement and understanding of
the reader through cognitive relations. The combination of these two disparate facets of the
caryatids produces a familiar sequence of impressions that cause a repeater reader, such as Jeanne
d’Evreux, to supplement her knowledge and study of religious passages with imaginative and
associative meditations. In this manner, the contemplation of visible images leads directly to a
more involved contemplation of invisible ideas.
Caryatids, and Things of Greater Importance
Prior to exploring of the function and reception of the caryatids, it is important to keep in
mind the medieval discourse concerning the purpose and use of art, especially concerning
marginal images within manuscripts. The debate concerning the function of art as being either a
distracter or an aid for spiritual contemplation dates to Latin church father, Augustine of Hippo. It
is primarily within his De doctrina Christiana, that Augustine laid the groundwork for a text based
understanding of scripture and Christian concepts. As the church increasingly found itself

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attempting convert and educate the illiterate in the centuries following Augustine, this precept
came under intense scrutiny and debate with Bernard of Clairvaux and Hugh of St Victor at polar
opposites. Simply put, Bernard argues that art distracts from not only the readings themselves but
from “meditation on the law of God.” [SLIDE 6] To him, marginal images, like those under the
narrative scenes on folios 15v and 16r, are condemning curiosities, which move attention away
from the “things of greater importance” and would eventually lead to the abandonment of God .
[SLIDE 7] This particular scene, indentified as a game of ‘frog in the middle’, certainly might
seem to perform in this manner for Jeanne. Richard H. Randall notes that this scene may have
served as a reminder of games Jeanne played as a child. If this were true then Jeanne may be
distracted from her contemplation on the work of God via her memories and experiences as a
child. [SLIDE 8] Another secular scene of potential distraction comes from the same opening in
the form of the mock tilt seen on folio 15v. The playing figures, mounted on fantastical steeds,
seem to challenge the gravity of the Betrayal of Christ scene above. Here is another decidedly
secular theme that easily could distract Jeanne from her religious contemplation. [SLIDE 9] Last,
we should consider the caryatids themselves as being distracting especially in comparison to folio
68v where the image of Crucifixion takes up the entire tiny page . On other folio illustrations
where the caryatids are present, the already small image is shrunk even more to allow for these
figures.
[SLIDE 10] In returning to folio 16r, we can see the opposite end of the dispute where
Augustine’s theories on the “meditative function of beauty” are applied to contemplative imagery.
This modification of Augustine seems to have first taken place in a letter from Gregory the Great
to Secundius wherein he argues that the use of and viewing of material things could lead to the
understanding of invisible things or more simply “per visibila invisibla,”. A few centuries later,

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Hugh of St Victor furthered Gregory’s idea in his Didascalicon where he based his argument of
art as an aid to devotion and contemplation for the literate upon Augustine’s In Ioannis
Evangelium. On folio 16r, he would have noted the religious and contemplative qualities of the
Annunciation scene above the gaming figures. Especially, he would have noted the small portrait
of a queen, within the major initial, reading from an open book and possibly even contemplating
the text of the Annunciation. Here, Hugh might claim, is a visual representation of the invisible
meditative process itself. This discussion is important to bring to the analysis of the caryatids as
they embody both sides of this argument. In doing so, the caryatidsas Michael Camille “divert
attention away from the materiality of the signifier and point the viewer to its transcendental
meaning.” Alternatively, in simpler terms, they act as metaphors. In realizing this element of the
figural supports, it is possible to apply theories of cognitive linguistic metaphor to the caryatidic
imagery within the Hours in order understand their function.
Caryatids as Conceptual and Primary Metaphors
SLOW HERE [SLIDE 11] Lakoff and Johnson have extensively analyze the characteristics
of cognitive metaphors and define them as conceptual mechanisms which utilize the language of
sensory motor experiences in order to conceptualize understanding subjective experience. These
primary or spatial metaphors can then be complicated and added together to create complex
metaphors. Subjecting the narrative scenes in Jeanne d’Evreux’s Hours to Lakoff and Johnson’s
concepts of cognitive metaphors produces some interesting results. In doing so we realize that the
narrative imagery at the openings are inherently conceptual in form and are subjective experiences
by their very nature as they act to focus the contemplation and mediation on both the image and
the accompanying text.

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[SLIDE 12] The caryatids, as they are physically supporting these images categorizes them
as primary conceptual metaphors in terms of visual spatial relationships. This is accomplished,
first, in that the figures are literally supporting the framed narrative. Physical support is analogous
to conceptual assistance and help, thus the caryatids bodily support assists in instructing the reader
as to the contemplative nature of the narrative scenes. In the case of folios 82v and 165v, the
figures exemplify the tone of the above scenes. Under the scene of death of St. Louis, we see the
caryatids physically mimic, in both dress and pose, those figures around the saint’s deathbed,
assisting in setting the proper mood. Additionally, the figure on the left has its hands clasped in
prayer for the saint, reminding the reader of her obligation to utter prayers for and to her deceased
relative.
On folio 82v we see the caryatids of the Entombment scene seem to be literally bearing the
full weight of the frame above them. As the figures within narrative support the dead body of
Christ, the caryatids outside of the narrative support the frame. It is interesting to note that while
the narrative figures carry Christ, they do not seem to actually be supporting any of the weight.
Instead, it is those outside of the direct participation of the narrative that seem to support the
greatest weight. Indeed of all the caryatids, it is this pair that seem to be some of the most
physically burdened. In this instance, their support of the framed narrative becomes analogous
with helping support the body of Christ.
[SLIDE 13] Folio 182v, depicting an Enthroned Christ, has the figures straining and
twisting their heads in order to see the beatific vision of Christ enthroned. Here the figures assist
by demonstrating the primary metaphor of knowing is seeing. In this particular instance, the
caryatids demonstrate that knowledge of Christ is not easily obtained. Their aged countenance
indicates that this is a lifelong pursuit. Furthermore, their bodies are contorted under the weight of

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the frame, which contains all the symbols of the gospels, denoting that, in a very Augustinian
manner, that knowing Christ is a heavy and complex matter. These indicators combined with the
primary metaphor convey that that these two figures are not worshipping the image of Christ, part
of Bernard’s worry of distracting imager. Instead, these figures are a visual reminder of what the
above image’s purpose is.
Caryatids as Complex Metaphors
In many cases, the caryatids function as far more than simple primary or spatial metaphors.
They also fulfill the criteria enumerated by Lackoff and Johnson for the role of complex
metaphors. As I stated previously, these types of conceptual metaphors are naturally composed of
groups of primary metaphors. Additionally, common knowledge and cultural models also inform
complex metaphors. In the case of the hours of the Virgin, the cultural models are informed from
the established iconography. In this manner the imagery within the narrative scenes of the opening
are consistent with other books of hours with the major exception being the addition of the
caryatids.
For this analysis on how the caryatids embody these principals I would like to briefly
return to the Enthroned Christ on folio 182v. Here, the simple fact of embodying many
representative primary metaphors place the caryatids as complex metaphors. Furthermore, these
figures also fulfill one of the most important roles of a complex metaphor, that of assisting with
reasoning and it is their interaction with the above scene demonstrates how they provide this.
These figures visually demonstrate the concept of the lifelong dedication and text based devotion
knowledge required within Christianity. In this manner, the simple inclusion of support figures
below the narrative scene increases the meaning of the main illustration from a simple Enthroned

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Christ to a reminder of why daily devotions are performed.
[SLIDE 14] Another and possibly even stronger example of a complex metaphor is seen in
the Flagellation of Christ scene on folio 53v. Here we move from cultural models to knowledge
that would have been common to Jeanne d’Evreux. On this folio, the left caryatid holds a flail in
one hand while supporting the frame with the other. This action not only echoes the flails carried
by the figures above but also goes far beyond a mere referencing of the narrative. As Joan
Holladay notes, the flail is likely a visual reminder of when King Louis sent a gift of a chain with
iron nails to his daughter de Navarre as a reminder to practice self discipline for the removal of
sin. [SLIDE 15] This also refers to folio 103r where we see a visual reminder the young Saint
performing the same activity, something Jeanne d’Evreux knew he had done his entire life. This is
a far more personal demonstration of a reasoning metaphor, tying both the experiences of reading
the text, seeing the image, and a remembered historical familial story. This conflation of a
familiar, ancestral story with a general cultural model allows for a much more personal reasoning
and mediation of the image.
[SLIDE 16] In other instances of complex metaphors, such as in the Betrayal of Christ
scene on folio 15v, the caryatids perform the roles of mediators. By this, I mean there are two
familiar cultural models portrayed on a singular page, the secular and distracting mock tilt below
and the somber and religious Betrayal above. In instances such as these, the caryatids acts as a
bridge between the distracter and the focus by directing the viewer’s attention away from the
distracter to the sacred image by dressing and acting like the soldiers arresting Christ.
Jeanne d’Evreux and the Meditative Experience
[SLIDE 17] So why would Pucelle add these support figures into the decorative program

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of Jeanne d’Evreux’s book of hours? This is an especially interesting question concerning the
blending of the opposing medieval concepts concerning the use of art in devotion. Through their
inclusion below the narrative scenes, the caryatids metaphorically assist with the contemplation of
the scene itself. Indeed the caryatids and narrative scenes work in tandem to create a metaphorical
conceptual system that serves to bring the scenes to a much more personal level for a young
Jeanne d’Evreux.
First, the caryatids simultaneously act as distractions and as directors. As I have stated their
mere incorporation onto the small pages and their location outside of the framed narrative divert
attention away from meditation on the psalms and religious imagery. Decidedly secular scenes
such as the tilt and children’s game further reinforce this distraction. However, the caryatids also
consistently redirect attention up, to the narrative scene, by their location, gestures, and interaction
on various levels with that narrative. Moreover, many of these caryatids and in fact the entirety of
the Hours of St Louis directly refer to a history that is directly linked to Jeanne d’Evreux thus
directly. Some of these, such as the flail on folio 53 infer relationships between this immediate
history, and the history of Christ himself.
As such, the caryatids, in functioning as visual cognitive metaphors, create a specific
experience of reading. In a slow and gradual process that would actually be below the limit of
awareness the caryatids would create a “familiar sequence of impressions,” inferences, and
associations or more simply, perceptual habits. In this manner, Jeanne d’Evreux in her daily use of
her book of hours would witness not a continuous narrative, but a continuous intent. Eight times a
day in her personal devotions, she would be exposed to the caryatids, which themselves embody
conceptual metaphors by providing physical action models that perform abstract inferences which
reveals the intent of extending her system of understanding through the repetition of associations

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between her life, her family’s past, and of Christ’s Life.

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between her life, her family’s past, and of Christ’s Life.