Abstract
The iconographic motif of the Noli me tangere (i.e. the apparition of Christ to Mary Magdalene in the morning of Easter Sunday), at first inspired by St John's Gospel (Chap. 20, 11-18), developed in relation to the additions - such as the Depositio and Elevatio ceremonies, as well as the insertion of the sequence Victimae paschali laudes during the 11th century - brought in the liturgy of Easter during the Carolingian era, and in relation to the developments of the worship of Mary Magdalene in the West. Then, the motif took a new symbolic typology (i.e., Christ as a new Adam), to which was added the theme of the garden of Eden, and finally the representation of the gardener with his spade (13-14th c.). It is at the third stage only (13th c.) that the Visitatio Sepulchri admitted the theme of the Noli me tangere. From that time, the drama-iconography relationships seemed clearer, and the liturgical theatre appeared to modify the motif and its place in the cycles of the mediaeval art.
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