Abstract
To understand the relationship between word and image in medieval books, such as the manuscript that is to be the focus of this study, the Hours of Catherine of Cleves, one tries to forget the aesthetics that negotiate our own relationship with words and images, and tries instead to imagine how a medieval aesthetic might have related medieval subjects to their texts.1 How, for instance, might the medieval mind have comprehended the relationship between centre and periphery in the case of a manuscript page with a text or an image at the centre, and other images in the margins?
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