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137:. Her inscription, "Guda, a sinner, wrote and painted this book," was used to confess to her sinful way, along with describing herself as an artist in hope of increasing her chance for salvation. In addition to serving as a self-portrait, this illustrated initial can also be considered a portrait signature, identifying Guda as both an individual and a scribe.
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nailed to a cross. Placing the nun at the heart instead of around the periphery of the painting broke traditional restrictions for female placement within religious paintings, showing that female involvement in illuminations gave the platform to emphasize their role in religious institutions.
196:, and even criticisms of the clergy as seen in the removed depiction of hell that she attempted to include. Herrad's work in this manuscript built on the foundation that Guda set for women to show expression, identity, and call for reform via manuscripts and illuminations.
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Guda's contribution towards female
Medieval illumination and manuscript writing not only opened up new avenues for expression and identity that was not possible before, but also led the way towards social, political, and religious reform through these tools.
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Herrad's imprint and proof of her authorship is consistent on this manuscript. This is demonstrated through the omitting and inclusion of religious writing depending on her liking, editing sources to make the manuscript more accessible for the nuns of the
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Scholars today credit Guda with being one of the first women in western civilization to create a signed self-portrait. Although there may have been other female illuminators such as
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put themselves more front and center in various religious works, calling for a change in how valued the nuns were in their order, along trying to strengthen their connection with
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219:'s attempts to sabotage their advocacy for change by compiling a letter towards nobles and burghers that convinced them to defend their order against the Duke.
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207:, leading to inspiration for a successful protest directed at the pope that led to their acceptance. The altered illuminations in manuscripts from nuns at
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215:. Manuscript writing even preserved the existence of these reformed orders, as seen with the nuns of Kremerin's order who were able to fend off
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Further demonstrations of calls for reform via illuminations and manuscripts are seen through 15th century nuns and their orders.
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Winston-Allen (2016). "Making
Manuscripts as Political Engagement by Women in the Fifteenth Century Observant Reform Movement".
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Guda's influence on later nuns in the later centuries is apparent. This is seen through manuscript paintings like "
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482:"Making Manuscripts as Political Engagement by Women in the Fifteenth-Century Observant Reform Movement"
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wrote about founding mothers having difficulties incorporating women's communities into the
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The garden of delights : reform and renaissance for women in the twelfth century
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Female involvement in manuscript writing and illuminations is best seen with
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from
Germany. She was one of the first woman to create a self-portrait in a
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Reassessing the Roles of Women as 'Makers' of
Medieval Art and Architecture
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Illustration of the
Philosophy and the Seven Liberal Arts in the
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442:Griffiths, Fiona J. (2007).
341:. Delia Gaze. London. 1997.
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184:and her work on the
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502:ISSN
460:OCLC
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375:link
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