The next scene on folio CCCXXIIII v is the Noli me Tangere (Fig. 74). The

iconography of the Bible ofAvila on this theme is rather extraordinary and unique. Christ

was not to be represented as a gardener again until the beginnings of the 14th century.20

According to Yarza Luaces an example of the Noli me Tangere can be found in the

Homilies of San Isidoro of Leon that is dated by him to the 11Ith to 12th centuries.205 The

tradition of the Noli me Tangere in Castile and Leon has Christ and Mary Magdalene

positioned next to each other, with Christ moving away from Mary Magdalene when she

attempts to hold on to Him. An example of this type of iconography can be found in the

ivory reliquary of Leon dated between 1115 and 1120 (Fig. 75).206 Even though this

example has no iconographical similarities to its counterpart in the Bible ofAvila, in

terms of style there are some similarities. The garment of Christ has the same type of

collar, as already mentioned above. The drapery falls at the front with semicircular pleats,

and the fabric on the left outlines a rather straight leg, with a number of small folds that

have been double incised, as in the Bible ofAvila. Christ seems to wear an undergarment

in the ivory that wrinkles between His legs. In the Bible ofAvila we have a similar

happening.


 The next scene on folio CCCXXIIII v represents the Pilgrims of Emmaus (Fig.

76). According to Yarza Luaces, this is the only example of the Pilgrims of Emmaus

found in the illuminated manuscripts in Castile and Leon from the 11Ith and 12th




204 Reau, L., Iconographie de l'Art Chretiene, 1957, p. 557.

205 Yarza Luaces, J., Iconograjia de la2~iniatura Ca;stellano-Leonesa,~~11~11~~1 1973, p. 32.

206 The Art of2~edieval Spain, ad 500-1200, 1993, pp. 250-251.