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Nel 1472 giunse alla Scuola Grande di Santa Maria dello Carità, donata dal cardinale Bessarione, una stauroteca che conteneva, oltre a frammenti del santo legno e della tunica di Cristo, una croce dorata e scene dipinte su tavola. In sequito alla soppressione della Scuola in epoca napoleonica, l'oggetto finì sul mercato antiquario e giunse nel 1820 a Vienna trovando posto nelle collezioni imperiali. Dopo la fine dell'impero austro ungarico e la restituzione all'Italia, la stauroteca ritornò nella sua vecchia ubicazione : la sala de'll'Albergo della Scuola della Carità, divenuta nel frattempo sede delle Gallerie dell'Accademia. Il prezioso reliquiario fu aperto, per la prima volta dopo il 1765, a dicembre del 2010 dai restauratori della Soprintendenza speciale per il Polo museale della città di Venezia e dell'Opificio delle Pietre Dure e restaurato a Firenze nei laboratori dell'Opificio stesso. Gli interventi eseguiti, accompagnati da una sofisticata campagna diagnostica sull'oggetto, hareso doveroso valorizzare i dati acuisiti e un confronto a largo raggio con studiosi di diverse discipline che hanno analizzato il contesto di produzione, la storia della stauroteca, il ruolo a Venezia del suo celeberrimo possessore Bessarione e il rapporto con la Scuola della Carità a cui fu donata.
Staurothèques --- Reliquaires --- Bessarion, Jean --- Staurothèques
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This study centers around Byzantine head relics and their receptacles. The first part discusses the so-called Reliquary of St. Anastasios the Persian, a silverwork in the shape of a centralized, domed church that was probably made in Antioch, but was later housed in Aachen Cathedral. The object is commonly considered a Byzantine vessel for the Eucharist that was later reworked to become a reliquary for the head of St. Anastasios in its new Western context. This study closely examines the life and cult of this particular saint in Byzantium and Aachen by considering the object's typology and contextualizing relations between Antioch and Constantinople in the late 10th century that have been largely overlooked, shedding light on the handling of sacred objects and confiscation measures under Basil II. The second part of the study concerns the veneration of Byzantine head relics in Constantinople and, more specifically, head relics that were transferred to the West in the aftermath of the Fourth Crusade. A discussion of Latin, post-1204 sources which affected medieval and modern perceptions of Byzantine relic veneration counters a bias against Byzantine sacred goldsmith work discernable in scholarship of the mid-20th century. Together with appendices on the anatomical nomenclature of the human skull, skull-chalices, and selected sacred objects made of precious metal related to relic veneration and the Eucharist, this study aims to reconstruct head reliquary types. It also seeks to refute the claim in art history that simple caskets that can easily be opened were commonly used as reliquaries of Byzantine body relics.
Reliquaries, Byzantine --- Saints --- Cult --- Anastasius, --- Anastasius Persa m. Betsaloae --- Reliquaires byzantins
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"Les images-reliquaires, dont la singularité attire notre attention, se définissent par la complexité de leur composition tant au point de vue artistique qu'au point de vue religieux. Il s'agit ici des peintures sur panneau de bois (plus rarement, sur verre églomisé), ayant fonction de porte-reliques, et décorées dans certains cas de pierres précieuses ou semi-précieuses. Le modèle de tableau-reliquaire : panneau unique, diptyque et triptyque comprenant le portrait de la Vierge à l'Enfant enchâssé dans une large bordure incrustée de reliques, se répandit particulièrement dans la péninsule italienne, et par la suite en Europe centrale. Cependant, les reliquaires polonais, connus sur le territoire de la Petite-Pologne durant le xve siècle jusqu'au début du siècle suivant, ne sont mentionnés que de manière sporadique dans l'histoire de l'art. Ils sont apparus dans quelques articles, mais sans avoir fait l'objet d'aucune analyse spécifique quant à leur contenu iconographique, leur similarité formelle, ainsi qu'à l?égard de leur usage dévotionnel. C'est pourquoi, nous souhaitons les joindre aux créations semblables répandues dans l'art entre Orient et Occident au Moyen Âge. Dans la même optique, il serait également intéressant de s'interroger sur la continuité de tels objets au-delà de l'époque médiévale." Source : cover
Relics --- Reliquaries. --- Christian art and symbolism --- Reliques --- Reliquaires --- Art et symbolisme chrétiens --- History. --- Histoire --- Mary, --- Art. --- Devotion to. --- Art chrétien --- Art et symbolisme chrétiens --- Devotion to the Blessed Virgin Mary. --- Mariendarstellung. --- Relics. --- Reliquienkult. --- Marie, --- Art --- --Reliquaire médiéval --- --Pologne --- --Europe --- --Moyen âge, --- Reliquaire médiéval --- Moyen âge, 476-1492 --- Maria Deipara --- Imagines --- Pologne --- Europe
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