medieval-religion: Scholarly discussions of medieval religion and culture
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>> These terms have their own
distinctive
iconography. Representations of the crucifixion from the
period show the
triumph of God over the Devil. It is the Divinity of
Christ, rather than his
humanity, which is depicted. The figure is
shown clothed, not naked. He wears
royal robes, or often those of a
priest, indicating his rôle as the Great
High Priest as set forth in
the Letter to the Hebrews (a way of looking at
what Christ effected
which we have not yet explored). He wears a royal crown,
not a crown of
thorns. He is shown alive, his eyes wide open, staring
somewhat
fiercely, indicating his triumph over death. His body is not bowed,
but
is upright and rigid. His arms are straight and horizontal, not
dragged
down by the weight of the body; he is not subject to the law
of
gravity. He is alone: there are no mourners beneath the cross. This
is
a straight fight between God and the Devil, and mankind is out of
the
picture.<<
The mid-8th century Crucifixion from the chapel of Theodotos
in Santa Maria Antiqua is outstandingly beautiful and illustrates what you are
describing, with the difference that there are indeed mourners at the foot of
the Cross (which I would have thought was more the norm than not, as it is in
Eastern icongraphy?)
See the image here
-oOo-
More general information of the church:
Rome church opens after 12 centuries under rubble
After 12 centuries under rubble and 24 years of restoration,
Rome has opened the doors to Santa Maria Antiqua, the oldest church in the Roman
Forum's ancient ruins and its rare collection of early medieval
art.
An earthquake buried the church and its numerous Byzantine and
early Christian frescoes in 847 and it remained untouched until excavation and
reconstruction began in 1900. [continue]
Last Update: Friday, April 9, 2004. 12:02pm (AEST)
Rome church opens after 12 centuries under
rubble
After 12 centuries under rubble and 24 years of
restoration, Rome has opened the doors to Santa Maria Antiqua, the oldest church
in the Roman Forum's ancient ruins and its rare collection of early medieval
art.
An earthquake buried the church and its numerous Byzantine and
early Christian frescoes in 847 and it remained untouched until excavation and
reconstruction began in 1900.
Much of the structure had survived and restorers have been
hard at work on the interior since 1980 with the site to reopen to the public on
April 10 until the end of May.
"The Santa Maria Antiqua is stunning testimony to the richness
of a period of which there remain few other details," said art historian Maria
Andaloro.
"The opening will give the double opportunity to the public to
see not only the church but also the restoration at work," she said.
While many other churches in Rome have been knocked down,
destroyed or rebuilt over the centuries, Santa Maria Antiqua's 12 centuries out
of action meant it provided a perfect snapshot of early medieval artwork.
Today, the church, hidden in the shade of the central Palatine
hill, has a new roof and structural supports but houses some 250 square metres
of frescoes that date from its foundation in the mid-sixth century until before
the earthquake.
Popes including Martin I, John VII, and Zaccarias ordered
numerous redecorations of its interior.
"It is an essential reference point to that period, as each
pope had the images renewed with his own iconographic style," she said.
Up to six layers of artwork coat parts of the crumbling walls
with an austere image of an enthroned Virgin adored by angels the only painting
that dates from the church's foundation.
Opponents to the veneration of religious icons destroyed much
religious art during the Iconoclasm movement of the eigth and ninth centuries.
But while Santa Maria Antiqua escaped that, damp has damaged
around 60 per cent of the paintings and restorers expect to be hard at it until
the end of 2007 on the $US1.60 million clean-up job.
--Reuters
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