Pregled bibliografske jedinice broj: 1252558
Eastern Adriatic Calvary groups, c. 1350–1500: setting and meaning
Eastern Adriatic Calvary groups, c. 1350–1500: setting and meaning // Crux Triumphalis – Calvarios y vigas de imaginería entre la Edad Media y el Concilio de Trento. I Encuentro de Arte y Liturgia
Cadiz, Španjolska, 2022. (predavanje, nije recenziran, neobjavljeni rad, znanstveni)
CROSBI ID: 1252558 Za ispravke kontaktirajte CROSBI podršku putem web obrasca
Naslov
Eastern Adriatic Calvary groups, c. 1350–1500: setting and meaning
Autori
Marušić, Matko
Vrsta, podvrsta i kategorija rada
Sažeci sa skupova, neobjavljeni rad, znanstveni
Skup
Crux Triumphalis – Calvarios y vigas de imaginería entre la Edad Media y el Concilio de Trento. I Encuentro de Arte y Liturgia
Mjesto i datum
Cadiz, Španjolska, 13.10.2022. - 15.10.2022
Vrsta sudjelovanja
Predavanje
Vrsta recenzije
Nije recenziran
Ključne riječi
Calvary group ; crucifix ; Dalmatia
Sažetak
The present paper explores the Calvary groups in the Eastern Adriatic from 1350 to 1500. The proposed time frame saw the erection of these monumental compositions in the foremost churches, such as cathedrals or friary churches, and in the more modest fabrics as were confraternity oratories. However, while most churches were embellished with an independent crux triumphalis, centrally positioned above the main altar, Calvary groups were relatively rare. Seven instances of the cross flanked by the Virgin Mary and John the Evangelist are preserved, and a further four are recorded in the archival sources. Of all the known examples, six are from the Mendicant churches, three from cathedrals and two from confraternity churches. Only one instance of the group has received considerable scholarly attention: the mid-fourteenth-century group in the Dominican church in Dubrovnik, attributed to Paolo Veneziano, still positioned in the triumphal arch of the church. Other examples, primarily the lost ones and mainly works by lesser-known artists, remain to be studied more thoroughly. Three main questions concerning the erection and conjuring of the meaning of the Eastern Adriatic Calvary groups shall be discussed: the original setting, creation and their materiality. The original setting of these compositions is frequently challenging to grasp. Even though several sources can be made use of, most prominently the records of pastoral visitations, they rarely specify the setting of these large compositions. Indeed, the references to the Crucifixion groups in visitations are seldomly vague ; they report “large” Calvary groups, positioned “high above the ground of the church” or “above the choir.” These references, therefore, make it impossible to discern whether they were suspended from the triumphal arch or mounted on the tramezzo screens. Other possibilities of placement will also be taken into account, such as that on the altar of the Holy Cross. Moreover, most of the “triumphal crosses” in the Easter Adriatic churches were initially conceived as independent crucifixes and were only subsequently supplied with the figures of the Virgin and John in the corresponding scale. Therefore, the second part of the talk will elucidate such instances through preserved documents. Another peculiarity of the Eastern Adriatic Calvary groups is that they were executed in various media, and the last part of the paper will be devoted to this issue. As extant instances and written sources corroborate, they could have been painted on panels, carved in wood, or, more rarely, fashioned from silver. This diversity should also be adequately accounted for, given that in the fourteenth century, examples in all three materials are recorded, while fifteenth-century instances were exclusively carved from wood. In sum, the present paper will lay out the specificities of the Calvary groups in the churches of the Eastern Adriatic, with a particular reference to written sources that enable the grasping of their visual and functional context. Finally, the paper aims to reach a more nuanced understanding of these imposing painted or sculpted ensembles in lesser-studied regions of Europe.
Izvorni jezik
Engleski
Znanstvena područja
Povijest umjetnosti
POVEZANOST RADA
Projekti:
VLASTITA-SREDSTVA-PU-IPU-2019-17 - Drveni oltari i skulptura od 15. do 18. stoljeća na području jadranske Hrvatske (Zajec, Vlasta, VLASTITA-SREDSTVA ) ( CroRIS)
Ustanove:
Institut za povijest umjetnosti, Zagreb
Profili:
Matko Matija Marušić
(autor)