Discussion Utilisateur:José Fontaine/Triptyque de Stavelot
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Le Triptyque de Stavelot est un chef d'oeuvre de l'orfèvrerie mosane cen sé contenir des reliques de la vraie croix et il présente des caractéristiques permettant de discriminer les différences entre la tradition chrétienne orientale et occidentale au Moyen-Âge.
The Stavelot Triptych is a medieval reliquary intended to protect, honor and display pieces of the True Cross. Created by Mosan artists—"Mosan" signifies the valley of the Meuse River— around 1156 at Stavelot Abbey in present-day Belgium. The work is a masterpiece of goldsmith's work and remains instructive to modern viewers about the dichotomy between Eastern and Western European cultural traditions. It is today owned by the Pierpont Morgan Library in New York.
[modifier] Description
The Stavelot Triptych is a three-part winged shrine. In such a triptych, the outer wings protect (when swung shut) the middle section, which contains two smaller triptychs, each containing pieces of the True Cross. The black velvet background is modern, originally it was a golden field inlaid with semi-precious stones. The two inner triptychs are cloisonné enamel, a technique typical of Byzantine work; the six larger medallions (three on each outer wing) are in the champlevé technique that is typical of "Mosan" metalworkers working in the Meuse valley.
The outer triptych is of Mosan origin, while the two inner triptychs are of Byzantine origin. It is unknown who the artist(s) were who made it. We do not know with certainty who ordered it, or who paid for it. We do know that Abbot Wibald (1098-1158), who led the Benedictine monastery of Stavelot, was sent on a diplomatic mission to Constantinople by Frederick Barbarossa in 1154. It is theorized Wibald received the two smaller triptychs as a diplomatic gift from Byzantine Emperor Manuel I Comnenus, and Mosan artists then created the larger outer triptych to house the two inner Byzantine triptychs.
Of the inner triptychs, the lower larger one is divided into four quadrants by two slivers of wood of the True Cross. The upper left quadrant has the head and upper torso of a female saint. The upper right quadrant has the head and upper torso of a male saint. Constantine stands in the lower left quadrant, and Helena (Constantine's mother who originally found the True Cross) in the lower right. An X shape, with pearls at each of the four ends, links the four quadrants. The outer wings contain angels. The upper smaller triptych held relics of the True Cross, Holy Sepulchre, and the robe of the Virgin Mary.
The outer wings of the main triptych contain enamel medallions with animated scenes from the legends of the True Cross, stories well known in the Middle Ages. Over the top of the two top medallions is inscribed:
- Behold the Cross of the Lord, flee you hostile powers
- The Lion of the Tribe of Judah, the Root of David has conquered
The three medallions on the left wing tell the story of Constantine's conversion to Christianity. Starting with the bottom medallion on the left wing, it pictures Constantine having a dream the night before the Battle of Milvian Bridge, where he dreams about the Cross. The middle medallion shows Constantine's victory at the Milvian bridge. The upper medallion shows Constantine being baptized just before his death, by Pope Sylvester I.
The three medallions on the right wing tell the story of Saint Helena's discovery of the True Cross. Starting with the bottom medallion on the right wing, Helena questions Jewish leaders about the location of the Cross. In the middle medallion, Helena watches as servants dig up the Cross on Mount Calvary. In the upper medallion, Helena is testing the three crosses on a sick man to find the one True Cross that has the healing powers.
[modifier] Cultural traditions
Beyond the masterful goldsmith's work and beauty of the Stavelot Triptych, it remains instructive for the modern viewer about the development of Eastern and Western cultural traditions. The Stavelot Triptych focuses attention on the East-West dichotomy in Christianity, which continues to this day in Catholic and Orthodox churches. Not only are the enamel techniques different between the outer triptych and the smaller inner triptychs, but the way images and ideas are expressed are very different. Eastern Byzantine artists use static, hierarchal figures frozen in place, silently adoring Christ and the cross. In contrast, the Western artists use narrative story telling with animated figures acting out dramatic visions, battles and miracles.
[modifier] Resources
- Ryskamp, Charles (1980). The Stavelot Triptych. Mosan Art and the Legend of the True Cross. New York: The Pierpont Morgan Library.
- Stokstad, Marilyn (2004). Medieval art. ISBN 0-8133-3681-3
- Stavelot Triptych. Zoomable image from the Morgan Library.
Category:Mosan art Category:Relics attributed to Jesus Category:Triptychs
