An image-bearing structure set on the rear part of the altar (see Altar, §II), abutting the back of the altarblock, or set behind the altar in such a way as to be visually joined with the altar when viewed from a distance. It is also sometimes called a ...
Alison Manges Nogueira
Monumental, marble paschal
Temporary structure set up in church to simulate the place of Christ’s burial for a symbolic enactment of the Entombment and Resurrection. The Tomb of Christ and the later sacrament house, although also concerned with the bodily presence of Christ, belong to a separate tradition (see below). Special rites for Easter in which some kind of Easter sepulchre played a part are found in some 400 texts from medieval Europe. The earliest description is in the 10th-century English ...
John Thomas, Marina Falla Castelfranchi, Marchita Bradford Mauck and Iris Kockelbergh
Object in which, or by which, baptism, the Christian rite of initiation, is practised. Evolving modes of liturgical practice, most notably the adoption of infant baptism (see §3 below), resulted in widely varying physical forms and positioning within the church.
According to Christian belief, John the Baptist baptized people in the River Jordan, washing them clean of sin. Jesus, however, told his followers that they must be reborn through baptism: ‘except a man be born of water and of the Spirit, he cannot enter into the kingdom of God’ (John 3:5). Christian baptism is thus a ritual dying and rebirth as a new person, entering the tomb of death (or the womb, for the second time) and being resurrected to a new life, sharing in the experiences of Christ, who himself suffered death but was reborn. The font, therefore, is an item of liturgical furniture, but it is also a physical symbol, embodying the ideas of death and rebirth. Some of the earliest fonts that have been identified were shaped like a coffin or tomb; others, being circular, approximated more to the womb. The numbers six and eight are found in early baptismal architecture, in the shape of either the font or the ...
Term applied to life-size wooden sculptures carved in the round and originally always painted, commemorating the entry of Christ into Jerusalem riding on an ass, as recounted in Matthew 21:1–11. There are also smaller palmesel statuettes made of wood, pewter, plaster or ivory that must have served a different function; there is some evidence that they were used as accompanying figures to the actual palmesel, or as toys....
Devotional image of the Virgin Mary mourning the dead Christ, who lies across her lap. Occasionally other figures, such as St John the Evangelist or Joseph of Arimathea, grieve with her. The Pietà was a popular devotional subject in European painting and sculpture from the 13th century to the end of the 17th....
Raised structure from which a preacher delivers a sermon or religious exhortation in church. Its most important element is the casket, which sometimes rests on a pedestal or base, or may be suspended from a wall, and is approached by a flight of steps. A sound-board, positioned above the pulpit, was not introduced until after the 15th century. Figural and decorative ornament often comprises biblical scenes or iconography related to the pulpit’s function in the dissemination of Christian doctrine, such as the four Latin Doctors of the Church (e.g. 15th century; ...
James Cordova and Claire Farago
Term that refers to handmade paintings and sculptures of Christian holy figures, crafted by artists from the Hispanic and Lusophone Americas. The term first came into widespread use in early 20th-century New Mexico among English-speaking art collectors to convey a sense of cultural authenticity. Throughout the Americas, the term ...
Elizabeth Struthers Malbon
Early Christian carved stone
David Alan Robertson
Type of altarpiece produced primarily in Germany, Austria, and the Tyrol during the second half of the 15th century and the first two decades of the 16th. Related terms include Flügelaltar or Flügelretabel (both Ger.: ‘winged altarpiece’) and Wandelaltar (Ger.: ‘transforming’ or ‘changeable altarpiece’). Placed on both the high altar and side altars, and carved of native woods (mainly limewood and pine), ...
In its most general sense, spolia (pl., from Lat. spolium: ‘plunder’) denotes all artifacts re-employed in secondary contexts, from building blocks reused in a wall to pagan gems mounted on a Christian reliquary. It is a matter of debate whether this broad application of the term is justified, or whether it should be restricted to the relatively small subset of reused objects that were taken or ‘stripped’ (like spoils) from their original context, rather than found, purchased, inherited or otherwise acquired by non-violent means. It is likewise debated when the use of spolia should be considered meaningful, if at all. Arnold Esch defined five possible motives for using spolia: convenience, profanation, Christianization, political legitimation and aesthetic attraction. Michael Greenhalgh has argued for reducing the motives to three (at least with regard to marble): pragmatism, aesthetics and ideology; while Finbarr Barry Flood cautioned against reductive interpretations generated by any taxonomy, insisting that reused objects are mutable in meaning and capable of multiple interpretations during their life cycle....