You are looking at  1-3 of 3 results  for:

  • Liturgical and Ritual Objects x
  • Architecture and Urban Planning x
Clear All

Article

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....

Article

William M. Voelkle

Portable altar–reliquary (New York, Morgan Lib.), made c. 1156 for the Stavelot Abbey in the Ardennes, Belgium and decorated with both Mosan and Byzantine enamels (see fig.). The reliquary is named after the Benedictine abbey headed by Wibald of Stavelot, its enlightened abbot from 1130 to 1158. It is the first of a series of Mosan reliquary triptychs containing portions of the True Cross. Of these, only the Stavelot Triptych contains scenes from the life of Constantine and the legend of the finding of the True Cross by Empress Helena, his mother. Although two commissions by Wibald are documented (the St Remaclus Retable, destroyed during the French Revolution, and the Head Reliquary of Pope Alexander of 1145; Brussels, Musées Royaux A. & Hist.), the Stavelot Triptych is not. Wibald may have been given both the cross relic and the two small Byzantine enamel triptychs displayed on the centre panel of the Stavelot Triptych during his diplomatic mission (...

Article

Michael Ellul

Maltese family of silversmiths, architects and designers. The first recorded family member is Carlo Troisi (fl 1697–1736), followed by Andrea Troisi (fl 1750), Pietro Paolo Troisi (?1700–50) and Massimiliano Troisi (fl 1794). A silver sugar bowl (1775–97; London, Mus. Order St John) is attributed to Aloisio Troisi, probably a member of the same family. During the 17th and 18th centuries various members of the Troisi family filled the post of Master of the Mint of the Order of St John of the Knights Hospitaller. The Mint was established in Valletta, Malta, in 1566. The best-known Troisi silversmith is Pietro Paolo, who was also an architect. His best work is the Altar of Repose, which he designed for Mdina Cathedral, and which was constructed by the Maltese painter Francesco Vincenzo Zahra in 1750. It is a magnificent Baroque scenographic creation in wood executed in a masterful ...