The marvellous Hierotopy of the golden altar in Milan : A
visual Constantinopolitan fascination?

C 2021

The marvellous Hierotopy of the golden altar in Milan : A visual Constantinopolitan fascination?

FOLETTI, Ivan

Basic information

Original name

The marvellous Hierotopy of the golden altar in Milan : A visual Constantinopolitan fascination?

Authors

FOLETTI, Ivan (203 Czech Republic, guarantor, belonging to the institution)

Edition

London, Icons of Space : Advances in Hierotopy, p. 175-186, 12 pp. Routledge, 2021

Publisher

Routledge

Other information

Language

English

Type of outcome

Kapitola resp. kapitoly v odborné knize

Field of Study

60401 Arts, Art history

Country of publisher

United Kingdom of Great Britain and Northern Ireland

Confidentiality degree

není předmětem státního či obchodního tajemství

Publication form

printed version "print"

References:

URL

RIV identification code

RIV/00216224:14210/21:00121812

Organization unit

Faculty of Arts

ISBN

978-1-000-41084-6

Keywords in English

Golden Altar; Milan; Aniconism; Constantinople; Cultural Transfer

Abstract

V originále

The golden altar of Milan is one of the most impressive monuments of the early medieval period. Decorated on its four sides, covered by golden and silver leaf, it was a clear expression of Carolingian power in Northern Italy. In its liturgical context, however, the altar must have been a marvellous epicentre of the hierotopy of the Basilica of St. Ambrose: used from all four sides, it was a precious mirror of light and of the presence for the clergy allowed to approach it. For the “common viewer” in the nave, the situation was different. Invisible in its tiny details, covered by precious stones, it would have been perceived as a giant aniconic reliquary, decorated with crosses. From this point of view, therefore, the visual aesthetic was in fact not only aniconic, but also very close to what we know about the visual patterns developed in Constantinople from the reign of Justinian to the period of the “struggle about images”. During the bishopric of Angilbert II (824-859), the patron of the altar, Milan had a strong connection with Byzantium. The aniconic Hagia Sophia was therefore certainly known from the descriptions of travellers and ambassadors. It seems therefore that Angilbert II must have been seduced by the descriptions of the aesthetic elegance of the aniconic decorations and by the prestige of Constantinople.

Citovat

FOLETTI, Ivan. The marvellous Hierotopy of the golden altar in Milan : A visual Constantinopolitan fascination? In Bogdanović, Jelena. Icons of Space : Advances in Hierotopy. London: Routledge, 2021, p. 175-186. Routledge. ISBN 978-1-000-41084-6.

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   author = {Foletti, Ivan},
   address = {London},
   booktitle = {Icons of Space : Advances in Hierotopy},
   editor = {Bogdanović, Jelena},
   keywords = {Golden Altar; Milan; Aniconism; Constantinople; Cultural Transfer},
   howpublished = {tištěná verze "print"},
   language = {eng},
   location = {London},
   isbn = {978-1-000-41084-6},
   pages = {175-186},
   publisher = {Routledge},
   title = {The marvellous Hierotopy of the golden altar in Milan : A visual Constantinopolitan fascination?},
   url = {https://www.taylorfrancis.com/chapters/edit/10.4324/9781003154464-10/marvellous-hierotopy-golden-altar-milan-ivan-foletti},
   year = {2021}
}

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AU  - Foletti, Ivan
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VL  - Routledge
PB  - Routledge
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SN  - 9781000410846
KW  - Golden Altar
KW  - Milan
KW  - Aniconism
KW  - Constantinople
KW  - Cultural Transfer
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N2  - The golden altar of Milan is one of the most impressive monuments of the early medieval period. Decorated on its four sides, covered by golden and silver leaf, it was a clear expression of Carolingian power in Northern Italy. In its liturgical context, however, the altar must have been a marvellous epicentre of the hierotopy of the Basilica of St. Ambrose: used from all four sides, it was a precious mirror of light and of the presence for the clergy allowed to approach it. For the “common viewer” in the nave, the situation was different. Invisible in its tiny details, covered by precious stones, it would have been perceived as a giant aniconic reliquary, decorated with crosses. From this point of view, therefore, the visual aesthetic was in fact not only aniconic, but also very close to what we know about the visual patterns developed in Constantinople from the reign of Justinian to the period of the “struggle about images”. During the bishopric of Angilbert II (824-859), the patron of the altar, Milan had a strong connection with Byzantium. The aniconic Hagia Sophia was therefore certainly known from the descriptions of travellers and ambassadors. It seems therefore that Angilbert II must have been seduced by the descriptions of the aesthetic elegance of the aniconic decorations and by the prestige of Constantinople.
ER  -

FOLETTI, Ivan. The marvellous Hierotopy of the golden altar in Milan : A visual Constantinopolitan fascination? In Bogdanovi\'c, Jelena. \textit{Icons of Space : Advances in Hierotopy}. London: Routledge, 2021, p.~175-186. Routledge. ISBN~978-1-000-41084-6.

Detailed Information on Publication Record