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.
Other formats:   BibTeX LaTeX RIS
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
Original language English
Type of outcome Chapter(s) of a specialized book
Field of Study 60401 Arts, Art history
Country of publisher United Kingdom of Great Britain and Northern Ireland
Confidentiality degree is not subject to a state or trade secret
Publication form printed version "print"
WWW 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
Tags rivok, topvydavatel
Changed by Changed by: Mgr. et Mgr. Lucie Tomaňová, učo 445546. Changed: 16/5/2022 12:46.
Abstract
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.
PrintDisplayed: 6/5/2024 00:58