To Die and Be Resurrected with Christ: The Milan Passion
Diptych and Its Function in the Baptismal Rite

J 2021

To Die and Be Resurrected with Christ: The Milan Passion Diptych and Its Function in the Baptismal Rite

ROSENBERGOVÁ, Sabina and Kristýna NAVRÁTILOVÁ

Basic information

Original name

To Die and Be Resurrected with Christ: The Milan Passion Diptych and Its Function in the Baptismal Rite

Authors

ROSENBERGOVÁ, Sabina (203 Czech Republic, guarantor, belonging to the institution) and Kristýna NAVRÁTILOVÁ (203 Czech Republic, belonging to the institution)

Edition

ICONOGRAPHICA, Firenze, SISMEL EDIZIONI GALLUZZO, 2021, 1720-1764

Other information

Language

English

Type of outcome

Článek v odborném periodiku

Field of Study

60401 Arts, Art history

Country of publisher

Italy

Confidentiality degree

není předmětem státního či obchodního tajemství

References:

URL

RIV identification code

RIV/00216224:14210/21:00128836

Organization unit

Faculty of Arts

UT WoS

000994495300005

Keywords in English

The Milan Passion Diptych; Baptismal Liturgy; Roman Rite for the Easter; Milanese Rite for the Easter; Ivory Diptychs

Abstract

V originále

The Milan Passion diptych, composed of two ivory panels, is decorated with scenes of Christ’s Passion and Re- surrection. It resembles the 5th-century Roman ivories, but has been convincingly proved to be a 9th-century piece produ- ced in the context of the so-called Carolingian revival. Its original provenance and function remain, however, a matter of controversy. We aim to contribute to this discussion answering the following: (1) was the diptych carved at the Carolingian court, or in the Northern Italy, probably for the Cathedral of Milan; (2) what was its original purpose? Our interpretation stems from a discovery of wax residues on the reverses of the panels. The central parts of the reverses were once covered with wax, which leads us to assume that they could have been used for temporary writing. By cross-checking the sequence of sce- nes on the diptych, contemporary liturgical sources, and patristic treaties, we suggest that the object originally had a litur- gical function in (pre)-baptismal rituals following the Roman, rather than the Milanese Rite. This in turn excludes the possibility of its Milanese provenance. Based upon these findings, our interpretation of the function of the diptych might open further inquiry into the use of similar objects throughout Late Antiquity and the Early Middle Ages.

Citovat

ROSENBERGOVÁ, Sabina and Kristýna NAVRÁTILOVÁ. To Die and Be Resurrected with Christ: The Milan Passion Diptych and Its Function in the Baptismal Rite. ICONOGRAPHICA. Firenze: SISMEL EDIZIONI GALLUZZO, 2021, vol. 20, No 1, p. 47-58. ISSN 1720-1764.

@article{2266000,
   author = {Rosenbergová, Sabina and Navrátilová, Kristýna},
   article_location = {Firenze},
   article_number = {1},
   keywords = {The Milan Passion Diptych; Baptismal Liturgy; Roman Rite for the Easter; Milanese Rite for the Easter; Ivory Diptychs},
   language = {eng},
   issn = {1720-1764},
   journal = {ICONOGRAPHICA},
   title = {To Die and Be Resurrected with Christ: The Milan Passion Diptych and Its Function in the Baptismal Rite},
   url = {http://www.sismel.it/pubblicazioni/1844-iconographica-xx-(2021)},
   volume = {20},
   year = {2021}
}

TY  - JOUR
ID  - 2266000
AU  - Rosenbergová, Sabina - Navrátilová, Kristýna
PY  - 2021
TI  - To Die and Be Resurrected with Christ: The Milan Passion Diptych and Its Function in the Baptismal Rite
JF  - ICONOGRAPHICA
VL  - 20
IS  - 1
SP  - 47-58
EP  - 47-58
PB  - SISMEL EDIZIONI GALLUZZO
SN  - 17201764
KW  - The Milan Passion Diptych
KW  - Baptismal Liturgy
KW  - Roman Rite for the Easter
KW  - Milanese Rite for the Easter
KW  - Ivory Diptychs
UR  - http://www.sismel.it/pubblicazioni/1844-iconographica-xx-(2021)
N2  - The Milan Passion diptych, composed of two ivory panels, is decorated with scenes of Christ’s Passion and Re- surrection. It resembles the 5th-century Roman ivories, but has been convincingly proved to be a 9th-century piece produ- ced in the context of the so-called Carolingian revival. Its original provenance and function remain, however, a matter of controversy. We aim to contribute to this discussion answering the following: (1) was the diptych carved at the Carolingian court, or in the Northern Italy, probably for the Cathedral of Milan; (2) what was its original purpose? Our interpretation stems from a discovery of wax residues on the reverses of the panels. The central parts of the reverses were once covered with wax, which leads us to assume that they could have been used for temporary writing. By cross-checking the sequence of sce- nes on the diptych, contemporary liturgical sources, and patristic treaties, we suggest that the object originally had a litur- gical function in (pre)-baptismal rituals following the Roman, rather than the Milanese Rite. This in turn excludes the possibility of its Milanese provenance. Based upon these findings, our interpretation of the function of the diptych might open further inquiry into the use of similar objects throughout Late Antiquity and the Early Middle Ages.
ER  -

ROSENBERGOVÁ, Sabina and Kristýna NAVRÁTILOVÁ. To Die and Be Resurrected with Christ: The Milan Passion Diptych and Its Function in the Baptismal Rite. \textit{ICONOGRAPHICA}. Firenze: SISMEL EDIZIONI GALLUZZO, 2021, vol.~20, No~1, p.~47-58. ISSN~1720-1764.

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