BGuthrie Photos: MD -- Baltimore -- Walters Art Museum -- European Other Art

MD -- Baltimore -- Walters Art Museum -- European Other Art:

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Specific picture descriptions: Photos above with "i" icons next to the bracketed sequence numbers (e.g. "[1] ") are described as follows:
1. WALTEO_090103_0133.JPG: The Special Dead: A Medieval Reliquary Revealed: August 2, 2008 - January 18, 2009 Long since emptied of its contents, the reliquary shrine of Saint Amandus was created in the early 13th century to bring believers into the presence of a man venerated as a saint, whose bones were originally contained within. It now stands open in this room. Its preservation is both an in-depth look at a single work of art and an invitation. We have been studying this shrine to prepare for a much larger exhibition about medieval relics and their containers, known as reliquaries. ... What Is A Reliquary? In Christianity, reliquaries are receptacles that house the physical remains of individuals venerated as saints of other holy objects. The word itself comes from the Latin, reliquiae (remains). Because they were often made to hold fragments of bone or other materials, reliquaries are generally smaller than tombs. They were displayed on special feast days and often carried aloft in processions much like the Ark of Covenant from the Old Testament. Through reliquaries, earth and heaven joined, and the living could commune with deceased saints, whom they hoped would intercede with God on their behalf. Like the reliquary in this room, these containers were often fashioned from precious materials and elaborately decorated. In the candlelit interiors of a church, their shining surfaces would have evoked the celestial world inhabited by the saint whose mortal remains were present in the object. Who Was Saint Amandus? St. Amandus was born in France at the end of the 6th century (ca. 584). He became a monk and then a missionary. He is credited with converting the pagan inhabitants of Flanders (western Belgium) to Christianity. Amandus was consecrated bishop of the city of Maastricht (in the present-day Netherlands) in 649 but soon left to evangelize the Basque country of northern Spain. During the course of his life, Amandus helped establish religious monasteries, including that of Elnon, to which he retired and where he died in 679. His work and the miracles attributed to him are commemorated in illuminated manuscripts produced by monks in the region. Why Is This Reliquary Connected to Saint Amandus? Scholars have long associated this object with St. Amandus because of its decoration. The inscription along one side of the lid reads: IN ISTA CAPSA SEQVENTES RELIQ(VIA)E B(EATI) AMANDI EP(IPCOPU)S (In this reliquary are the following relics of the blessed Bishop Amandus) Dressed as a bishop, the seated figure on the short end of the casket is presumably a representation of St. Amandus himself. Recent analysis, however, suggests that this attribution is far from certain, because the reliquary underwent many changes over time that affected its appearance. How Was This Reliquary Made? As you can see, the St. Amandus reliquary is a wooden box covered with a variety of precious and semiprecious metals, gemstones, and enamels. The interior of the reliquary was hollowed out from a single piece of oak using hand tools. Computed Tomography (CT) scans performed by the Department of Radiology at the University of Maryland Medical Center revealed that the tree rings on the box and its list match, indicating they came from the same tree. The box was covered with thinly hammered copper sheets decorated by stamping, chasing, engraving, and repousse work. An exception is the decorative crest along the top of the reliquary, which is brass and was cast by pouring liquid metal into a mold. Most of the columns were made from silver decorated with stamped patterns. A thin layer of gold was applied to mots of the copper surface, creating a luxurious vision of gold and silver. On the end of the reliquary, the figure of St. Amandus is made using the repousse technique, where sheets of copper are shaped by hammering from the back; the figure was then soldiered together before it w as gilded. Gemstones and enamel added color to the glittering surface of the reliquary. The gemstones were hand carved and either drilled through the center like a bead or set into a band of metal. The gems were polished smooth rather than faceted (a technique not used until the late 13th century). Enamel, common on medieval metalwork, is applied here using techniques, champleve and cloisonne. Why Were Reliquaries Refashioned over Time? Although the veneration of relics continued uninterrupted from the early centuries of Christianity, reliquaries were often modified, embellished, or thoroughly transformed. Alterations were due to different factors. For example, giving relics in diplomatic exchanges often resulted din a modification of the container in which they traveled. These changes could be minimal, such as the addition of an inscription, or amount to a complete makeover. Stones and other precious ornaments given as offerings to the saints could be added to the body of the reliquary, and the ravages of time were often remedied with new decoration. Nineteenth-century restorations and embellishments have further complicated our understanding of the histories of these objects. Throughout much of Europe during the 19th century, the resurgence of interest in the medieval world prompted the conservation and restoration of medieval heritage, often resulting in the extensive refashioning of damaged objects. Both the metalwork and the enameling of the St. Amandus reliquary are consistent with medieval techniques, but the chemical composition of all of the enamels (except for the roundel above the figure of St. Amandus) is 19th-century.
2. WALTEO_090103_0230.JPG: Definitely the weirdest jewelry I'd seen!
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- 2013_MD_Walters_EuropeO: MD -- Baltimore -- Walters Art Museum -- European Other Art (68 photos from 2013)
- 2012_MD_Walters_EuropeO: MD -- Baltimore -- Walters Art Museum -- European Other Art (49 photos from 2012)
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2009 photos: Equipment this year: I mostly used the Fuji S100fs. I've also got a Nikon D90 and a newer Fuji -- the S200EHX -- both of which are nice but I still prefer the flexibility of the Fuji. Trips this year: Niagara Falls, NY, New York City, Civil War Trust conferences in Gettysburg, PA and Springfield, IL, and my 4th consecutive San Diego Comic-Con trip (including Los Angeles, Yosemite, Death Valley, Kings Canyon, Joshua Tree, etc). Ego strokes: I had a picture of a Lincoln-Obama cupcake sculpture published in Civil War Times and WUSA-9, the local CBS affiliate, ran a quick piece on me. A picture that I took at the annual Abraham Lincoln Symposium appeared in the National Archives' "Prologue" magazine. I became a volunteer with the Smithsonian American Art Museum. Number of photos taken this year: 417,000.
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