Reliquaries containing sacred objects intended to be carried in processions were conceived rather differently to reliquaries imitating the shape of relic held within. The Reliquary of Holy Corporal that Sienese goldsmith Ugolino di Vieri executed for the Cathedral at Orvieto is an example of this type of reliquary.
Ugolino’s elaborate reliquary holds what is known as The Corporal of Bolsena. The corporal, a square shaped white linen cloth used for the ritual of Eucharist covered an altar during the Mass. Upon it were laid paraphernalia related to the ceremonial transformation of bread and wine into the body and blood of Christ. The chalice containing the wine and the ciborium holding hosts are placed on the corporal to be consecrated by the priest and consumed thereafter in the rite of Communion.
Miracle of Eucharist at Bolsena
The Corporal of Bolsena became an object of veneration after the consecrated host bled onto the corporal during a Mass officiated by a sceptic priest in this Italian town in 1263. While this event may or may have not confirmed the shaky faith of the priest, it certainly convinced the local congregation of the miracle of Eucharist as they believed they could see the profile of Christ’s face in the pattern of blood stains.
Reliquary Design Suitable for the Feast of Corpus Christi
Ugolino designed a double sided altarpiece to reflect the function of the enclosed relic. This reliquary carried in procession during the Feast of Corpus Christi held the sacred napkin used for the consecration of bread at the celebration of Mass was thus suggestive of Eucharist to the participants of the Feast.
Reliquary Decorative Scheme
Double sided design allowed the artist enough space to narrate the legend of the relic itself and to depict scenes from the life of Christ as related to the Eucharist. The enamelled scenes are depicted on both sides of the reliquary which was intended for reading by pilgrims while circling it. The napkin is housed in the cupboard whose front face depicts the history of the relic in eight scenes of the two upper registers, the lower register shows christological scenes with emphasis on Eucharist.
The sculptor arranged narrative so that the viewer reading from the top left to bottom right can link the miracle of the sacred napkin that happened at celebrating the Mass at Bolsena with the Institution of Eucharist by Christ at Last Supper. The artist leads us through Christ's Passion as the narrative continues on the reverse from bottom left to top right, to his Resurrection at the apex. By associating the miracle with the miracle of Resurrection, the artist and patrons provide the relic with credibility and create an effective spiritual impact on the believers.
Reliquary Display
Even for the relic of such a small size, there was created a space where it could be housed with dignity. The piece was designed with the central front face functioning as hinged door opening outwards so that viewers were allowed to see the sacred napkin stretched across the reliquary's interior as it stood on the high altar during the Mass.
Goldsmiths used 400 pounds of silver gilt for this highly elaborate piece. Sienese craftsmanship is identifiable by gothicizing motifs such as gabled top decorated with finials, crocketed pinnacles and combination of pointed arches with trilobate fields.
It was essential that a relic of such importance supports the Catholic doctrine. In this case, it was the doctrine of tranformation of the host into the body of Christ asserted through the dignified position of the relic, rich adornment and informative ordering of the reliquary design as well as its flexibility.
Sources:
- Diana Norman: Siena, Florence and Padua: Art, Society and Religion 1280 - 1400, Yale University Press, 1995
Zuzana Minarikova - I live in London and work in publishing in Bloomsbury which is an exciting part of London, full of museums, galleries, bookshops and ...
