DOI Page / Citation link:
https://doi.org/10.11588/diglit.22262#0071
Liturgical Yestments of Francois Glaize
the chasubles9. The painting was made after an earlier work by Rubens (1614), now
on view at the Pinacoteca in Munich. The designer of the cartoons used by Glaize
for his work had surely known the work of Rubens or Van Dyck, though possibly
only from engravings after these great masters, which were very popular at that time.
The representations on the two chasubles are a mirror-image of the Antwerp icono-
graphic prototype. In all the three scenes the cross is T-shaped with a very short
horizontal beam. Known as the Tau Cross, or St Anthony's Cross, or crux commissa,
this type of cross forced the body of Christ tó hang down with his hands stretched
upwards almost vertically, which heightened the dramatic effect of the scenę. This
arrangement was characteristic of works created after the Trent Council10. Painting
of that age typically showed the Saviour's overwhelming loneliness and isolation in
the face of death after he was driven out of Jerusalem (in the background)11. In
Glaize's works under discussion, Christ is presented with his head thrust back, eyes
turned upwards to the sky and mouth half-open. Thus, the image pictures Christ
as he expels his last breath. In the age of Counter Reformation, this tension-filled
scenę was meant to enkindle ardent religious feeling in the beholder12.
The Arma Christi group on the front length of both paramenta is supplemental to
the main image on the back. St Veronica's veil in its upper section seems swept by
the wind and is made as a separate piece of cloth attached with red ribbons to the
galloons delineating the orphrey from the sides of the garment (Fig. 3). This image
of Veronica's veil shows a highly realistic face of tormented Christ in the crown of
thorns. Beneath it are some other instruments of Chrisfs passion: the crown of
thorns, the symbol of derision by Roman soldiers, and three big nails used to nail
the Saviour to the cross. The lower part of the orphrey features a cock, the symbol
of St Peter's denial. More 'Weapons of Christ' are found on the sides of the front and
back of both chasubles. They are tied in big knots with a thick rope that reminds
the viewer of that used to tie Christ to the pillar before flagellation. The arrangement
of the Arma Christi on the sides of the back lengths is the following: a hyssop plant
with a sponge filled with vinegar, the reed, and lictorian fasces (a bundle of rods tied
together with a leather belt) to the left of the Crucifixion scenę, and a lance, the torch
carried by the arresters of Christ and a scourge (a rod and leather stripes tipped with
knots or smali pieces of metal) to the right. The front of the chasubles features Ve-
9 Pagaczewski, J., Gobeliny polskie..., p. 36.
10 E. Małe, Uart. religieux apres le Concil de Trente. Etude sur 1'iconographie de la fin du
XVIe siecle, du XVIIe, du XVIII siecle. Italie-France-Espagne-Flandre, Paris 1932, pp.
278-279; Reau, L., Iconographie de Vart chretien, Vol. II, Paris 1957, p. 481; Benesz, H.,
'Ikonografia Pasji w malarstwie potrydenckim', [in:] Arcydzieło Petera Paula Rubensa
'Zdjęcie z krzyża' ze zbiorów Państwowego Ermitażu w Sankt Petersburgu, Warsaw 2000,
pp. 42, 56-57.
11 Małe, E., op. cit., pp. 276-277; Dziubecki, T., Ikonografia Męki Chrystusa w nowożytnym
malarstwie kościelnym w Polsce, Warszawa 1996, p. 76.
12 Małe, E., op. cit., p. 278; Reau, L., op. cit., pp. 476-477.
the chasubles9. The painting was made after an earlier work by Rubens (1614), now
on view at the Pinacoteca in Munich. The designer of the cartoons used by Glaize
for his work had surely known the work of Rubens or Van Dyck, though possibly
only from engravings after these great masters, which were very popular at that time.
The representations on the two chasubles are a mirror-image of the Antwerp icono-
graphic prototype. In all the three scenes the cross is T-shaped with a very short
horizontal beam. Known as the Tau Cross, or St Anthony's Cross, or crux commissa,
this type of cross forced the body of Christ tó hang down with his hands stretched
upwards almost vertically, which heightened the dramatic effect of the scenę. This
arrangement was characteristic of works created after the Trent Council10. Painting
of that age typically showed the Saviour's overwhelming loneliness and isolation in
the face of death after he was driven out of Jerusalem (in the background)11. In
Glaize's works under discussion, Christ is presented with his head thrust back, eyes
turned upwards to the sky and mouth half-open. Thus, the image pictures Christ
as he expels his last breath. In the age of Counter Reformation, this tension-filled
scenę was meant to enkindle ardent religious feeling in the beholder12.
The Arma Christi group on the front length of both paramenta is supplemental to
the main image on the back. St Veronica's veil in its upper section seems swept by
the wind and is made as a separate piece of cloth attached with red ribbons to the
galloons delineating the orphrey from the sides of the garment (Fig. 3). This image
of Veronica's veil shows a highly realistic face of tormented Christ in the crown of
thorns. Beneath it are some other instruments of Chrisfs passion: the crown of
thorns, the symbol of derision by Roman soldiers, and three big nails used to nail
the Saviour to the cross. The lower part of the orphrey features a cock, the symbol
of St Peter's denial. More 'Weapons of Christ' are found on the sides of the front and
back of both chasubles. They are tied in big knots with a thick rope that reminds
the viewer of that used to tie Christ to the pillar before flagellation. The arrangement
of the Arma Christi on the sides of the back lengths is the following: a hyssop plant
with a sponge filled with vinegar, the reed, and lictorian fasces (a bundle of rods tied
together with a leather belt) to the left of the Crucifixion scenę, and a lance, the torch
carried by the arresters of Christ and a scourge (a rod and leather stripes tipped with
knots or smali pieces of metal) to the right. The front of the chasubles features Ve-
9 Pagaczewski, J., Gobeliny polskie..., p. 36.
10 E. Małe, Uart. religieux apres le Concil de Trente. Etude sur 1'iconographie de la fin du
XVIe siecle, du XVIIe, du XVIII siecle. Italie-France-Espagne-Flandre, Paris 1932, pp.
278-279; Reau, L., Iconographie de Vart chretien, Vol. II, Paris 1957, p. 481; Benesz, H.,
'Ikonografia Pasji w malarstwie potrydenckim', [in:] Arcydzieło Petera Paula Rubensa
'Zdjęcie z krzyża' ze zbiorów Państwowego Ermitażu w Sankt Petersburgu, Warsaw 2000,
pp. 42, 56-57.
11 Małe, E., op. cit., pp. 276-277; Dziubecki, T., Ikonografia Męki Chrystusa w nowożytnym
malarstwie kościelnym w Polsce, Warszawa 1996, p. 76.
12 Małe, E., op. cit., p. 278; Reau, L., op. cit., pp. 476-477.