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DOI Artikel:Dobrzeniecki, Tadeusz: Imago Pietatis: its meaning and function
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.18819#0021
MUNDI. His counterpart on the right is St John the Evangelist who also liolds a scroll with
the close of his statement on the Incarnation of the Word: VERBUM CARO FACTUM EST
ET HABITAVIT IN NOBIS.
In this painting two essential elements of the Encharist are visualized: Incarnated (Verbum
caro factum est) and offered Christ (represented here as Man of Sorrows and identica] with the
Lamb) is really present (et habitavit in nobis) when He renews His sacrifice in the Mass as the
Saviour (tollit peccata mundi).^ The painting of Antonio delia Corna is closely connected with
the liturgy of the Eucharist. The Agnus Dei formuła inscribed here was introduced into the
Canon of the Roman Mass by the Pope Sergius I (637—701) w7ho ordered ut tempore confractionis
dominici corporis Agnus Dei qui tollis peccata lnundi miserere nobis a dero et populo decantetur.56
In his Canonis Missae Expositio Gabriel Biel5' gives the reasons for introducting of the formuła
as well as its meaning, a precise pictorial expression of which is the panel under disscussion:
Instituit autem Sergius papa hanc orationem ut dum sacerdos procedit ad immolandum et sumendum
verum et naturale corpus Christi, ut profiteamur nos huius immaculati agni carnem sumcre in
altaris sacramento, qui se sponte pro nobis obtulit in crucis patibulo... Si queritur, quare magis
dicitur, agnus Dei quam Iesu Christi vel ali([uo alio modo, respondet Alexander quod hoc fit
convenienter tum propter veritatis representationem, que in lege figurabalur in immolatione agni
typici... Tum propter veri agni ostensionem digito precursoris dicentis: Ecce agnus dei, ecce qui
tollit peccata mundi. Quia enim in hoc sacramento representatur immolatio veri agni, que fil per
agnum in lege figurata, sub nomine agni a prophetis prenunciata, sub agni vocabulo a Ioanne
demonstrata, convenienter ad horum rememorationem et fidei testificationem dirigitur oratio ad
Christum sub nomine agni. Sub quo eum totupliciter novimus figuraliter, prophetice, et manifeste
expressum ac demonstratum.
Among the prayers silently said after the receiving Holy Communion there was also used
to be the commemoration of the Incarnation,69 using the words of St John's Gospel Verbum
caro factum est et habitami in nobis, ąuoted also by Antonio delia Corna."0 The commemoration
of the Incarnation of Christ plays an important role in the iconographic programme of a mural
in the Church of Santa Maria Nuova in Viterbo, executed by Francesco d' Antonio (fig. 10).61
The Baptist holds here a scroll with the text: ECCE AGNUS DEI QUI while with his right
forefinger he points to the Child on the Virgin's lap. On the opposite side Sorrowful (passus)
Christ bearing the Cross upon his shoulder is represented with the following words on his scroll:
CARO MEA VERE EST CIBUS SANGUIS MEUS VERE EST POTUS.62 Blood is flow-
ing down from the pierced side and the Jesus' hand to a chalice above which the Host is
depicted. The artist visualized that 1° bread and winę consecrated are identical with the offered
body and blood of Christ, 2° the Eucharist is the Incarnated and Crncified body (caro incarnata
et passa; representatio incarnationis et passionis). Such a definition is to be found in the Apos-
tolic catechesis.63 It was broadly disscussed by Patristic as well as mediaeval exegetes.64 The
esseace of it has been expressed by liturgical texts e.g. the hymn to be sung after the Consecra-
tion: Ave verum corpus natum de Maria Virgine vere passum immolatum in cruce.r'r'
A Bohemian panel of ca 147066 represents Christ standing in the sarcopliagus with a chalice
in his left hand, into which his blood is flowing down (fig. 11). With his right hand Jesus is
pointing to his pierced side. Man of Sorrows looks-at the beholder and invokes him with the
words inscribed on the frame of the panel: PASSUS SUM PRO TE, DUM PECCAS DESINE
PRO ME. EGO SUM PANIS VIVUS OUI DE CELO DESCENDI. SI QUIS MANDUCAVIT
EX HOC PANE VIVET IN AETERNUM."
On the antependium from Tfeboń (fig. 12), embroided ca 1370 the Biblical texts make elear
the meaning of the Imago Pietatis.es Jesus standing in the sarcopliagus is accompanied here
by six personages shownin busts. Above, Daniel and Zachariah foretell the Passion of Christ as
15
the close of his statement on the Incarnation of the Word: VERBUM CARO FACTUM EST
ET HABITAVIT IN NOBIS.
In this painting two essential elements of the Encharist are visualized: Incarnated (Verbum
caro factum est) and offered Christ (represented here as Man of Sorrows and identica] with the
Lamb) is really present (et habitavit in nobis) when He renews His sacrifice in the Mass as the
Saviour (tollit peccata mundi).^ The painting of Antonio delia Corna is closely connected with
the liturgy of the Eucharist. The Agnus Dei formuła inscribed here was introduced into the
Canon of the Roman Mass by the Pope Sergius I (637—701) w7ho ordered ut tempore confractionis
dominici corporis Agnus Dei qui tollis peccata lnundi miserere nobis a dero et populo decantetur.56
In his Canonis Missae Expositio Gabriel Biel5' gives the reasons for introducting of the formuła
as well as its meaning, a precise pictorial expression of which is the panel under disscussion:
Instituit autem Sergius papa hanc orationem ut dum sacerdos procedit ad immolandum et sumendum
verum et naturale corpus Christi, ut profiteamur nos huius immaculati agni carnem sumcre in
altaris sacramento, qui se sponte pro nobis obtulit in crucis patibulo... Si queritur, quare magis
dicitur, agnus Dei quam Iesu Christi vel ali([uo alio modo, respondet Alexander quod hoc fit
convenienter tum propter veritatis representationem, que in lege figurabalur in immolatione agni
typici... Tum propter veri agni ostensionem digito precursoris dicentis: Ecce agnus dei, ecce qui
tollit peccata mundi. Quia enim in hoc sacramento representatur immolatio veri agni, que fil per
agnum in lege figurata, sub nomine agni a prophetis prenunciata, sub agni vocabulo a Ioanne
demonstrata, convenienter ad horum rememorationem et fidei testificationem dirigitur oratio ad
Christum sub nomine agni. Sub quo eum totupliciter novimus figuraliter, prophetice, et manifeste
expressum ac demonstratum.
Among the prayers silently said after the receiving Holy Communion there was also used
to be the commemoration of the Incarnation,69 using the words of St John's Gospel Verbum
caro factum est et habitami in nobis, ąuoted also by Antonio delia Corna."0 The commemoration
of the Incarnation of Christ plays an important role in the iconographic programme of a mural
in the Church of Santa Maria Nuova in Viterbo, executed by Francesco d' Antonio (fig. 10).61
The Baptist holds here a scroll with the text: ECCE AGNUS DEI QUI while with his right
forefinger he points to the Child on the Virgin's lap. On the opposite side Sorrowful (passus)
Christ bearing the Cross upon his shoulder is represented with the following words on his scroll:
CARO MEA VERE EST CIBUS SANGUIS MEUS VERE EST POTUS.62 Blood is flow-
ing down from the pierced side and the Jesus' hand to a chalice above which the Host is
depicted. The artist visualized that 1° bread and winę consecrated are identical with the offered
body and blood of Christ, 2° the Eucharist is the Incarnated and Crncified body (caro incarnata
et passa; representatio incarnationis et passionis). Such a definition is to be found in the Apos-
tolic catechesis.63 It was broadly disscussed by Patristic as well as mediaeval exegetes.64 The
esseace of it has been expressed by liturgical texts e.g. the hymn to be sung after the Consecra-
tion: Ave verum corpus natum de Maria Virgine vere passum immolatum in cruce.r'r'
A Bohemian panel of ca 147066 represents Christ standing in the sarcopliagus with a chalice
in his left hand, into which his blood is flowing down (fig. 11). With his right hand Jesus is
pointing to his pierced side. Man of Sorrows looks-at the beholder and invokes him with the
words inscribed on the frame of the panel: PASSUS SUM PRO TE, DUM PECCAS DESINE
PRO ME. EGO SUM PANIS VIVUS OUI DE CELO DESCENDI. SI QUIS MANDUCAVIT
EX HOC PANE VIVET IN AETERNUM."
On the antependium from Tfeboń (fig. 12), embroided ca 1370 the Biblical texts make elear
the meaning of the Imago Pietatis.es Jesus standing in the sarcopliagus is accompanied here
by six personages shownin busts. Above, Daniel and Zachariah foretell the Passion of Christ as
15