DOI Heft:
Nr. 1-2
DOI Artikel:Dobrzeniecki, Tadeusz: Imago Pietatis: its meaning and function
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.18819#0024
12. Imago Pietatis, The Trebofi antependium (embroidery),
ca 1380, Prague, National Museum (after Schuette, Miiller-Christiansen)
Two latter examples visualize clearly an idea expressed by the verse: Ecce panis angelorum
of the seąuence, composed by St Thomas Acprinas, the one that was to be recited or sung
i 11 Festo Corporis Christi.73
Since the Xlth century iii Italy —■ and later on also in Northern countries — a custom began
to spread of the preserving of the Eucharistic wafers iii tabernacles situated in the Eastern
or Northern wali of the chancel.74 The consecrated Host was recognized to be the Body of
Christ Crucified and Resurrected and, therefore, the place of its preservation — the tabernacle
had the meaning of novum scpulchrum Christi. Already Bede the Venerable called the tabernacle
the tomb of Christ comprising the Ihdng Body of the Resurrected. This symbolism subsisted
through the Middle Ages leaving to us an important evidence of its influence in the iconographic
program of the tabernacle. On the door of the tabernacle Imago Pietatis was usually depicted,
called in some Italian documents sepulchro cum uno Christo passo.1'" Such representations sup-
plemented sometime by an additional motif of Christ admiiiistering His own blood, appear
even inore often painted above the tabernacle.76 The symbolic identity of the Eucharistic niche
with the insides of the tomb is visualized by ths transformation of the frame of the door into
18
ca 1380, Prague, National Museum (after Schuette, Miiller-Christiansen)
Two latter examples visualize clearly an idea expressed by the verse: Ecce panis angelorum
of the seąuence, composed by St Thomas Acprinas, the one that was to be recited or sung
i 11 Festo Corporis Christi.73
Since the Xlth century iii Italy —■ and later on also in Northern countries — a custom began
to spread of the preserving of the Eucharistic wafers iii tabernacles situated in the Eastern
or Northern wali of the chancel.74 The consecrated Host was recognized to be the Body of
Christ Crucified and Resurrected and, therefore, the place of its preservation — the tabernacle
had the meaning of novum scpulchrum Christi. Already Bede the Venerable called the tabernacle
the tomb of Christ comprising the Ihdng Body of the Resurrected. This symbolism subsisted
through the Middle Ages leaving to us an important evidence of its influence in the iconographic
program of the tabernacle. On the door of the tabernacle Imago Pietatis was usually depicted,
called in some Italian documents sepulchro cum uno Christo passo.1'" Such representations sup-
plemented sometime by an additional motif of Christ admiiiistering His own blood, appear
even inore often painted above the tabernacle.76 The symbolic identity of the Eucharistic niche
with the insides of the tomb is visualized by ths transformation of the frame of the door into
18