DOI Artikel:
Ratkowska, Paulina: "Ut quid perditio haec?": Ivory relief Christ in the House of Simon
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.18951#0023
with winę and a dipper—as on the relief with the scene of Christ in House of Simon
(where the servant, standing on the right, holds a dipper).
We see an easily recognizable trapeza delphica in the miniaturę called The
Ointment in Bethany in the manuscript of Peńcopae ofEgbert, the Archbishop of
Trier (977-993) (ill. 4).43 Here the table is covered with a tablecloth, its legs are
carved into lion paws. These details show that the miniaturist copied them from
a work of art of Antiąue origin.
The use of the three-legged table (tńpod) by the artist of our relief could
result from the feeling of inner connection between Christ’s thought about His
approaching funeral and the mediaeval miniaturist’s own associations, inspired
by his copying of ancient models. In this case it is the table, covered with
a tablecloth, in front of which are shown symmetrically two servants, one of them
with a large dipper—just as on the miniaturę of the manuscript oiEneide, dated
to the 5th century, kept in the Biblioteca Apostolica Vaticana with the scene of the
banąuetwith two servants servingjugs ofwine (ill. 5).44
It is possible that the miniaturist of the Codex Egberti, borrowing the Antiąue
form of the trapez a-table, would like to accentuate his idea of setting Jesus apart
as a hero whom, according to the words of the Evangelist, He would soon become.
Translated by łan Parascovich
Revised by Anna Kielczewska
43 Repr. F. Ronig, Codex Egberti. Das Peńcopenbuch des Erzbischofs Egbert von Tńer (977-993),
Trier 1977, fol. 65.
44 Romę, Biblioteca Apostolica Vaticana, inv. no. 3867. Copy of this miniaturę may be found in C.M.
Chambres in his entry—COENA in Dictionnaire des Antiąuites..., op.cit., Paris 1887,1, 2e partie (c),
ibidem.
(where the servant, standing on the right, holds a dipper).
We see an easily recognizable trapeza delphica in the miniaturę called The
Ointment in Bethany in the manuscript of Peńcopae ofEgbert, the Archbishop of
Trier (977-993) (ill. 4).43 Here the table is covered with a tablecloth, its legs are
carved into lion paws. These details show that the miniaturist copied them from
a work of art of Antiąue origin.
The use of the three-legged table (tńpod) by the artist of our relief could
result from the feeling of inner connection between Christ’s thought about His
approaching funeral and the mediaeval miniaturist’s own associations, inspired
by his copying of ancient models. In this case it is the table, covered with
a tablecloth, in front of which are shown symmetrically two servants, one of them
with a large dipper—just as on the miniaturę of the manuscript oiEneide, dated
to the 5th century, kept in the Biblioteca Apostolica Vaticana with the scene of the
banąuetwith two servants servingjugs ofwine (ill. 5).44
It is possible that the miniaturist of the Codex Egberti, borrowing the Antiąue
form of the trapez a-table, would like to accentuate his idea of setting Jesus apart
as a hero whom, according to the words of the Evangelist, He would soon become.
Translated by łan Parascovich
Revised by Anna Kielczewska
43 Repr. F. Ronig, Codex Egberti. Das Peńcopenbuch des Erzbischofs Egbert von Tńer (977-993),
Trier 1977, fol. 65.
44 Romę, Biblioteca Apostolica Vaticana, inv. no. 3867. Copy of this miniaturę may be found in C.M.
Chambres in his entry—COENA in Dictionnaire des Antiąuites..., op.cit., Paris 1887,1, 2e partie (c),
ibidem.