Inscriptions on Painted Crosses and the Spaces of Personal and Communal Meditation

Against the background of a general discussion of medieval devotional practices connected to the crucifix, this paper contributes to the study of the oversized, painted crucifixes prominent in central Italy from the eleventh century and onwards. The paper examines and discusses two recently cleaned Italian crosses from the twelfth century, one in Convent of Rosano near Florence and the other in the cathedral of Sarzana. Both include scenes from the Passion of Christ elucidated by inscriptions. The words accompanying the individual narratives support the overall anagogical strategy and were clearly intended for personal meditation on Christ’s life that focuses the viewer’s mind and elevates his or her contemplation. The crucifixes were conceived of as manifestations of divine real presence. Thus the narrative scenes and accompanying inscriptions actively engaged the problem of Christ’s two natures de facto and, in so doing, they mapped itineraries of meditation onto the pictured Crucifixion. The paper considers possible liturgical and devotional uses of the crucifixes, concluding that the inscriptions not only articulate the meaning of the imagery but also bear on their use(s) in liturgical and private spaces

Aesthetics · Archaeology · Art · Contemplation · De facto · Eleventh · Literature · Meaning (existential) · Meditation · Narrative · Passion · Theology · Visual arts · Byzantine Studies and History · Historical and Religious Studies of Rome · History · Medieval Literature and History · Philosophy · Psychology

• Verses of Faith and Devotion. Seeing, Reading, and Touching Monumental Crucifixes with Inscriptions (12th–13th century)

  Open Access•Matko Matija Marušić•Studia Ceranea Journal of the…•2016

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