Hélène Cambier | FUNDP (University of Namur) (original) (raw)
Papers by Hélène Cambier
In the 12th century, the mosan region saw the reorganisation of the cult of the saints, that rece... more In the 12th century, the mosan region saw the reorganisation of the cult of the saints, that received more sanctity. Solemn ceremonies of elevatio took place ; translatio from older shrines to new ones often occurred. In this way ancient saints, martyrs, founders and local glories received new reliquaries. In the 13th c. some of these artworks were replaced by new pieces with a more up-to-date gothic style. With such succession and replacement of reliquaries, one can ask if, in one way or another, « souvenirs » of the ancient reliquaries, first containers of prestigious saints or founders relics, were preserved. The response is different from one case to another. Sometimes a part of the older reliquary has been integrated in the new one or has been kept apart with a new function. The reuse of fragments from ancient (medieval) objects on more recent ones, and the reuse of pieces from previous reliquaries on new ones, as material « souvenir », has already been noticed by art historians. But in general it is difficult to assert whether the reuse is practical and economical or « memorial », as a link with the prestigious past of the work. The use of old fragments also contradicts the desire to give reliquaries dignity by giving them a fashionable look and refusing out-of-date appearance. Some examples clearly show that workshops had old pieces in reserve, like enamels and engraved plaques, that could be used as « spare pieces » if necessary. Other pieces were kept just because they were beautiful. But in some cases it can be argued that fragments were reintegrated in an object as memorial material, in order to bring to memory the previous reliquary. This form of reuse can be linked to the practice of « pastiche » observable in different times, that is to say when an artwork that replaces an old one intentionally copies its typology and « spirit » as commemorative act. This communication will sound like a call to a more systematic study of reuse of medieval pieces. This question touches the value attached to reliquaries as sacred container of relics. How were the reused fragments of reliquaries used ? How, when and why were souvenirs of ancient artworks kept ?
Wasser in der mittelalterlichen Kultur / Water in Medieval Culture, 2017
Cahiers De Saint Michel De Cuxa, 2012
European Journal of Mineralogy
Cahiers de la MPMM, 2019
Publié à l'occasion de l'exposition "Voyageurs, en route" à la Maison du patrimoine médiéval mosa... more Publié à l'occasion de l'exposition "Voyageurs, en route" à la Maison du patrimoine médiéval mosan (Dinant, BE)
In the 12th century, the mosan region saw the reorganisation of the cult of the saints, that rece... more In the 12th century, the mosan region saw the reorganisation of the cult of the saints, that received more sanctity. Solemn ceremonies of elevatio took place ; translatio from older shrines to new ones often occurred. In this way ancient saints, martyrs, founders and local glories received new reliquaries. In the 13th c. some of these artworks were replaced by new pieces with a more up-to-date gothic style. With such succession and replacement of reliquaries, one can ask if, in one way or another, « souvenirs » of the ancient reliquaries, first containers of prestigious saints or founders relics, were preserved. The response is different from one case to another. Sometimes a part of the older reliquary has been integrated in the new one or has been kept apart with a new function.
The reuse of fragments from ancient (medieval) objects on more recent ones, and the reuse of pieces from previous reliquaries on new ones, as material « souvenir », has already been noticed by art historians. But in general it is difficult to assert whether the reuse is practical and economical or « memorial », as a link with the prestigious past of the work. The use of old fragments also contradicts the desire to give reliquaries dignity by giving them a fashionable look and refusing out-of-date appearance.
Some examples clearly show that workshops had old pieces in reserve, like enamels and engraved plaques, that could be used as « spare pieces » if necessary. Other pieces were kept just because they were beautiful. But in some cases it can be argued that fragments were reintegrated in an object as memorial material, in order to bring to memory the previous reliquary. This form of reuse can be linked to the practice of « pastiche » observable in different times, that is to say when an artwork that replaces an old one intentionally copies its typology and « spirit » as commemorative act.
This communication will sound like a call to a more systematic study of reuse of medieval pieces. This question touches the value attached to reliquaries as sacred container of relics. How were the reused fragments of reliquaries used ? How, when and why were souvenirs of ancient artworks kept ?
An important group of reliquary crosses coming from the north-east of France and the Mosan area, ... more An important group of reliquary crosses coming from the north-east of France and the Mosan area, dated to the beginning of the 13th century, are still preserved today (crosses from Paraclet, Clairmarais, Blanchefosse, Hautmont, Douchy, Oignies, Aachen-Burtscheid, Souilly, etc). They are mostly processional and altar crosses ; some of them are double arm crosses. They all contain a relic of the True cross, with sometimes other relics of various saints. The crosses are decorated with the same techniques, combining filigree and niellos. In most of the cases, the front is aniconic and covered with filigree. Figures of Christ and other holy people are represented on the back, in niello technique. Many crosses were ordered by cistercian abbeys or given to them - this religious order knows a major development at that time and the number of foundations was growing.
The surprising thing is to have such a number of crosses, coming from more or less the same area and realised within a few decades ; and I would like to find an explanation for such a success. The impact of the Crusades and the sack of Constantinople of 1204 are well-known explanations for the importance of the relics of the True cross, its veneration and the creation of double arm reliquary crosses in the West. But it doesn’t explain this success which is quite local and time-limited. A hypothesis is the emulation between the donors who want to get the most beautiful crosses for their foundation. The impact of prestigious models, such as the reliquary cross offered by Philippe Auguste to Saint-Denis in 1205 (with filigree decoration) must also be considered.
Review by Hélène Cambier
Talks by Hélène Cambier
Conference Presentations by Hélène Cambier
In the 12th century, the mosan region saw the reorganisation of the cult of the saints, that rece... more In the 12th century, the mosan region saw the reorganisation of the cult of the saints, that received more sanctity. Solemn ceremonies of elevatio took place ; translatio from older shrines to new ones often occurred. In this way ancient saints, martyrs, founders and local glories received new reliquaries. In the 13th c. some of these artworks were replaced by new pieces with a more up-to-date gothic style. With such succession and replacement of reliquaries, one can ask if, in one way or another, « souvenirs » of the ancient reliquaries, first containers of prestigious saints or founders relics, were preserved. The response is different from one case to another. Sometimes a part of the older reliquary has been integrated in the new one or has been kept apart with a new function. The reuse of fragments from ancient (medieval) objects on more recent ones, and the reuse of pieces from previous reliquaries on new ones, as material « souvenir », has already been noticed by art historians. But in general it is difficult to assert whether the reuse is practical and economical or « memorial », as a link with the prestigious past of the work. The use of old fragments also contradicts the desire to give reliquaries dignity by giving them a fashionable look and refusing out-of-date appearance. Some examples clearly show that workshops had old pieces in reserve, like enamels and engraved plaques, that could be used as « spare pieces » if necessary. Other pieces were kept just because they were beautiful. But in some cases it can be argued that fragments were reintegrated in an object as memorial material, in order to bring to memory the previous reliquary. This form of reuse can be linked to the practice of « pastiche » observable in different times, that is to say when an artwork that replaces an old one intentionally copies its typology and « spirit » as commemorative act. This communication will sound like a call to a more systematic study of reuse of medieval pieces. This question touches the value attached to reliquaries as sacred container of relics. How were the reused fragments of reliquaries used ? How, when and why were souvenirs of ancient artworks kept ?
Wasser in der mittelalterlichen Kultur / Water in Medieval Culture, 2017
Cahiers De Saint Michel De Cuxa, 2012
European Journal of Mineralogy
Cahiers de la MPMM, 2019
Publié à l'occasion de l'exposition "Voyageurs, en route" à la Maison du patrimoine médiéval mosa... more Publié à l'occasion de l'exposition "Voyageurs, en route" à la Maison du patrimoine médiéval mosan (Dinant, BE)
In the 12th century, the mosan region saw the reorganisation of the cult of the saints, that rece... more In the 12th century, the mosan region saw the reorganisation of the cult of the saints, that received more sanctity. Solemn ceremonies of elevatio took place ; translatio from older shrines to new ones often occurred. In this way ancient saints, martyrs, founders and local glories received new reliquaries. In the 13th c. some of these artworks were replaced by new pieces with a more up-to-date gothic style. With such succession and replacement of reliquaries, one can ask if, in one way or another, « souvenirs » of the ancient reliquaries, first containers of prestigious saints or founders relics, were preserved. The response is different from one case to another. Sometimes a part of the older reliquary has been integrated in the new one or has been kept apart with a new function.
The reuse of fragments from ancient (medieval) objects on more recent ones, and the reuse of pieces from previous reliquaries on new ones, as material « souvenir », has already been noticed by art historians. But in general it is difficult to assert whether the reuse is practical and economical or « memorial », as a link with the prestigious past of the work. The use of old fragments also contradicts the desire to give reliquaries dignity by giving them a fashionable look and refusing out-of-date appearance.
Some examples clearly show that workshops had old pieces in reserve, like enamels and engraved plaques, that could be used as « spare pieces » if necessary. Other pieces were kept just because they were beautiful. But in some cases it can be argued that fragments were reintegrated in an object as memorial material, in order to bring to memory the previous reliquary. This form of reuse can be linked to the practice of « pastiche » observable in different times, that is to say when an artwork that replaces an old one intentionally copies its typology and « spirit » as commemorative act.
This communication will sound like a call to a more systematic study of reuse of medieval pieces. This question touches the value attached to reliquaries as sacred container of relics. How were the reused fragments of reliquaries used ? How, when and why were souvenirs of ancient artworks kept ?
An important group of reliquary crosses coming from the north-east of France and the Mosan area, ... more An important group of reliquary crosses coming from the north-east of France and the Mosan area, dated to the beginning of the 13th century, are still preserved today (crosses from Paraclet, Clairmarais, Blanchefosse, Hautmont, Douchy, Oignies, Aachen-Burtscheid, Souilly, etc). They are mostly processional and altar crosses ; some of them are double arm crosses. They all contain a relic of the True cross, with sometimes other relics of various saints. The crosses are decorated with the same techniques, combining filigree and niellos. In most of the cases, the front is aniconic and covered with filigree. Figures of Christ and other holy people are represented on the back, in niello technique. Many crosses were ordered by cistercian abbeys or given to them - this religious order knows a major development at that time and the number of foundations was growing.
The surprising thing is to have such a number of crosses, coming from more or less the same area and realised within a few decades ; and I would like to find an explanation for such a success. The impact of the Crusades and the sack of Constantinople of 1204 are well-known explanations for the importance of the relics of the True cross, its veneration and the creation of double arm reliquary crosses in the West. But it doesn’t explain this success which is quite local and time-limited. A hypothesis is the emulation between the donors who want to get the most beautiful crosses for their foundation. The impact of prestigious models, such as the reliquary cross offered by Philippe Auguste to Saint-Denis in 1205 (with filigree decoration) must also be considered.