Chapter 1 Sacred art as the "Bible of the Poor"

Debates about appropriation of using visual images and sculpture representing sacred figures:1) acceptable level of expenditure2) appropriateness of using the visual as opposed as opposed to oral or literally means as a bridge to the spiritual world

some believe that religious images were a useful way of supporting and deepening Christian world others claimed religious images tempted congregations into idolatery

Introduction

Sacred art in theory and practice: Theory: analyse of various spiritual purposes Christian imagery was to serve Practice: explore the way in which work of art might lead the viewer to think about what they see, hence about spiritual things.

End of 15th - beginning of 16th sentry - religious art was produced in greatest profusion

Some medieval views: the physical world and all that went with it are contaminated and Christian believers should detach themselves from it - negative implications for the role of religious art.

St Bernard of Clirvaux (1090-1153) - founder of rhe Cistercian monastic order, objectives - blind to the outside world, focus on a prayer. St Bernard claimed that material ornaments used only to stimulate devotion in the ignorant, art is regarded as more physical then spiritual. His monks pursued "imageless devotion"

Prom another point of vierw: the material world formed a legitimate starting point from which thought and understanding might ascend to the spiritual.

This position supported by the theologian and chancellor of the University of Paris , Jean Gerson (1363-1429)

"For a picture is displayed in churches on this account, in order that those who do not know letters may at least read by seeing on the wall what they are unable to read in books".Pope Gregory the Great (599AD)

Bishop of Chichester, Reginald Pecock (1395-1460)"images are open to sight in open churces so that all people can come whenever they want, but not come to use books."Books were handwriting and expensive before 1650, so even people who can read haven't had an eccess to it.

Problems with Gregory statement: imagery serves only the uneducated - problematic images should teach - debatable

Pope Gregory specifyed learning from images as worshiping what the images stood for, as opposed to idolising images for themselves. He intended the pictures to be used in conjunction with sermons, to illustrate, recall and reinforce Christian ideas and narratives.

EX: St Dymphna altarpiece: she was killed in Geel by her possessed farther, an Irish king. Was known to miraculously curing possessed and mentally ill. Geel became center of pilgrimage for mentally ill.

The alterpiece created aroun 1243, and served as a substitute to the book - codified legend serving as pointers to divine and have equivalence rather then hierarchy of importance. The explanatory inscriptions were added later as without the legend, hard to understand.

Another function of altarpiece is to serve as a reliquary, since the remains if the St kept above. The pilgrims were donating at the shrines - altarpieces are instruments in inspiring donations

Fundraising wasn't always a dubious activity - at Geel donations maintained a care system for mentally ill.

From a mundane level - the altarpiece is a way of identifying and celebrating the patron saint of the church, to whom prayers were routinely addressed. The imagery was complex, relating to several additional aspects of life of the church: pilgrimage, fundraising, the liturgy and church calendar.

Demonstration that a public work of christian art served multiple functions

Mosaic in Ravenna:

Some images rely on prior knowledge of the viewer, which contradict the St Georges idea that imagery teach the common people.

Christ Dividing the Sheep from the Goats, 6cTo decipher this image viewer should know the parable of final judgement where Christ divides good cheep from bad goats on the basic of their charitable behaviour.

The Transfiguration, 6sReligious imagery visualize complicated narratives available for a wide audience but required explanation.

Art Historian Michael Camille: sacred art was not the equivalent of reading as of hearing something being said.Christians were expected to memorise the Apostles' Creed and prayers - images in churches may be connected not with a written text but with its oral recitation.

15-16 ct - large-scale statures of the 12 apostles were sometimes placed high up around the walls of the church choir. The figures are dynamic, seams to look down at the congregation and and engaged with each other, seams like they are in the process of saying their own creeds. They motivate viewers below to recite with them.

Nave - the public area of the church

Intro

Reading by seeing

Seeing and hearing

Seeing and saying: the apostles' creed