Σταυροί-λειψανοθήκες της συλλογής Τσολοζίδη : Παρατηρήσεις στην τεχνική και την εικονογραφία
Part of : Δελτίον της Χριστιανικής Αρχαιολογικής Εταιρείας ; Vol.41, 2002, pages 273-278
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Pages:
273-278
Parallel Title:
Cross-Reliquaries in the Tsolozidis Collection : Remarks on Technique and Iconography
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Articles
Abstract:
The nine cross-reliquaries in the Tsolozidis Collection are characteristic examples, from which more general conclusions can be drawn about crosses of the type consisting of two parts and containing sacred relics or fragments of the True Cross. Such crosses, popular objects accredited with protective power, made of copper alloy and frequently embellished with glass paste, were obtained at pilgrim shrines. Two of the pieces in the collection belong to the class of cast crosses with relief representations, and seven to the class with engraved figures. In the first group of cross-reliquaries a specific programme is followed. Represented on one face is the Crucified Christ, naked save a long loincloth and his head inclined left, nimbed by cross-inscribed halo, while at the ends of the horizontal arm of the Cross are the figures of the Virgin and St John, on a smaller scale. On the other face is the Virgin orans, with the evangelists in medallions on the finials of the arms of the cross. In the iconography of the second group of cross-reliquaries, the Crucifixion is rendered by Christ on the Cross or by a cross of palm fronds, and in one case by the Virgin with Christ before her, with the nail marks on his feet, and the Cross of Calvary either side. On the other face is the Virgin orans or figures of young saints, unbearded and with oval countenance, in frontal pose and an attitude of intercession. A common model can be distinguished in the making of the cast crosses. In the iconography of the engraved crosses the craftsman's ability (or lack of) in incising the figures can be discerned. The design is usually spare and often careless, especially in the rendering of the hands, in unnatural positions, with long fingers and vague outlines. Care is observed, however, in the decoration of the garments with geometric motifs, such as checkerboard or diaper patterns, while an attempt is made to denote the drapery, with bunches of parallel lines. The cast crosses in the collection could be dated to the ninth-tenth century and the engraved ones to the eighth century.
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