Originally for this paper, I planned to discuss the dispersion of True Cross reliquaries from Constantinople throughout Western Europe from the fifth to roughly the early fifteenth century. I had also hoped to expand upon this with specific reliquary examples, such as the Stavelot Triptych, to explore how the dispersion from the Byzantine empire influenced the artistic styles of Western True Cross reliquaries. This then developed to more of a focus on the adoption of Byzantine styles in Western reliquaries as a form of visual authentication.
However, I read Holger A. Klein's "Eastern Objects and Western Desires: Relics and Reliquaries between Byzantium and the West," and realized that my general idea for my paper was almost exactly what he discussed. He detailed the ways in which True Cross reliquaries reached Western Europe, first by gift giving and then by theft during the Crusades. Though he analyzed some specific reliquaries in terms of their Byzantine influence and how this was used as visual authentication, this was less of a focus of the essay. Therefore, I plan on shifting my focus away from the modes of transit of the reliquaries and more on the reliquaries themselves.
Klein mentioned that visual authentication through adoption of Byzantine styles greatly increased after the Crusades, particularly the sack of Constantinople in 1204. I am considering elaborating on this and comparing the specific Byzantine styles and motifs replicated on Western reliquaries and the extent of this influence both before and after the Crusades. To what degree was Byzantine influence seen before the Crusades? Was visual authentication a motivation behind these earlier Byzantine style works? What Byzantine motifs were adopted in earlier Western reliquaries and which ones were adopted later? What could account for a possible difference or similarity in style?
The Image is a Byzantine True Cross Reliquary from the 9th century housed in the Metropolitan Museum of Art.
Laura,
ReplyDeleteAs we discussed last night, your research is beginning to focus and to develop very solid lines of inquiry. The idea of "Byzantine-ness", of appropriation and imitation, is very interesting -- what did that "stand for", what role did Byzantine style play in Western Europe in the 13th century? Is "Byzantine" the same as "Eastern"? As you continue, I'd like to suggest a few ways of deepening your research.
First, you should do a lot of LOOKING. Spend time with the Treasures of Heaven catalog and website, and with other books and catalogs. Van Os is a good resource, as is Gauthier (both on reserve and in the pantry); also have a look at the 2004 catalog from the Met, Byzantium: Faith and Power. You already have a strong focus (True Cross reliquaries) and several strong initial inquiries, so build up your visual repertoire, and become expert in these objects and how they LOOK.
You'll also want to follow up on specific bibliographic references, such as you've found in the Klein essay and as you will find in the catalogs -- look for the list of references with each entry, and find those citations in the catalog bibliography. Let me know where you get with that... and Prof. Maranci can also be a good resource for Byzantine material and scholarship. You may already have found Barbara Baert and Lee Preedy's book, A Heritage of Holy Wood: the legend of the True Cross in Text and Image (Brill, 2004) -- some is available on Google books.
Eventually, depending on where the initial visual and historical research goes, you may want to delve into issues of the West's "desire" for the East. But I suggest starting with some looking: slow, lingering, looking.
--KEO