Der siebenarmige Leuchter im Heiligtum von Mentorella (Vulturella) in Latium
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Judith Utz
Abstract
The candelabrum in the Santuario Madre delle Grazie at MentorellaMentorellaSantuario Madre delle GrazieMentorellaSantuario Madre delle GrazieSeven-branched candelabrumMentorella (Vulturella) near Tivoli is one of the few examples of monumental seven-branched candelabra in Italy. It is not known, when, where, or on whose behalf it was made - Athanasius KircherKircher, Athanasius’s description of the sanctuary in 1661 is the first attestation of the candelabrum at Mentorella. Among the arguments in favour of a Roman provenance of the candelabrum are, firstly, its formal resemblance to the Menorah represented on the Arch of Titus, and secondly, its marble base inlay with green and red porphyry, a technique reminiscent of the work of the Roman marmorarii. In the 13th century, RomeRome and the Lateran were staged as a new JerusalemJerusalemSolomon’s Temple and a new Temple. This chapter seeks to establish when and by whom the candelabrum at Mentorella could have been given to the small sanctuary. Despite its peripheral location, the Santuario Madre delle GrazieMentorellaSantuario Madre delle Grazie was at times central to the interests of wealthy families of the Roman nobility such as the Conti di Poli. Finally, this chapter considers Athanasius Kircher and the revival of the sanctuary at Mentorella in the 17th century (including KircherKircher, Athanasius’s publication) and the reframing of the object within the church.
Abstract
The candelabrum in the Santuario Madre delle Grazie at MentorellaMentorellaSantuario Madre delle GrazieMentorellaSantuario Madre delle GrazieSeven-branched candelabrumMentorella (Vulturella) near Tivoli is one of the few examples of monumental seven-branched candelabra in Italy. It is not known, when, where, or on whose behalf it was made - Athanasius KircherKircher, Athanasius’s description of the sanctuary in 1661 is the first attestation of the candelabrum at Mentorella. Among the arguments in favour of a Roman provenance of the candelabrum are, firstly, its formal resemblance to the Menorah represented on the Arch of Titus, and secondly, its marble base inlay with green and red porphyry, a technique reminiscent of the work of the Roman marmorarii. In the 13th century, RomeRome and the Lateran were staged as a new JerusalemJerusalemSolomon’s Temple and a new Temple. This chapter seeks to establish when and by whom the candelabrum at Mentorella could have been given to the small sanctuary. Despite its peripheral location, the Santuario Madre delle GrazieMentorellaSantuario Madre delle Grazie was at times central to the interests of wealthy families of the Roman nobility such as the Conti di Poli. Finally, this chapter considers Athanasius Kircher and the revival of the sanctuary at Mentorella in the 17th century (including KircherKircher, Athanasius’s publication) and the reframing of the object within the church.
Chapters in this book
- Frontmatter I
- List of Contents V
- Introduction 1
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I. Tabernacle and Temple
- Das Schicksal des siebenarmigen Leuchters aus dem Jerusalemer Tempel im mittelalterlichen Rom 3
- Priest, Temple, Jewishness, Redemption? 37
- Articulating the geometricalia of Scripture 79
- Vasari and Giambullari on the Menorah, the Tabernacle, and Bezalel 97
- Die Menora in Raffaels Vertreibung des Heliodor und Garofalos Vertreibung der Wechsler aus dem Tempel 143
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II. Image and Exegesis
- tres gradus fidelium in ecclesia 169
- Jewish and Christian Re-Imagining of the Seven-branched Lampstand in the Postilla litteralis of Nicholas of Lyra (d. 1349) 217
- Der siebenarmige Leuchter im Speculum humanae salvationis 243
- The Sanctuary’s Implements 271
- “A Secret Particularly Obscure” 307
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III. Patronage and Memoria
- Aniane and Fulda 341
- Seven-branched Candelabra in Medieval England 365
- Marienwohlde oder Mölln? 415
- Siebenarmige Leuchter im 16. Jahrhundert 443
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IV. Context and (Re-)Use
- Der siebenarmige Leuchter im Heiligtum von Mentorella (Vulturella) in Latium 475
- „Madonna del Albero, dandole tal cognome quella gran pianta“ 503
- Der siebenarmige Leuchter in der Marienkirche in Frankfurt an der Oder 543
- „den store liusestaken af bronz med dess Siu lampor“ 577
- Survivals and Revivals of the Menorah in Medieval and Early Modern European Synagogues 613
- Figures and Charts 653
Chapters in this book
- Frontmatter I
- List of Contents V
- Introduction 1
-
I. Tabernacle and Temple
- Das Schicksal des siebenarmigen Leuchters aus dem Jerusalemer Tempel im mittelalterlichen Rom 3
- Priest, Temple, Jewishness, Redemption? 37
- Articulating the geometricalia of Scripture 79
- Vasari and Giambullari on the Menorah, the Tabernacle, and Bezalel 97
- Die Menora in Raffaels Vertreibung des Heliodor und Garofalos Vertreibung der Wechsler aus dem Tempel 143
-
II. Image and Exegesis
- tres gradus fidelium in ecclesia 169
- Jewish and Christian Re-Imagining of the Seven-branched Lampstand in the Postilla litteralis of Nicholas of Lyra (d. 1349) 217
- Der siebenarmige Leuchter im Speculum humanae salvationis 243
- The Sanctuary’s Implements 271
- “A Secret Particularly Obscure” 307
-
III. Patronage and Memoria
- Aniane and Fulda 341
- Seven-branched Candelabra in Medieval England 365
- Marienwohlde oder Mölln? 415
- Siebenarmige Leuchter im 16. Jahrhundert 443
-
IV. Context and (Re-)Use
- Der siebenarmige Leuchter im Heiligtum von Mentorella (Vulturella) in Latium 475
- „Madonna del Albero, dandole tal cognome quella gran pianta“ 503
- Der siebenarmige Leuchter in der Marienkirche in Frankfurt an der Oder 543
- „den store liusestaken af bronz med dess Siu lampor“ 577
- Survivals and Revivals of the Menorah in Medieval and Early Modern European Synagogues 613
- Figures and Charts 653
