84:
311:
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476:
374:
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174:, the main library in Brescia, and in 1882 transferred to the museum that, after some moves, since 1999 has occupied part of the old convent home of the box. At some point during this period it was dismantled and the panels displayed laid out flat on a board forming a cross shape with a frame. The box was restored and re-assembled in 1928.
267:
However recent studies have proposed that the casket in fact shows a coherent and carefully thought out programme, comprehending both Old and New
Testament scenes, though the underlying aims of this have been interpreted differently. Many of the scenes are very rarely depicted in surviving art, and
67:
of the period, and their identification has generated a great deal of art-historical discussion, though the high quality of the carving has never been in question. According to one scholar: "despite an abundance of resourceful and often astute exegesis, its date, use, provenance, and meaning remain
297:
by Tkacz, followed by Bayens and a number of reviewers. That would also be an unusual depiction, though of a far more common subject. The key difference in reading the image is whether the wavy lines the figures stand on represent cloud or water. All three authors are able to relate the subject
286:
The identification of many of the scenes remains uncertain, with new identifications having been proposed only recently, and not all identifications agreed between, for example, Watson in 1981, Tkacz in 2001 and Bayens in 2004. The primary identifications here follow Watson, sometimes mentioning
125:, two Milanese Roman martyr saints whose remains were translated (dug up and moved) in Ambrose's time, as recorded in a letter of his; this was one of the earliest translations recorded. The silver lock plate is later, probably from the 8th century, and later metal hinges were removed in 1928.
218:
in two registers, and a small top register with a frieze of birds. All four sides follow a design with a middle register containing relatively large New
Testament subjects. Above and below this are narrower registers with Old Testament scenes, and at the corners thin vertical images, only one
120:
records these designs. One theory, discussed below, identifies the date very precisely to soon after 386, when
Ambrose successfully led the Orthodox population in a confrontation with the Arian-leaning Imperial court. It has also been suggested that it was used for the relics of
183:
223:
frames. Two of these are missing; there would have been a total of 17 originally, with five on the front, four on the back and four, one now missing, on each side. A young beardless Jesus is agreed to occupy the centre of the front panel, and he is probably surrounded by the
1154:
198:
plaques are attached to the framework, carrying the decoration, with most zones of decoration on their own individual plaques. The casket measures 22 centimetres (8.7 in) high, 32 centimetres (13 in) wide and 25 centimetres (9.8 in) deep.
247:
The selection of incidents was long thought not to follow a specific programme, although
Delbrueck in his monograph of 1939 was able to show that the majority of the scenes, including many of the rare ones, depicted events covered in the
274:
in 1981, the key to the programme lies in
Milanese church politics of the time, and Ambrose's battle with the Arians. For Catherine Brown Tkacz, in a book of 2001, the main purpose of the programme is to state through
803:. However it shares with the Brescia Casket great programmatic complexity, and an equal ability to arouse scholarly debate; it seems clear that the full meaning of both boxes would have represented a puzzle, or
1105:
Watson 295, note 25, lists several other subjects that have been suggested, though not Jesus walking on the Lake of
Galilee, which has had support in the past. Tkacz is one of those proposing the
997:
Watson 295, note 25, lists several other subjects that have been suggested, though not Jesus walking on the Lake of
Galilee, which has had support in the past. Tkacz is one of those proposing the
102:. Milan has long been considered the most likely place of origin, which has been further strengthened after the insignia on the shields of the soldiers were identified as those of a unit of the
219:
containing a human figure, the rest symbolic objects. The top of the side faces is finished with a register, actually the sides of the lid, of busts of male figures in slightly flattened round
264:
in 1969 wrote that "It is easy to establish the lack of any link (by likes or opposites) between the scenes on the two borders (Old
Testament) and those of the central panel (New Testament)".
831:
It was certainly used as one later and this remains the most likely purpose. See Watson, 290 and 297, note 63. Only Bayens, 6 and elsewhere, suggests that it was a box for
83:
795:
Museum, Florence). This has only one
Christian scene, with others from northern myth and Mediterranean history, and includes texts which mingle Latin and
240:
and Paul are presumed to be the two older men with long beards flanking Jesus. The remaining four heads, presumably those on the back face, might be the
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998:
783:
in 1906, which has fewer scenes, and those rather more conventional. Another smaller casket, now dismantled, with four
Passion scenes is in the
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alternatives. Watson's notes summarize most but not all other identifications. For example, the scene on the back panel that Watson calls the
1472:
214:. The lid, which may be regarded as the most important face of a small box such as this, has the largest reliefs, with five scenes from the
1432:
1069:, 1–3, for which there are too many figures. However Tkacz sticks to this identification, as a depiction of two points in the episode.
260:
that were used in Milan in Ambrose's time, about which we have a reasonable amount of information from Ambrose's surviving writings.
194:
wood, replaced when the casket was returned to its proper format in 1928 when the current short ivory feet were also added. Numerous
1371:
1348:
1253:
1222:
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several have had new identifications proposed in recent decades. For Carolyn Joslin Watson, in a thesis of 1977 and an article in
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ivory box in generally good condition. The 36 subjects depicted on the box represent a wide range of the images found in the
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144:, and was referred to in monastery documents as the "ivory sepulchre", possibly because it contained a stone taken from the
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1109:, see Andreopoulos, 106–108. Bayens, 12 agrees. The wavy lines the figures stand on either represent cloud or water.
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Stella, 348; some writers have questioned the correctness of this reconstruction, notably Christ and Kessler.
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The casket is rectangular, with five faces, four sides and a lid, held together by an internal framework of
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stationed in Milan in the late 4th century, when Milan was the usual residence of the Imperial court. The
52:
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by Jesus, which she admits is a rare subject not otherwise known in a similar composition, is called the
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Watson describes the scenes at 285–290, with most of the alternatives in her notes 11–38 on pp. 294–296.
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In 1798, with the suppression of the convent after the Napoleonic invasion, it was transferred to the
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scenes as two; other sources give different figures, depending how the figures are divided in scenes.
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The Brescia Casket: Patristic Exegesis and Biblical Iconography on an Early Christian Alms Box
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1022:, migrating to Italy and much of southern Europe from Africa in the summer. See Bayens, 14.
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Age of spirituality : late antique and early Christian art, third to seventh century
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they have chosen to their differing interpretations of the overall scheme of decoration.
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among the most formidable and enduring enigmas in the study of early Christian art."
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the essential unity of the two parts of the Christian Bible, an aim common in later
1262:
Mc Grath, Robert L., "The Martyrdom of the Maccabees on the Brescia Casket", 1965,
280:
261:
195:
164:
922:
Watson, 284, described in detail in later pages. Page 284 note 11, and 290 on the
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Watson's notes, many cited individually below, summarize most of the suggestions.
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The casket is covered with a profusion of small religious scenes carved in ivory
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787:, which is also the home of most of the panels of the much later Anglo-Saxon
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48:
1374:; full text available online from The Metropolitan Museum of Art Libraries.
1317:
The Key to the Brescia casket: typology and the Early Christian imagination
1292:
Soper, Alexander Coburn, "The Italo-Gallic School of Early Christian Art",
1248:, 1968, Bollingen Series XXXV, 10. Princeton: Princeton University Press.
91:
The box was made by a northern Italian workshop, probably in Milan, where
51:, from the late 4th century, which is now in the Museo di Santa Giulia at
792:
625:
186:
The Brescia Casket dismantled and framed, as it was displayed before 1928
140:
kings. Whatever its original function it was used as a reliquary in the
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Metamorphosis: The Transfiguration in Byzantine Theology And Iconography
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Probably the closest direct comparison to the Brescia casket is the
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822:"Lipsanotheca" is from the Greek λειψανοθήκη, for relic-container.
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711:
547:
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409:
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82:
44:
1310:
San Salvatore – Santa Giulia a Brescia. Il monastero nella storia
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Casket, found in a fragmentary condition under a church floor in
832:
776:
283:, which was previously thought not to have been found so early.
253:
132:, but it may well have been soon after it was founded in 753 by
1433:
Descrizione della Lipsanoteca sul sito www.museiarte.brescia.it
1061:, 7; preferred by Watson, following Mc Grath, and by others to
167:
it was opened and the contents displayed to the congregation.
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It is not known when it entered the keeping of the convent of
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582:
474:
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309:
244:, which would mean repetition of subjects, or other saints.
1416:(thesis), 1977, University of North Carolina at Chapel Hill
1180:, ed. & tr. by John Hugo Wolfgang Gideon Liebeschuetz,
59:, Italy. It is a virtually unique survival of a complete
1319:, 2002, University of Notre Dame Press (Paris 2001 first)
944:
Grabar, 137–138, 138 quoted; Watson, 283; Mc Grath, 257
75:
of the five faces is illustrated and identified below.
1438:
The casket dismantled and displayed flat, before 1928
1298:, Vol. 20, No. 2 (Jun., 1938), pp. 145–192,
1268:, Vol. 47, No. 2 (Jun., 1965), pp. 257–261,
844:Watson says 35, Stella 36, but Watson counts the
426:Healing of the woman with an issue of blood (the
1183:Ambrose Of Milan: Political Letters And Speeches
1379:the Italian WP article "Lipsanoteca di Brescia"
1001:; see Andreopoulos, 106–108. Bayens, 12 agrees.
95:was bishop, and engaged in a struggle with the
1246:Christian Iconography: A Study of Its Origins
435:Christ teaching in the synagogue at Nazareth
156:. It played a special role in the convent's
8:
1031:Luke 4,16–21, Watson, 285 and 294, note 15.
1330:, Vol. 20, No. 2 (1981), pp. 283–298,
1199:The Finding of SS. Gervasius and Protasius
1145:Soper, 153–157; illustrated Weitzmann, 595
971:See below: the figures in flames, and the
87:The left side. See below for the subjects.
1096:Daniel, XIV, 27, or Moses and the serpent
1278:, 1988, University of California Press,
181:
18:
815:
733:Jesus calling Andrew and Peter, or the
1209:, 2005, St Vladimir's Seminary Press,
1429:, an interactive model (on Sketchfab)
1404:, 1952, Bonn, P. Hanstein (in German)
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322:frieze of birds, with nets or fabric
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1187:, 2005, Liverpool University Press,
1018:), a kind of exotic blue and orange
913:Stella, 347; Watson, 284 and note 10
1402:Probleme der Lipsanothek in Brescia
1037:Jesus and the doctors in the Temple
1377:includes material translated from
415:Silver lock with geometric motifs
14:
1414:The Program of the Brescia Casket
1397:, 1933, W. de Gruyter (in German)
1324:The Program of the Brescia Casket
1312:, Skira, Milano 2001 (in Italian)
1235:, 2004, University of Kentucky,
639:Resurrection of the daughter of
163:, when in the early part of the
1427:Virtual Model of Brescia Casket
1063:Shadrach, Meshach, and Abednego
347:Jesus before Annas and Caiaphas
1343:, 2012, British Museum Press,
558:Jacob Wrestling with the Angel
1:
1197:Ambrose of Milan: Letter 22:
695:Apostle, Evangelist or saint
692:Apostle, Evangelist or saint
689:Apostle, Evangelist or saint
686:Apostle, Evangelist or saint
535:Healing of the Man born Blind
1473:4th-century Roman sculptures
1308:in Renata Stradiotti (ed.),
354:"washes his hands" of Jesus
150:Church of the Holy Sepulchre
1395:Die Lipsanothek von Brescia
1195:, 9780853238294; full text
1033:Jesus teaching the Apostles
977:Calling of Andrew and Peter
935:Watson, 283, 293–294 note 6
746:Ananias being carried away
418:Jonah cast up by the whale
289:Calling of Andrew and Peter
252:readings for the period of
1499:
1364:Metropolitan Museum of Art
1048:Watson, 288; Exodus 3, 1–5
799:in both Roman letters and
653:Feast for the Golden Calf
1107:Transfiguration of Christ
999:Transfiguration of Christ
754:Moses kills the Egyptian
439:Parable of the Lost Sheep
294:Transfiguration of Christ
1412:Watson, Carolyn Joslin,
1322:Watson, Carolyn Joslin,
1315:Tkacz, Catherine Brown,
1065:in the "Fiery Furnace",
622:Death of the Man of God
455:Daniel in the lion's den
1231:Bayens, Patrick James,
1205:Andreopoulos, Andreas,
519:Seven Maccabean martyrs
412:swallowed by the whale
123:Gervasius and Protasius
33:lipsanotheca of Brescia
1258:google books (reprint)
1039:are other suggestions.
1010:Identified by some as
979:(Watson) are examples.
975:(Tkacz and Bayens) or
757:Feast in the House of
722:Daniel and the Dragon
719:lying under the gourd
678:
587:
479:
377:
314:
206:, drawn from both the
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130:San Salvatore, Brescia
88:
65:evolving Christian art
24:
1483:Christian iconography
1468:4th-century artifacts
1453:Christian reliquaries
1087:I Kings, 12 33; 13, 4
875:Watson's main subject
791:(one panel is in the
725:Hanged man, probably
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586:
478:
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313:
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172:Biblioteca Queriniana
86:
22:
16:4th-century ivory box
1400:Delbrueck, Richard,
1393:Kollwitz, Johannes,
846:Ananias and Sapphira
741:Ananias and Sapphira
341:, with crowing cock
329:Garden of Gethsemane
236:, making 13. Saints
41:reliquary of Brescia
1463:Early Christian art
1276:Early Christian Art
884:Ambrose, 204(?)–212
523:Moses receives the
1458:Ivory works of art
679:
588:
525:Tablets of the Law
480:
448:and the witnesses
378:
315:
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109:Notitia Dignitatum
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31:, also called the
25:
1286:, 9780520074125,
1016:Coracias garrulus
801:Anglo-Saxon runes
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388:Apostle – Peter?
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232:substituting for
216:Passion of Christ
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1295:The Art Bulletin
1274:Milburn, Robin,
1265:The Art Bulletin
1185:(google preview)
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334:Arrest of Christ
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242:Four Evangelists
114:Bodleian Library
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1385:Further reading
1354:Weitzmann, Kurt
1341:Anglo-Saxon Art
1337:Webster, Leslie
1304:Stella, Clara,
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339:Denial of Peter
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226:Twelve Apostles
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104:Palatine Guards
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61:Early Christian
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71:The complex
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35:(in Italian
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1165:Webster, 92
1059:2 Maccabees
893:Stella, 348
866:Watson, 283
797:Old English
771:Comparisons
743:; Sapphira
649:Golden Calf
513:Mount Horeb
178:Description
142:Middle Ages
73:iconography
37:lipsanoteca
1478:Containers
1447:Categories
1284:0520074122
1215:0881412953
1193:0853238294
1172:References
634:Lampstand
467:Right side
250:lectionary
230:Saint Paul
146:empty tomb
134:Desiderius
1202:, Fordham
575:Left side
154:Jerusalem
49:reliquary
1362:, 1979,
1326:, 1981,
793:Bargello
626:Jeroboam
604:missing
601:Apostle
598:Apostle
595:Apostle
496:Apostle
493:Apostle
490:Apostle
487:missing
397:Apostle
385:Apostle
277:typology
43:, is an
1408:Other:
1356:, ed.,
1237:preview
1178:Ambrose
1020:jackdaw
708:Susanna
618:Goliath
541:Lazarus
529:Scales
446:Susanna
228:, with
161:liturgy
148:in the
138:Lombard
112:in the
79:History
57:Brescia
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924:clipea
805:riddle
781:Istria
759:Jethro
704:Tower
641:Jairus
630:Bethel
613:Cross
552:Rachel
391:Jesus
258:Easter
221:clipea
204:relief
192:walnut
158:Easter
118:Oxford
100:heresy
1332:JSTOR
1328:Gesta
1300:JSTOR
1270:JSTOR
1155:Photo
811:Notes
727:Judas
717:Jonah
712:orans
548:Jacob
509:Moses
505:Tree
421:Cock
410:Jonah
406:Fish
365:Front
271:Gesta
238:Peter
234:Judas
97:Arian
45:ivory
39:) or
1368:ISBN
1345:ISBN
1280:ISBN
1250:ISBN
1219:ISBN
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1035:and
833:alms
777:Pola
664:Back
550:and
256:and
254:Lent
210:and
55:in
27:The
710:as
511:on
302:Lid
208:Old
152:in
116:in
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