https://www.metmuseum.org/art/collection/search/464190 This post is an alternative_view of post #199. Description from the Met Museum: The Luke mentioned in the inscription (on the top rim of the font) was the first chief abbot of the monasteries in Messina, Sicily. The Greek crosses and vine scroll decoration reflect a merging of local and Byzantine artistic vocabularies.
The undecorated base and the circular basin it supports are carved from a single block of fine Pentelic marble, likely originally an antique capital. The practice of reusing stones first quarried and shaped in antiquity was common throughout the Middle Ages, especially in regions that preserved the tangible remains of the ancient past. Four Greek crosses in low relief, each inscribed within a circle, are evenly spaced on lower section. Above the crosses, the circumference of the basin is decorated with a wide band of interlace and flowering acanthus also carved in low relief.
The medieval Greek inscription elegantly carved into the rim can be translated: "In the times of the illustrious King Roger, the most holy Luke having been appointed to rule the monks, this vessel was wrought in the five and fortieth, six hundred and sixth thousand passage of time." Despite abrasion, chips in the carving and water damage in the interior, the basin is in good condition.
We are unusually well informed about this marble font from the Abbey of Santa Maria del Pátir near Rossano in Calabria by the inscription and by later documentary evidence. It held the holy water used for baptisms and benedictions, which was consecrated on Epiphany, the day commemorating Christ’s baptism. Roger of course refers to the Norman king Roger II of Sicily (r. 1130-54) and Luke is the archimandrite, or superior of a group of monasteries in the Eastern Church, based in Messina. The date corresponds to A.D. 1137.
A closely related marble font from the ruined monastery of San Salvatore in Messina, also no doubt a reworked antique capital, is today in the Museo Reggionale in Messina. Its shape echoes the Metropolitan’s basin and its surface features similar interlaced acanthus in low relief. The Messina font is further embellished with four masks carved in high relief on the circumference. It can be dated by its inscription, which also refers to the archimandrite Luke, to 1135. Furthermore, the inscription on the font in Messina mentions Gandolfo as the sculptor responsible for the carving. Given the remote location of the Calabrian abbey, it is likely that both pieces were carved in Sicily. It should be noted, however, that the masks on the Sicilian font and the name Gandolfo suggest that the carver’s origin was in northern Europe.
The marble basin is an excellent example of nonfigurative sculpture, reminding us that much early medieval sculpture, including many examples in the Metropolitan’s collection, was embellished with scrolls, plants, and other decorative motifs.
Open Access As part of the Met's Open Access policy, you can freely copy, modify and distribute this image, even for commercial purposes.
Baptismal Font
https://www.metmuseum.org/art/collection/search/464190
This post is an alternative_view of post #199.
Description from the Met Museum:
The Luke mentioned in the inscription (on the top rim of the font) was the first chief abbot of the monasteries in Messina, Sicily. The Greek crosses and vine scroll decoration reflect a merging of local and Byzantine artistic vocabularies.
The undecorated base and the circular basin it supports are carved from a single block of fine Pentelic marble, likely originally an antique capital. The practice of reusing stones first quarried and shaped in antiquity was common throughout the Middle Ages, especially in regions that preserved the tangible remains of the ancient past.
Four Greek crosses in low relief, each inscribed within a circle, are evenly spaced on lower section.
Above the crosses, the circumference of the basin is decorated with a wide band of interlace and flowering acanthus also carved in low relief.
The medieval Greek inscription elegantly carved into the rim can be translated: "In the times of the illustrious King Roger, the most holy Luke having been appointed to rule the monks, this vessel was wrought in the five and fortieth, six hundred and sixth thousand passage of time." Despite abrasion, chips in the carving and water damage in the interior, the basin is in good condition.
We are unusually well informed about this marble font from the Abbey of Santa Maria del Pátir near Rossano in Calabria by the inscription and by later documentary evidence. It held the holy water used for baptisms and benedictions, which was consecrated on Epiphany, the day commemorating Christ’s baptism. Roger of course refers to the Norman king Roger II of Sicily (r. 1130-54) and Luke is the archimandrite, or superior of a group of monasteries in the Eastern Church, based in Messina. The date corresponds to A.D. 1137.
A closely related marble font from the ruined monastery of San Salvatore in Messina, also no doubt a reworked antique capital, is today in the Museo Reggionale in Messina. Its shape echoes the Metropolitan’s basin and its surface features similar interlaced acanthus in low relief. The Messina font is further embellished with four masks carved in high relief on the circumference. It can be dated by its inscription, which also refers to the archimandrite Luke, to 1135. Furthermore, the inscription on the font in Messina mentions Gandolfo as the sculptor responsible for the carving. Given the remote location of the Calabrian abbey, it is likely that both pieces were carved in Sicily. It should be noted, however, that the masks on the Sicilian font and the name Gandolfo suggest that the carver’s origin was in northern Europe.
The marble basin is an excellent example of nonfigurative sculpture, reminding us that much early medieval sculpture, including many examples in the Metropolitan’s collection, was embellished with scrolls, plants, and other decorative motifs.
Open Access
As part of the Met's Open Access policy, you can freely copy, modify and distribute this image, even for commercial purposes.