Sarcophagus of Adelphia

Last updated
Sarcophagus of Adelphia Spiegazione sarcofago di Adelfia.JPG
Sarcophagus of Adelphia

The Sarcophagus of Adelphia is an early Christian, circa 340 AD sarcophagus now in the Museo Archeologico Regionale Paolo Orsi in Syracuse, region of Sicily, Italy. [1] The sarcophagus was found in the Rotunda of Adelphia inside the Catacombs of San Giovanni, in Siracusa. The iconography displayed has similarities to the layout of the Dogmatic and Junius Bassus sarcophagi, although the quality of to depictions is simplified.

Description

Detail of inscription Sarcofago di Adelfia (dettaglio).JPG
Detail of inscription

The name of the sarcophagus derives from the hypothesis that it was used for the burial of the Roman noblewoman Adelfia. The central medallion would represent a portrait of the couple, mentioned in the center of the lid by an epigraph arranged on three lines in a tabula ansata on a red background:

 (H)IC ADELFIA C(LARISSIMA) F(EMINA)
 POSITA CONPAR
 BALERI COMITIS

Here lies Adelphia, famous woman, wife of Count Valerius.


The front side of the marble sarcophagus is split into two registers, typical of the style of the time, with both Old Testament and New Testament subjects and a central shell-shaped clipeus containing the portraits of the dead couple, embracing. The lid of the sarcophagus forms a third register. Of note, the depictions of Moses and Jesus, and perhaps God in Eden, are unbearded, as opposed to the bearded Abraham. [2] The scenes are depicted in a high bas relief. The scenes do not follow a timeline, and can be poorly distinct from one another.

In the upper lid are likely four episodes, two likely regarding the life of Mary on the left, and two depicting events surrounding the Nativity, including the three Magi following the star of Bethlehem. It also contains a plaque identifying Adelphia and her spouse Valerius. The second register has eight episodes, four on each side of the central shell with the married couple. On the left, from left to right, are scenes depicting:

On the right are scenes depicting

In the third (lowest) register, are scenes depicting:

Related Research Articles

<span class="mw-page-title-main">Lorenzo Ghiberti</span> Italian Early Renaissance artist (1378-1455)

Lorenzo Ghiberti, born Lorenzo di Bartolo, was an Italian Renaissance sculptor from Florence, a key figure in the Early Renaissance, best known as the creator of two sets of bronze doors of the Florence Baptistery, the later one called by Michelangelo the Gates of Paradise. Trained as a goldsmith and sculptor, he established an important workshop for sculpture in metal. His book of Commentarii contains important writing on art, as well as what may be the earliest surviving autobiography by any artist.

<span class="mw-page-title-main">Early Christian art and architecture</span> Art produced by Christians before Byzantine times

Early Christian art and architecture is the art produced by Christians, or under Christian patronage, from the earliest period of Christianity to, depending on the definition, sometime between 260 and 525. In practice, identifiably Christian art only survives from the 2nd century onwards. After 550, Christian art is classified as Byzantine, or according to region.

<span class="mw-page-title-main">Adoration of the Magi</span> Worship of the Infant Jesus by Magi in art

The Adoration of the Magi or Adoration of the Kings or Visitation of the Wise Men is the name traditionally given to the subject in the Nativity of Jesus in art in which the three Magi, represented as kings, especially in the West, having found Jesus by following a star, lay before him gifts of gold, frankincense, and myrrh, and worship him. It is related in the Bible by Matthew 2:11: "On entering the house, they saw the child with Mary his mother; and they knelt down and paid him homage. Then, opening their treasure chests, they offered him gifts of gold, frankincense, and myrrh. And having been warned in a dream not to return to Herod, they left for their own country by another path".

<span class="mw-page-title-main">Sistine Chapel ceiling</span> Cycle of frescoes by Michelangelo

The Sistine Chapel ceiling, painted in fresco by Michelangelo between 1508 and 1512, is a cornerstone work of High Renaissance art.

<span class="mw-page-title-main">Collegiata di Santa Maria Assunta, San Gimignano</span> Medieval/Renaissance church with important architecture & art

The Collegiata di Santa Maria Assunta or Duomo di San Gimignano is a Roman Catholic collegiate church and minor basilica in San Gimignano, in Tuscany in central Italy. It contains important cycles of Renaissance frescoes by artists including Domenico Ghirlandaio, Benozzo Gozzoli, Taddeo di Bartolo, Lippo Memmi and Bartolo di Fredi. It falls within the UNESCO World Heritage Site of the "Historic Centre of San Gimignano", with its frescoes being described by UNESCO as "works of outstanding beauty".

<span class="mw-page-title-main">Brancacci Chapel</span> Chapel in Florence, Italy

The Brancacci Chapel is a chapel in the Church of Santa Maria del Carmine in Florence, central Italy. It is sometimes called the "Sistine Chapel of the early Renaissance" for its painting cycle, among the most famous and influential of the period. Construction of the chapel was commissioned by Felice Brancacci and begun in 1422. The paintings were executed over the years 1425 to 1427. Public access is currently gained via the neighbouring convent, designed by Brunelleschi. The church and the chapel are treated as separate places to visit and as such have different opening times and it is quite difficult to see the rest of the church from the chapel.

<span class="mw-page-title-main">Sassetti Chapel</span> Chapel in Santa Trinita, Florence

The Sassetti Chapel is a chapel in the basilica of Santa Trinita in Florence, Italy. It is especially notable for its frescoes of the Stories of St. Francis, considered Domenico Ghirlandaio's masterwork.

<span class="mw-page-title-main">Nativity of Jesus in art</span> Artistic depictions of the Nativity or birth of Jesus, celebrated at Christmas

The Nativity of Jesus has been a major subject of Christian art since the 4th century.

<span class="mw-page-title-main">Master of the Morrison Triptych</span> Early Netherlandish painter

The Master of the Morrison Triptych is the name given to an unknown Early Netherlandish painter active in Antwerp around 1500-1510. He is named for the Morrison Triptych, now in Toledo, Ohio, United States, which is described below.

<span class="mw-page-title-main">Life of Christ in art</span> Set of subjects in art

The life of Christ as a narrative cycle in Christian art comprises a number of different subjects showing events from the life of Jesus on Earth. They are distinguished from the many other subjects in art showing the eternal life of Christ, such as Christ in Majesty, and also many types of portrait or devotional subjects without a narrative element.

<span class="mw-page-title-main">Ancient Roman sarcophagi</span> Ancient Roman funerary practice

In the burial practices of ancient Rome and Roman funerary art, marble and limestone sarcophagi elaborately carved in relief were characteristic of elite inhumation burials from the 2nd to the 4th centuries AD. At least 10,000 Roman sarcophagi have survived, with fragments possibly representing as many as 20,000. Although mythological scenes have been quite widely studied, sarcophagus relief has been called the "richest single source of Roman iconography," and may also depict the deceased's occupation or life course, military scenes, and other subject matter. The same workshops produced sarcophagi with Jewish or Christian imagery. Early Christian sarcophagi produced from the late 3rd century onwards, represent the earliest form of large Christian sculpture, and are important for the study of Early Christian art.

<span class="mw-page-title-main">Sarcophagus of Junius Bassus</span> Sarcophagus in St. Peters Basilica,

The Sarcophagus of Junius Bassus is a marble Early Christian sarcophagus used for the burial of Junius Bassus, who died in 359. It has been described as "probably the single most famous piece of early Christian relief sculpture." The sarcophagus was originally placed in or under Old St. Peter's Basilica, was rediscovered in 1597, and is now below the modern basilica in the Museo Storico del Tesoro della Basilica di San Pietro in the Vatican. The base is approximately 4 x 8 x 4 feet.

<span class="mw-page-title-main">Dogmatic Sarcophagus</span> Christian sarcophagus dating to 320–350

The Dogmatic Sarcophagus, also known as the "Trinity Sarcophagus" is an early Christian sarcophagus dating to 320–350, now in the Vatican Museums. It was discovered in the 19th century during rebuilding works at the basilica di San Paolo fuori le Mura, in Rome, Italy.

<span class="mw-page-title-main">Resurrection of Jesus in Christian art</span>

The resurrection of Jesus has long been central to Christian faith and Christian art, whether as a single scene or as part of a cycle of the Life of Christ. In the teachings of the traditional Christian churches, the sacraments derive their saving power from the passion and resurrection of Christ, upon which the salvation of the world entirely depends. The redemptive value of the resurrection has been expressed through Christian art, as well as being expressed in theological writings.

<span class="mw-page-title-main">Augsburg Cathedral</span> Church in Bavaria, Germany

The Cathedral of Augsburg is a Catholic cathedral in Augsburg, Bavaria, Germany, founded in the 11th century in Romanesque style, but with 14th-century Gothic additions. Together with the Basilica of St. Ulrich and Afra, it is one of the city's main attractions. It measures 113 x 40 m, and its towers are 62 m high. It is dedicated to the Visitation of Virgin Mary.

<span class="mw-page-title-main">Brescia Casket</span> 4th-century ivory box

The Brescia Casket, also called the lipsanotheca of Brescia or reliquary of Brescia, is an ivory box, perhaps a reliquary, from the late 4th century, which is now in the Museo di Santa Giulia at San Salvatore in Brescia, Italy. It is a virtually unique survival of a complete Early Christian ivory box in generally good condition. The 36 subjects depicted on the box represent a wide range of the images found in the evolving Christian art 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 among the most formidable and enduring enigmas in the study of early Christian art."

<i>Adoration of the Magi</i> (Mostaert) Painting by Jan Mostaert

Adoration of the Magi is an oil on panel painting from the early 1520s by the Dutch Renaissance artist Jan Mostaert in the collection of the Rijksmuseum, Amsterdam, where in 2020 it was on display in room 0.1. The panel measures 51 cm × 36.5 cm, and the painted surface a little less at 48.5 cm × 34 cm. It is often called the Mostaert Amsterdam Adoration in art history, to distinguish it from the multitude of other paintings of the Adoration of the Magi.

The Salerno Ivories are a collection of Biblical ivory plaques from around the 11th or 12th century that contain elements of Early Christian, Byzantine, and Islamic art as well as influences from Western Romanesque and Anglo-Saxon art. Disputed in number, it is said there are between 38 and 70 plaques that comprise the collection. It is the largest unified set of ivory carvings preserved from the pre-Gothic Middle Ages, and depicts narrative scenes from both the Old and New Testaments. Some researchers believe the Ivories hold political significance and serve as commentary on the Investiture Controversy through their iconographies. The majority of the plaques are housed in the Diocesan Museum of the Cathedral of Salerno, which is where the group's main namesake comes from. It is supposed the ivories originated in either Salerno and Amalfi, which both contain identified ivory workshops, however neither has been definitively linked to the plaques so the city of origin remains unknown. Smaller groups of the plaques and fragments of panels are currently housed in different museum collections in Europe and America, including the Metropolitan Museum of Art in New York, the Louvre in Paris, the Museum of Fine Arts in Budapest, the Hamburg Museum of Art and Trade, and the Sculpture Collection in the Berlin State Museums.

<span class="mw-page-title-main">Adoration of the Magi (Gothic boxwood altarpiece)</span> Miniature attributed to Adam Dirckszs workshop

The Adoration of the Magi altarpiece is a small Gothic boxwood miniature, made in the Netherlands c. 1500–1530, attributed to the workshop of Adam Dircksz. Such rarefied and highly ornate objects were intended for private devotion, and took, by modern art historian estimates, decades to complete, periods equivalent to the entire career of a medieval master carver. Just around 150 of these sculptures from the late 15th and early 16th centuries remain today, and the elite echelons of collectors in the 19th century placed a high value on them despite the fact that it is unknown how many of them were manufactured.

<span class="mw-page-title-main">Adelphia (Roman noblewoman)</span> Roman noblewoman

Adelphia was a Roman noblewoman, known for being depicted on the Sarcophagus of Adelphia.

References

  1. Society, Cambridge Philological (1989). Proceedings: Supplement. ISBN   978-0-906014-15-8.
  2. Christian iconography website.