Romanesque - Traveling Thru History

Top Historic Sites in Europe, Part 2

Erin — Tue, 19 Dec 2017 09:58:19 +0000

Welcome to Part 2 of my Top Historic Sites in Europe series! I’m glad you came back to check out some more fantastic sites. Europe is a region that has had human activity for over 37,000 years and is just full of history. Last week we looked at 10 famous sites in Europe and why they’re worth visiting. Today we’re looking at 10 more of the amazing places around Europe that you really shouldn’t miss. England – Tower of London The Tower of London has had a lively history in the thousand years it has been standing and has been used for a variety of purposes over the years, ranging from a royal residence, a prison for the elite, an armory, a menagerie, home of the Royal Mint, a public record office, home of the Crown Jewels, and, most recently, a museum. The hill on which the Tower of London sits was first settled in 1066 when the Norman’s, led by William the Conqueror, conquered England. The White Tower, the most prominent building in the fortress and where the fortress draws its name, was built around 1078. The buildings around the White Tower was added during the 1190s by Richard the Lionheart, and a wharf was built in 1285 by Edward I. The Tower of London was the home of England’s royalty until the year 1547. After that, the Tower of London was only used by royalty during the few days before the coronations of Edward VI, Mary I, and Elizabeth I. By the time Charles II was crowned in 1660, the castle fortress’s royal accommodations were in such disrepair that he opted to forgo the tradition of staying in the Tower of London the night before his coronation, then ending the tradition. After the royal residence was moved from the fortress, the most famous use of the Tower of London began: that of a prison and execution ground for nobility. Though, the Tower prison was a bit more comfy than our modern view of a medieval prison. The prisoners here were mainly members of the royal family and wealthy nobility who were able wander the grounds at times and to also purchase comforts such as tapestries and higher-quality food. There were cases of torture during the Tower’s reign as a prison, but during the roughly 200 years the Tower was used as a prison, there are only 48 documented cases of torture being used. As for executions, only 7 people are known to have been executed inside the fortress walls between 1066 and the First World War. The 112 other known executions took place on a hill adjacent to the fortress, which is known as Tower Hill. And then there are all those who went ‘missing’ from the Tower, but that’s another story. Another famous use for this site is as the home of the Crown Jewels. The Crown Jewels have been housed at the Tower of London since the reign of Henry III in the 13th century. The Jewel House was destroyed in 1669 and the Crown Jewels were moved to Martin Tower, where Colonel Thomas Blood constructed an elaborate, but failed, plot to steal them. The Crown Jewels have been housed in various locations around the Tower of London until 1994, when the Crown Jewels were moved to the Jewel House inside the Waterloo Block, which is behind the White Tower. The most unique and unknown historic fact about the Tower of London is that a Royal Menagerie was once kept inside the fortress. King John first brought lions to the Tower during the late 12th or early 13th century and until 1830, a wide range of exotic animals, such as leopards, hyenas, baboons, wolves, bears, elephants, and tigers, were kept on the grounds. Now, all that is left are wire sculptures of wild animals and six live ravens. These are kept due to a prophecy that says the city of London will fall once ravens leave the Tower. Erin Tracy is the owner and author of this blog, Traveling Thru History, which she uses to share her love of history, culture, and travel with her readers. You can also find stories and pictures of her travels on her Facebook page. Slovakia – St. Elizabeth’s Cathedral Often described as the easternmost Gothic cathedral in Europe, St. Elizabeth’s Cathedral in Košice is Slovakia’s largest church and, together with the nearby St. Michael’s Chapel and Urban’s Tower, a National Cultural Monument. Construction of the cathedral was done in five staves beginning in the late 14th century and finishing in the early 16th century, at which time it was dedicated to a Hungarian saint (today’s Slovakia was part of the Hungarian empire). The cathedral consists of five naves, two towers, and three chapels, and is adorned with some of the finest Gothic stonework, altarpieces, windows, and frescoes. The main St. Elizabeth altar includes one of Europe’s largest sets of Gothic paintings, of which there are 48 total. The church’s architectural significance rests in how the central nave and the transept have the same length, forming a Greek cross. This also creates a large indoor space, and allows for three large decorative gables outside. St. Elizabeth follows the style of many other medieval cathedrals in that it has its own crypt, which houses many famous remains. The most famous are the remains of Francis II Rakoczi, the Hungarian nobleman and national hero who led an 18th century independence uprising against the Habsburgs. The cathedral also boasts several legends. The most popular holds that somewhere within the walls there is a hollow building stone, which, if removed, would cause the entire cathedral to collapse. Another says the only non-zoomorphic gargoyle, that of a woman holding a goblet and a bottle, is the alcoholic wife of a builder who immortalized her thusly in revenge for her tarnishing his name. Yet another legend has it that the St. Matthias lantern has the power to absolve the criminal guilt of anyone who can climb into it. St. Elizabeth’s is very dear to the people of Košice. They view this cathedral as the city’s crown jewel and unofficial symbol. It was the first of its Seven Wonders, as voted by a poll of the city’s residents in 2009. The best time to visit are outside of mass, which times can be found here. On sunny days, climbing to the top of Sigismund Tower rewards visitors with a 360-degree view of the historic Košice downtown and surrounding areas. Peter Korchnak is a Košice native and an author. He blogs at Where Is Your Toothbrush?, a food travel website, and several other outlets while sharing his adventures on Facebook. Latvia – Riga Cathedral Located in the heart of Riga’s Old Town, Riga Cathedral stands proudly for all to see. The Cathedral is the biggest medieval church and one of the oldest religious buildings in Latvia and also the whole Baltic region. While the original foundation stone was laid in 1211, the actual construction wasn’t get underway until 1215. Riga Cathedral was originally envisioned as a basilica, but the design was later changed and a hall church was built instead. One of the most unique construction features for this cathedral is that the materials changed over time from natural stone to brick. At the beginning of the 15th century, the hall church was enlarged by building the western cross-nave and side chapels. The tower of the Cathedral can be first seen in a cosmography dating back to 1559, so it is estimated the tower was added during the early . According to records, Riga Cathedral Tower was the highest spire in the whole city of Riga at that time. The cathedral was damaged by a city-wide fire in 1547 and the Gothic spire burned down entirely. A new tower was built in 1595, and the famous Riga Cathedral Rooster, which visitors today see a replica of, can be dated back to this post-fire reconstruction. The Gothic spire was demolished in 1775 due to structural concerns and was replaced with the Baroque style present-day tower. Riga Cathedral has undergone numerous renovations throughout the 20th century. At one point from the late 1950s, the Cathedral was converted into a concert hall as religious ceremonies were prohibited under Soviet rule. The Cathedral has since been restored to replace the altar and the seating. Today, visitors can appreciate the beautiful brick architecture combining Romanesque, early Gothic, Baroque, and Art Nouveau influences. The Cathedral serves as a busy cultural hub for performance, worship, and art – and don’t forget to wave to the Rooster high atop its perch! Lisa and Eric of Penguin and Pia are a German and Canadian travel couple brought together by Instagram. Now, they travel the world, inspire others to waddle, and tell stories in two languages, which you can follow on their Facebook page. Turkey – Hagia Sophia The Hagia Sophia in Istanbul has quite a history, both culturally and architecturally. It was first a Greek Orthodox patriarchal basilica, then it was a Roman Catholic cathedral, then it was a Greek Orthodox patriarchal basilica, again, then an imperial mosque, and now it is a museum. Hence, if there was one place in Istanbul that combines the different stages of Turkish history, it is definitely the Hagia Sophia. Constructed in 537 AD, Hagia Sophia was once the seat of the Patriarch of Constantinople. For a short period between 1204 and 1261 it was converted into a Roman Catholic cathedral by the invading Crusaders, but after they left it resumed its function as a Greek Orthodox patriarchal basilica. In 1453, Hagia Sophia became an Ottoman mosque and remained a mosque until 1931, when it underwent renovations to make it into a museum. The museum opened in 1935 and, since then, has been a popular site for tourists travelling to Istanbul. Not only is Hagia Sophia located in an area that is perfect for anyone who would like to visit mosques and get an insight into Istanbul’s history, but it is also a truly magical place. One of the most striking features of Hagia Sophia is the massive dome. This feature is striking both the interiorly and exteriorly. Such a feat was considered the epitome of Byzantine architecture and is said to have literally “changed the history of architecture.” That’s just the exterior. The interior of the dome is striking in its adornment of beautiful mosaics and stunning marble pillars. When visiting Hagia Sophia, visitors can explore two floors. When entering through the Imperial Gate, visitors will be wowed by Byzantine relics and stunning mosaics. Then, as you start making your way into the upper gallery, you will enter the nave and find several mosaics and runic graffiti. This is the best place to have a look at the dome. The dome is one of the most interesting parts of Hagia Sophia and still drives many art historians, architects and engineers crazy as it has a very innovative way compared to what the original architects actually envisioned for the dome. The first few domes placed on top of Hagia Sophia collapsed due to poor design and natural disaster, but ancient architects finally found a way to make this one stay, in spite of natural disasters, which continues to baffle those who study it. Aside from the dome, Hagia Sophia has other unique design elements. Apart from typical elements that you can find in most churches or mosques, such as Christian mosaics and Islamic minarets, the Hagia Sophia hosts some very special features: figurative decorations of Christ, prophets, and historical figures that were added during the second half of the 9th century. The list of things to see at Hagia Sophia is endless you’ll want to set aside several hours to take it all in properly. Clemens Sehi and Anne Steinbach found the online travel magazine, Travellers Archive, which combines detailed travel documentaries and in-depth travel guides to mostly unexplored destinations. You can follow their adventures on Facebook. Bosnia & Herzegovina – Mostar Bridge The Mostar Bridge (a.k.a Old Bridge/Stari...

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The Great Mosque of Cordoba

Erin — Mon, 22 Dec 2014 14:00:29 +0000

In the southern half of Spain, in one of the oldest cities in the region, lies one of the most unique structures in religious history. Beginning in 152 BC, in a city that would become the capital of the Islamic Emirate and, for a time, the most populous city in the world, a sacred edifice was erected that has fascinated the public for generations. First, it was a temple built by the Romans, next it was converted to a Catholic church by the Visigoths and then it became an Islamic mosque built by Abd al-Rahman I in 784 AD before being altered in a way that has never been done before or since. The Great Mosque of Cordoba is a monument to the religious changes that have taken place in Spain since the area was first populated. In the 206 BC, Rome conquered the Carthaginian inhabitants of the area now known as Spain. For centuries Rome ruled the area that they named Hispania Ulterior Baetica, of which Cordoba was the capital. During that time, around 169 BC, Roman consul Marcus Claudius Marcellus built a temple to their god, Janus. In 572 AD, Catholic Visigoths conquered Cordoba and began converting the Temple of Janus into a Christian church that they dedicated to St. Vincent. A few short years later, around 710 AD, Muslim forces overran Cordoba and seized control of the city. For a time, Christians and Muslims shared the Church of St. Vincent, with areas set apart where Christians and Muslims could worship separately. Cordoba Mihrab – Courtesy of Khan Academy But then, in 766 AD, Cordoba became the capital of the newly-designated Muslim region of al-Andalus under the rule of Abd al-Rahman I. By order of Abd al-Rahman I, who purchased the Christian half of the Church of St. Vincent from the local congregation, the Church of St. Vincent was destroyed and a grand mosque put in its place. Over the next two decades, with the intent to recreate his birth city of Damascus, al-Rahman worked to design a mosque that would rival the Great Mosque of Damascus while incorporating local styles and elements. This mosque was begun in 784 AD and over the course of the next two hundred years, would receive various modifications and alterations by the Muslim rulers of al-Andalus. By the time the Great Mosque of Cordoba was finally completed over 200 years later, it had become the most innovative Islamic Mosque in the world. The original Great Mosque of Cordoba was architecturally innovative for a number of reasons, though it did have features and characteristics that were common to that era. It is the use of those common features and characteristics that made this structure the fascinating marvel that it is. To examine fully whether or not the Great Mosque of Cordoba was truly an innovative masterpiece, let us compare it to the other prominent Islamic structure of that time: The Great Mosque of Damascus, also known as the Umayyad Mosque. The Umayyad Mosque was completed in 715 AD, a full 69 years before the Great Mosque of Cordoba was even begun, and was the most prominent Islamic building of the time, serving as one of the main architectural inspirations for the Great Mosque of Cordoba. Along with sharing architectural elements and themes, the Great Mosque of Cordoba also follows the tradition of Umayyad Mosque in being built over the site of a local Christian church. Aside from that feature, these two magnificent structures have various other similarities as well as several distinct differences. Examining the exteriors of each structure, you will immediately see some architectural differences. Whereas the Umayyad Mosque uses arches mainly as a structural element, the Great Mosque of Cordoba uses arches as both structural and decorative elements. The Umayyad Mosque uses two sizes of a standard, simple, repeating arch while the Great Mosque of Cordoba uses a variety of styles, sizes and designs. There are poly-lobed arches, horseshoe arches and interlacing horseshoe arches. An interesting fact to note about the interlacing arches is that Islamic artists “[drew] from Christian traditions [and] a variety of traditions in creating their art [and] they also….mimic what we see in Christian art of the Romanesque period where we see a lot of interlacing arches and that’s very unusual” (Ross). Another key difference of the exterior is that Umayyad Mosque has three minarets while the Great Mosque of Cordoba only has one, though it does not appear like one anymore and we will go into the reason for that later. Exterior similarities between the two mosques include the elaborately decorative doors with artistic elements around the doors, though the specific artistic styles differ; Umayyad Mosque utilizes stained glass while the Great Mosque of Cordoba displays intricately designed mosaics. Moving on to the interior, we see one of the more distinct elements of the Great Mosque of Cordoba. Inside the mosque, there are 856 columns supporting a series of two-tiered arches that support the roof. This is called a Hypostyle hall. While the use of arches and columns was not unusual during and prior to the early-Christian era, the way the arches and columns were used in the Great Mosque of Cordoba was. Columns had been used for centuries in buildings such as the Parthenon and many early Christian basilica-styles church, but what makes the columns in the Great Mosque of Cordoba so special is that the number of them, 856, is “the most columns in any single building ever” (Ross). As for the style of the arches attached to those columns, that, too, is unique. Bi-level arches had been used prior to the Great Mosque of Cordoba in Islamic, Christian and Roman structures such as the aqueduct bridges of Segovia and Pont du Gard, the Verona Arena, the Colosseum, the Great Mosque of Damascus, Dome of the Rock, the Basilica of San Vitale and Hagia Sophia. The difference, however, is that the Great Mosque of Cordoba did not separate the tiers with straight levels of brick or concrete. These other structures had a distinct separation of arches because the second or third sets of arches were usually on a second or third floor of the building. The Great Mosque of Cordoba did away with the common practice of putting tiered arches on separate and distinct levels by removing the separating plane from the structure and instead, extended the arch column up to support a second, freestanding arch. This created an innovative design that had never been seen before. Aside from putting a twist on the traditional style of bi-level arches, the Great Mosque of Cordoba utilized a wide variety of arch designs and placement. The placement of multiple rows of arches in the layout of a church was something that was very common. What wasn’t common was using a variety of designs for those arches. Inside the Great Mosque of Cordoba are further examples of interlacing arches, poly-lobed arches, horseshoe arches, interlacing horseshoe arches and the standard single arch. Most of the arches have an alternating stone and red brick pattern while others are covered in mosaics. The ideas for these different designs and their decoration came from Visigothic, Byzantine, Christian and Islamic styles. The horseshoe arch is a Visigothic feature, the interlacing horseshoe arch is a Christian feature and the alternating stone and red brick comes from the Byzantine tradition. This practice of adapting and incorporating previous architectural styles and local elements is what makes Islamic architecture so one-of-a-kind. “Islamic architecture is unique in the non-Western world in that it alone – not Buddhist, not Hindu, not Pre-Columbian – shares many of the forms and structural concerns of Byzantine, Medieval, and Renaissance architecture, having grown from identical roots in the ancient world” (Trachtenberg, 215). Moving on through the interior we see further similarities between the two mosques. Both have enclosed courtyards, rectangular prayer halls and repeating abstract patterns adorning the walls. Islamic artists believe that by covering a space in patterns, it makes that space more holy and the reason these patterns are abstract is because Islam forbids the depiction of things observable in nature, so Islamic artists decorate their mosques in repeating floral motifs and other patterns inspired by what they see in nature. Almost every surface in both mosques is covered in some form of patterned decoration to create a luxurious and holy space. The Great Mosque of Cordoba displays these patterns by way of mosaic, which was “the most lavish way to decorate” at that time (Ross). This, though, is the last feature which the Great Mosque of Cordoba and Umayyad Mosque have in common. The last interior feature of the Great Mosque of Cordoba is probably the most unique, and shocking, of all. While the original features of the mosque are enough to make this building an innovative piece of architecture, it wasn’t until after King Ferdinand III of Castile conquered the city in June 1236 that the most truly unique feature of this ancient masterpiece came to be. Desiring the magnificent edifice for their new place of worship, the local bishop ritualistically cleansed the building and declared it a Catholic cathedral. Soon after, various sections of the mosque were converted into chapels. Over the next 600 years, many other changes would be made to the mosque to bring it more in line with Christian churches, but the biggest change of all happened almost immediately. In 1252, Alfonso X succeeded King Ferdinand III and received permission from the Holy Roman Emperor Charles V to make the most extreme change of all: the insertion a full-sized Renaissance-style Catholic cathedral into the center of The Great Mosque of Cordoba, the removal of all but one minaret, and that one was converted into a bell tower. While this cathedral is striking and masterful, its inclusion caused incredible shock and dismay. Upon seeing the completed structure for himself, Emperor Charles V is said to have declared, “they have taken something unique in all the world and destroyed it to build something you can find in any city” (Wikipedia). As you can see, the Great Mosque of Cordoba is an architectural marvel that is both innovative and typical. It includes several elements of architecture and style that were typical of the period when it was created, but it also has several elements that were innovative and unique. But these elements are not all that make this work an important part of art history. The elements that make this structure so important vary. One reason is that the Great Mosque of Cordoba was built about 175 years after Islam began, making it one of the first mosques ever built. Another reason why this structure is so important is because it includes the deliberate incorporation of so many local, Visigothic and Christian architectural traditions that would later become very influential in the building of future Islamic buildings. The final two reasons why this structure is so important are that it is the only mosque on earth with a cathedral inside and that it includes such a unique Hypostyle hall. The extensive use of arches and columns makes the gallery look much larger than it is and gives the illusion that it goes on for forever. The Great Mosque of Cordoba is such a fascinating and timeless piece of ancient history. Even now, it still holds an important place in the hearts of many. Fought over for centuries by Christians and Muslims alike, the Great Mosque of Cordoba will forever be a place that stands for the harmony of artistic, architectural and religious traditions. Works Cited “The Art of the Umayyad Period in Spain (711-1031).” Heilbrunn Timeline of Art History. The Metropolitan Museum of Art, n.d. Web. 13 Nov. 2014. <http://www.metmuseum.org/toah/hd/sumay/hd_sumay.htm>. “Córdoba, Andalusia.” Wikipedia. Wikimedia Foundation, 11 Dec. 2013. Web. 13 Nov. 2014. <http://en.wikipedia.org/wiki/Córdoba,_Andalusia>. “Córdoba: Historical Overview.” Spain: Then and Now. Spain: Then and Now, n.d. Web. 13 Nov. 2014. <http://www.spainthenandnow.com/spanish-history/cordoba-historical-overview/default_41.aspx>. Demirhan, Meryem. “The Great Mosque of Damascus.” Academia.edu. N.p., 26 May 2013. Web. 14 Nov. 2014. <https://www.academia.edu/3769159/The_Great_Mosque_of_Damascus>. “Features and Characteristics.”...

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The Stavelot Triptych

Erin — Mon, 15 Dec 2014 04:26:32 +0000

During the Middle Ages, religious travel was becoming popular. As more people began pilgrimages to seek out religious relics, different churches and monasteries began working to draw visitors and gain additional funding through donations left by the devout. Since very few churches or cities could lay claim to such renowned relics as were in Jerusalem and Rome, many commissioned elaborate housings for the small relics they did have in an attempt to draw visitors. It was during this time, roughly 1156 AD, that a small abbey in what is now known as Belgium commissioned local Mosan artists to create a reliquary to hold their small, precious relics. This is now known as the Stavelot Triptych. Background While it is not known who commissioned the Stavelot Triptych or the actual artist was, it is there is an understanding in the art community of where it originated. It is commonly believed the Abbot of Stavelot Abbey requested its creation and that Godefroid de Huy, a prominent goldsmith during that time, created the work. Wibald, the Abbot of Stavelot Abbey from 1130 to 1159, went to Constantinople in 1154 and returned to the abbey with a piece from the cross on which Christ was crucified, known as the True Cross, and a small scrap of the Mother Mary’s robe. In order to show proper reverence to these items and to draw additional interest in seeing them, Abbot Wibald had a beautiful and ornate Romanesque reliquary made for them: the Stavelot Triptych. A triptych is something that is made up of three pieces. In this case, it is a set of three ornately decorated panels that are hinged together so they can be closed and minimized for easy transport. The main panel of the Stavelot Triptych is set up like an ancient shadow box to display two smaller Byzantine triptychs which hold the relics Abbot Wibald brought back from Constantinople. Those triptychs date from the “11th or early 12th centuries” (Ross). On them we see depictions of the cross surrounded by images of Constantine and Helena, archangels and the military saints George, Procopius, Theodore and Demetrius along with four evangelists. The Left Panel While the objects in the center panel of the triptych are fascinating and worthy of attention, the side panels of the triptych are also remarkable and warrant equal attention. For, on the side panels we find the stories of Emperor Constantine’s conversion and St. Helena’s quest to find the True Cross. These panels are designed in a way that is very typical of Romanesque art during this time period. Bottom Medallion On the left-hand side of the triptych is the story of Emperor Constantine’s conversion to Christianity. The story begins at the bottom and is an idealized version of true events. In the bottom medallion, Constantine is shown having a dream of an angel. The angel is telling him he will be victorious if he goes into battle with the sign of the cross. The angel is bending over, gesturing up, while Constantine is laying down sleeping. This animated gesture is a contrast from the stoic poses used in Byzantine art as are the labels, details and speech bubbles, which are storytelling elements that are common of Romanesque art at this time. There are also various symbolic elements in the image. The crown hanging from the center shows Constantine is destined for greatness. The curtain being pulled aside behind him denotes he is a holy figure. There is a cityscape in the background which suggests that this takes place in a city in Rome. Middle Medallion The middle medallion depicts the end of the Battle of Milvian Bridge. In this battle, Constantine was victorious over Maxentius, who is seen running from Constantine’s troops who are carrying a cross. Constantine became Emperor after this victory, which he believed came about because he used the cross. As an added dramatic element, two soldiers lay dying at the bottom: one is speared while the other is bleeding out through the neck. This element was included because Romanesque artists told stories in more lively ways to engage the emotions of the viewer. The earth is represented, as well, to ground them and give them a more realistic and relatable quality. Top Medallion The final medallion telling the story of Constantine’s conversion is on the top left. In this medallion, we see Constantine being baptized, which is a partial fabrication. Constantine really was baptized, but not in the manner depicted in the medallion. He was actually baptized by a heretic, which the church did not want represented. This picture depicts him being baptized by Pope Sylvester at the end of his life while priests and ministers witnessed the ceremony. The lines on his body represent ribs and muscles which was done in a typically Romanesque fashion as Romanesque art exaggerated muscles and strength. This baptism is shown to be blessed by God by use of the rays and God’s hand and is shown to have taken place in Rome. The Right Panel On the opposite side of the triptych we see the story of Empress Helena, Constantine’s mother, seeking for and finding the cross which Jesus Christ was crucified on. This cross is known as the True Cross and is highly revered in Christian culture. It was sought after for years and is commonly believed to have been found by Empress Helena during her visit to the Holy Land from 326-328AD. Empress Helena is believed to have found the crosses for Jesus Christ and the two thieves who were crucified with Him and legend states that “a miracle revealed which of the three was the True Cross” (Wikipedia). Bottom Medallion As with Constantine’s story on the left, Empress Helena’s story begins at the bottom of the panel. The bottom right medallion shows Empress Helena sitting on throne, talking to Jewish elders. She went to the Holy Land to establish churches and relief agencies as well as search for relics and bring them back to Rome. In this scene Helena is seated while talking to the Jewish elders as she tries to get them to tell her where the cross Jesus was crucified on is. They refuse to tell her and she threatens them with fire, which is shown behind the elders. The Jewish elders are labeled as Jews and also dressed with white hats which denote them as Jews. As was typical with artistic conventions of the time, Jews wear different kinds of clothing that sets them apart from Christians in art. Middle Medallion In the middle medallion on the right, we see Empress Helena giving direction while the Jewish elders dig a pit. After severe threatening, the Jews finally capitulated and told Empress Helena where they thought the crosses were. Empress Helena had the Jews dig up (and destroy) the Temple of Venus, which is where the crosses were. This act is shown to be blessed by God by use of the rays and God’s hand. There were three crosses underneath the Temple of Venus and they had to figure out which one was the True Cross. Top Medallion The top medallion shows the story of how they figured out which cross was the one Jesus Christ died on. Soon after finding the crosses, they saw a dying person passing by and asked him touch each cross. Legend states that the True Cross healed the man. This act is shown to be blessed by God by use of the rays and God’s hand. Comparison Analysis As a whole, the Stavelot Triptych is fascinating and very ornate, though that was not unusual for this time period. Since many churches were commissioning elaborate reliquaries for their magnificent relics, works of such ornate and elaborate craftsmanship were becoming common and held similar characteristics. The elements and conventions of the Stavelot Triptych, while detailed and beautiful, were very typical of Romanesque art. Within 50 years of the Stavelot Triptych being created, another famous work was created that held very similar elements. This was the Reliquary of St. Maurus. Similarities Both the Stavelot Triptych and the Reliquary of St. Maurus were created by Mosan artisans and commissioned by churches in what is now known as Belgium. Mosan artists were craftsmen from the Meuse valley, which is on the modern-day border between Germany and Belgium. These artists were in high demand during the Romanesque era and created such works as the “Baptismal font at St Bartholomew’s Church in Liège, the Shrine of Saint Servatius in Maastricht, the Shrine of Saint Hadelin in Vise, the Shrine of Saint Remacle in Stavelot, the Shrines of Saint Domitian and Saint Mangold in Huy, the Shrine of Our Lady at Tournai Cathedral, Shrine of the Three Kings at Cologne Cathedral, Shrines of Charlemagne and Mary at Aachen Cathedral, the Barbarossa Chandelier at Aachen Cathedral, the Stavelot alter base, Retable of the Pentecost and the Reliquary with head of Pope Alexander I” (Wikipedia). Aside from being created by artists from the same area, the Stavelot Triptych and the Reliquary of St. Maurus have several elements in common, which were typical of that time. Both works were made of wood, were heavily gilded, were decorated with enamelwork and were inlaid with precious stones. While one is a triptych and the other a chasse, a chest with slanted roofs, they both have the same purpose: to house precious religious relics. As such, they are both covered in depictions of saints and religious figures. In typical Romanesque fashion, the figures are shown in motion and with narrative qualities. Both pieces also contain medallions which tell stories of the persons important to each reliquary and have labels along with various indicative text. These works also have an increased amount of detail and depictions of the ground, which are typical features of Romanesque art. Religious Importance When creating the Stavelot Triptych, the artist created a work that is mesmerizing and timeless. This work, while typical of its time, is fascinating and worth the esteem it receives. Aside from being the housing for religious artifacts, this work is important because it is a combination of two styles: Byzantine reliquaries housed inside a Romanesque reliquary. This was entirely unique and allows us to fully compare the two styles. The Stavelot Triptych is also important because it is evidence of a person being able to safely travel great distances during that era. Traveling great distances was new to that time period and the combination of two art styles from two different areas made during this era shows that people could travel successfully. And the final reason the Stavelot Triptych is important is because it shows that Romanesque art had an interest in the narrative of telling stories with lively characters, which was a big change from the stoic and stiff characters from Byzantine art, thus providing a segue between Byzantine art and Western Medieval art. Conclusion Overall, the Stavelot Triptych is a very important and stunning piece of Romanesque Mosan artwork that has retained its importance and veneration for generations. Whether or not we ever discover who commissioned it, who created it and whether or not the artifacts inside are truly what they claim to be, this work will always hold an aura of mysticism and reverence. Its significance as a religious artifact as well as the artistic skill used in creating this work have made it a timeless work that will maintain admiration and adoration for decades to come. Works Cited “Concise History of the Reliquary and Its Restoration.” Relikviar Sv Maura. N.p., n.d. Web. 11 Dec. 2014. <http://www.svatymaur.cz/en/restoration/concise-history-of-the-reliquary-and-it.html>. Petzold, Dr Andreas. “Khan Academy.” Khan Academy. N.p., n.d. Web. 10 Dec. 2014. <https://www.khanacademy.org/humanities/medieval-world/latin-western-europe/romanesque1/a/a-beginners-guide-to-romanesque-art>. “Reliquary of St. Maurus.” Memim Encyclopedia. N.p., n.d. Web. 11 Dec. 2014. <http://memim.com/reliquary-of-st.-maurus.html>. “Reliquary of St. Maurus.” Wikipedia. Wikimedia Foundation, 12 Mar. 2014. Web. 11 Dec. 2014. <http://en.wikipedia.org/wiki/Reliquary_of_St._Maurus>. “Romanesque Art.” Wikipedia. Wikimedia Foundation, 12 Nov. 2014. Web. 11 Dec. 2014. <http://en.wikipedia.org/wiki/Romanesque_art>. Ross, Nancy. “Stavelot Triptych.” 10 Dec. 2014. Lecture. Sorabella, Jean. “Pilgrimage in Medieval Europe.” The Metropolitan Museum of Art. Heilbrunn Timeline of Art History, Apr....

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