Tabernacle thumbnail 1
Tabernacle thumbnail 2
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Image of Gallery in South Kensington
On display at V&A South Kensington
Cast Courts, Room 46b, The Weston Cast Court

Tabernacle

Tabernacle
ca. 1450-75 (sculpted), ca. 1886 (cast)
Artist/Maker
Place of origin

This is a plaster cast of a marble tabernacle from the Church of S. Croce made by Mino da Fiesole in the third quarter of the 15th century. Recorded by BOCCHI (1677) as being in the Convent of the Murate in Florence. In 1815, it was transferred from the cloister of that Convent to the Sacristy of S. Croce. The two inscriptions HIC EST PANIS VIVVS·Q·DECELO·DESCENDIT· (Here is the Living Bread which descends from Heaven) O SALVTARIS.HOSTIA (O Host of Salvation) refer to the Host kept in the tabernacle behind the central door. It is this Host, symbolic of Christ's sacrifice upon the Cross, promising redemption, which the angels are adoring. Signed OPVS MINI.

Mino da Fiesole (or Mino di Giovanni)(ca. 1429 – 1484), was a sculptor from Tuscany specialising in marble. He was influenced by Desiderio da Settignano and Antonio Rosselino and is well known for his portrait busts.

Plaster casts were especially sought after during the 19th century, when reproductions of great works of sculpture and architecture were thought crucial for the training of artists. A separating substance was applied to the surface of the work to be reproduced, and a plaster mould made from that. The mould would then be used to make any number of additional plaster copies. These were often sold to artists, and later in the century to art colleges for study purposes.


Object details

Categories
Object type
Parts
This object consists of 4 parts.

  • Tabernacle
  • Tabernacle Orig Marble by Mino Da Fiesole
  • Tabernacle Orig Marble by Mino Da Fiesole
  • Tabernacle Orig Marble by Mino Da Fiesole
TitleTabernacle (generic title)
Materials and techniques
Plaster cast
Brief description
Plaster cast of a marble tabernacle, from the Church of S. Croce, Florence, by Mino da Fiesole, third quarter of the 15th century, Florence, cast ca. 1886
Dimensions
  • Height: 274.5cm
  • Width: 142.5cm
Marks and inscriptions
  • 'HIC EST PANIS VIVVS·Q·DECELO·DESCENDIT·'
    Translation
    'Here is the Living Bread which descends from Heaven'
  • 'O SALVTARIS.HOSTIA'
    Translation
    'O Host of Salvation'
  • 'OPVS MINI' (Signed )
Object history
Acquired in exchange from Berlin Museum in 1886 for £7 10s (150 marks).
Historical context
Recorded by BOCCHI (1677) as being in the Convent of the Murate in Florence. In 1815, it was transferred from the cloister of that Convent to the Sacristy of S. Croce. The two inscriptions HIC EST PANIS VIVVS·Q·DECELO·DESCENDIT· (Here is the Living Bread which descends from Heaven) O SALVTARIS.HOSTIA (O Host of Salvation) refer to the Host kept in the tabernacle behind the central door. It is this Host, symbolic of Christ's sacrifice upon the Cross, promising redemption, which the angels are adoring. Signed OPVS MINI.
Summary
This is a plaster cast of a marble tabernacle from the Church of S. Croce made by Mino da Fiesole in the third quarter of the 15th century. Recorded by BOCCHI (1677) as being in the Convent of the Murate in Florence. In 1815, it was transferred from the cloister of that Convent to the Sacristy of S. Croce. The two inscriptions HIC EST PANIS VIVVS·Q·DECELO·DESCENDIT· (Here is the Living Bread which descends from Heaven) O SALVTARIS.HOSTIA (O Host of Salvation) refer to the Host kept in the tabernacle behind the central door. It is this Host, symbolic of Christ's sacrifice upon the Cross, promising redemption, which the angels are adoring. Signed OPVS MINI.

Mino da Fiesole (or Mino di Giovanni)(ca. 1429 – 1484), was a sculptor from Tuscany specialising in marble. He was influenced by Desiderio da Settignano and Antonio Rosselino and is well known for his portrait busts.

Plaster casts were especially sought after during the 19th century, when reproductions of great works of sculpture and architecture were thought crucial for the training of artists. A separating substance was applied to the surface of the work to be reproduced, and a plaster mould made from that. The mould would then be used to make any number of additional plaster copies. These were often sold to artists, and later in the century to art colleges for study purposes.
Collection
Accession number
REPRO.1886-190

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Record createdSeptember 21, 2006
Record URL
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