Tabernacle
Tabernacle
ca. 1450-75 (sculpted), ca. 1886 (cast)
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.
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.
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Title | Tabernacle (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 |
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Marks and inscriptions |
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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 created | September 21, 2006 |
Record URL |
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