Journal articles: 'Reliquary'

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Waldrep, G. C. "Reliquary." Iowa Review 42, no. 1 (April 2012): 20–21. http://dx.doi.org/10.17077/0021-065x.7110.

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Klatt, L. S. "Reliquary." Iowa Review 35, no. 3 (December 2005): 104. http://dx.doi.org/10.17077/0021-065x.6058.

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Blum, Alan. "The tobacco reliquary." Canadian Medical Association Journal 187, no. 2 (December 1, 2014): 133–34. http://dx.doi.org/10.1503/cmaj.141231.

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Barabtarlo, Gennady, and Nabokov. "Nabokov's Reliquary Poem." Russian Review 52, no. 4 (October 1993): 540. http://dx.doi.org/10.2307/130651.

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Mochizuki, Mia M. "The Reliquary Reformed." Art History 40, no. 2 (March 20, 2017): 430–49. http://dx.doi.org/10.1111/1467-8365.12313.

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Carter, Susan E. Carter. "Reliquary for My Braid." Frontiers: A Journal of Women Studies 17, no. 2 (1996): 121. http://dx.doi.org/10.2307/3346601.

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Marqués Serra, David. "Des de la concepció medieval fins a la narració actual: El reliquiari a través de l’obra de Joan Millet." SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 14 (December 26, 2019): 145. http://dx.doi.org/10.7203/scripta.0.16361.

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Resum: La present reflexió s’ocupa del tema del reliquiari, originàriament destinat a la veneració d’elements sagrats, i aprofundeix en la seua constant evolució fins a l’era contemporània, a través de la producció de Joan Millet Bonet. Així doncs, es tracta de fer una comparació inter-temporal amb la intenció d’extraure els possibles vincles que puguen oferir-nos les diferents claus discursives necessàries perquè aquest objecte continue mantenint la seua naturalesa inherent. De tal manera, i inevitablement, fem al·lusió a les tangencials qüestions espirituals que acompanyen l’objecte sacre, tant en l’antiguitat com en l’actualitat. Tot això, necessàriament, configura els entorns en els quals se circumscriuen els reliquiaris en els seus diferents temps i, al seu torn, per extensió, també condicionen i conformen les seues possibilitats formals i estètiques.Palraules clau: Reliquiari, objet trouvé, ready made, objecte trobat, art, disseny, artesania, Joan Millet, espiritualitat.Abstract: This investigation addresses the theme of the reliquary, originally destined to the veneration of sacred elements, and goes in depth in the study of its constant evolution to the contemporary era, through the production of Joan Millet Bonet. Thus, an intertemporal comparison is proposed with the aim of extracting the possible links that can offer us the different discursive keys necessary for the object to maintain its inherent nature. In this way and inevitably, we allude to the tangential spiritual issues that accompany the sacred object, both in ancient times and the present day. All this, necessarily, configures the environments in which the reliquaries are circumscribed in their different times and, in turn, by extension, also condition and shape their formal and aesthetic possibilities.Keywords: reliquary, objet trouvé, ready made, object found, art, design, crafts, Joan Millet, spirituality.

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Sharpe, Richard. "King William and the Brecc Bennach in 1211: reliquary or holy banner?" Innes Review 66, no. 2 (November 2015): 163–90. http://dx.doi.org/10.3366/inr.2015.0096.

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In his Rhind Lectures of 1879 Joseph Anderson argued for identifying the Monymusk Reliquary, now in the National Museum of Scotland, with the Brecc Bennach, something whose custody was granted to Arbroath abbey by King William in 1211. In 2001 David H. Caldwell called this into question with good reason. Part of the argument relied on different interpretations of the word uexillum, ‘banner’, taken for a portable shrine by William Reeves and for a reliquary used as battle-standard by Anderson. It is argued here that none of this is relevant to the question. The Brecc Bennach is called a banner only as a guess at its long-forgotten nature in two late deeds. The word brecc, however, is used in the name of an extant reliquary, Brecc Máedóc, and Anderson was correct to think this provided a clue to the real nature of the Brecc Bennach. It was almost certainly a small portable reliquary, of unknown provenance but associated with St Columba. The king granted custody to the monks of Arbroath at a time when he was facing a rebellion in Ross, posing intriguing questions about his intentions towards this old Gaelic object of veneration.

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Bertram, Jerome, and John A. Goodall. "The Remedius and Maximus Reliquary." Antiquaries Journal 82 (September 2002): 349–53. http://dx.doi.org/10.1017/s0003581500073881.

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The Carmelite monastery of Hoogstraat, like many English communities on the Continent, acquired a considerable number of treasures over the centuries, many of which were somehow smuggled into England when the nuns fled the Revolution, remaining at Chichester until the community was finally dissolved in 1994. Although much was sold, the major Carmelite relics went to Rome and the remaining relics were given to the Oxford Oratory. Among those now in Oxford is an important medieval silver-gilt reliquary, which has been deposited at the Ashmolean Museum.

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Armitage, Simon. "Last, and: Peacetime, and: Reliquary." Sewanee Review 126, no. 3 (2018): 441–43. http://dx.doi.org/10.1353/sew.2018.0044.

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Petrukhin, V. "A “reliquary” cum grano salis." Российская археология, no. 3 (December 2018): 111–16. http://dx.doi.org/10.31857/s086960630001645-8.

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Kubica-Grygiel, Anna, and Michał Grygiel. "An Early Medieval Golden Reliquary Cross from Zagórzyce, Świętokrzyskie voiv. (PL)." Zeitschrift für Kunstgeschichte 81, no. 3 (October 15, 2018): 312–27. http://dx.doi.org/10.1515/zkg-2018-0024.

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Abstract A unique golden cross with an embossed depiction of Christ crucified and filigree border was discovered without specific context at multicultural site 1 in Zagórzyce, Kazimierza Wielka District (PL). This artifact is a most impressive example of Early Medieval box-like cross-shaped pendants – unequivocally associated with Christian symbolism – and should be considered to have been a personal reliquary container. The box-like reliquary crosses that most closely parallel the find from Zagórzyce come from discoveries generally dated to the eleventh century. The Zagórzyce reliquary probably comes from a similar period, as it uses an archaic form of Greek cross with slightly flared-out arms, which is found among pendants dated to the tenth century or earlier. It was probably produced at the end of the tenth or in the eleventh century in an area west of Poland, perhaps in the Holy Roman Empire.

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Zivkovic, Valentina. "Saint Tryphon’s reliquary casket in Kotor. A contribution to the study of the iconography." Zograf, no. 43 (2019): 185–96. http://dx.doi.org/10.2298/zog1943185z.

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The paper analyses late Gothic and early Renaissance imagery on the reliquary casket of Saint Tryphon kept in the Kotor Cathedral. The iconography of the torture and death scenes of the young martyr Tryphon, as well the representation of the architecture on the model of the town of Kotor in the hand of Saint Tryphon opens up the possibility of interpreting this reliquary in a historical context. The paper proposes an interpretation of the iconography of the scenes on the reliquary casket as part of the constructed memory of the Ottoman siege of Kotor under the command of kapudan pacha Hayreddin Barbarossa (1539) and the Venetian defense of the town. A similar way of creating memories through juxtaposing images of Turks, members of the Holy League and Kotor?s devotees under the protection of Saint Tryphon has been recorded in poetry, chronicles, and epistles.

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Popovic, Danica. "A staurotheke of Serbian provenance in Pienza." Zograf, no. 36 (2012): 157–70. http://dx.doi.org/10.2298/zog1236157p.

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The paper discusses the virtually unpublished reliquary of Serbian provenance now kept in the Museo Diocesano in Pienza. It tackles the issue of the typology of the staurotheke, its decoration and symbolic significance. Based on its Old-Serbian inscription, ?Sava, the first archbishop and patriarch of the Serbs?, the reliquary is dated to the last quarter of the fourteenth century and related to the programme of the Serbian Patriarchate. The surviving sources make it possible to reconstruct the road the staurotheke travelled from the treasuries of Zica and the Patriarchate of Pec to Pienza.

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Crook, John. "King Edgar's reliquary of St Swithun." Anglo-Saxon England 21 (December 1992): 177–202. http://dx.doi.org/10.1017/s026367510000421x.

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In May 1909 a medieval wall-painting was discovered behind the fitted bookshelves of the Morley Library at Winchester Cathedral. A brief description was published locally at the time of the discovery, but neither the precise subject matter nor the date of the painting were established. Thereafter the wall-painting lay virtually forgotten until it was re-examined early in 1990 by the present writer. It now seems possible that the painting includes the earliest known representation of Winchester Cathedral in its original, Romanesque form, and that it also portrays an important artifact within that church: the reliquary of St Swithun. This identification is supported by the other scene in the wall-painting, which, it is argued, represents either the saint's burial in 862 or (more probably) his translation in 971. In the second part of this paper the history of the reliquary of Swithun is traced. This important and welldocumented artifact had been presented by King Edgar to the Old Minster in 971–4 and was transferred to the Romanesque cathedral in 1093. It is suggested that this major piece of Anglo-Saxon metalwork may have survived until c. 1450.

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Dai, Yue. "Secular Dimensions of the Aśoka Stūpa from the Changgan Monastery of the Song Dynasty." Religions 12, no. 11 (October 21, 2021): 909. http://dx.doi.org/10.3390/rel12110909.

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In 2008, in the course of excavating the site of the pagoda foundations of the former Nanjing Da Bao’en Monastery 南京大報恩寺, archaeologists discovered Buddhist relics enshrined in nested reliquaries along with some two hundred offering objects. The most impressive finding was a specially designed, richly decorated reliquary stūpa, known as the Seven-Jeweled Aśoka Stūpa 七寶阿育王塔, created in the Song Dynasty (960–1279 CE). This paper begins with the history of the site where a series of famous Buddhist structures had been built since the Wu Kingdom (222–280 CE), and which has long been associated with the cult of King Aśoka and relic worship. It then goes on to examine the form and features of the reliquary stūpas prevalent in the Wuyue period (907–978). Through comparisons between the Aśoka stūpas commissioned by Wuyue King Qian Chu 錢俶 (929–988) and those by laypeople around the same time, I will demonstrate that the Seven-Jeweled Aśoka Stūpa is distinct in its secular features. It is not a Buddhist reliquary that strictly conforms to the conventions of reliquary-making in terms of scale, inscription, and functionality; besides relic worship, it also features a remarkable manifestation of laypeople’s beliefs and expectations, sacred or secular. Viewed in its historical context, in which the Song emperors imposed political control over religious affairs and Buddhism became increasingly secular, the stūpa was a product of negotiation between the political authorities and local Buddhist communities in the Song Dynasty.

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Litvina, Anna F., and Fjodor B. Uspenskij. "Some Observations on the Reliquary of Prince Ivan Khvorostinin (1605–1621)." Slovene 10, no. 1 (2021): 94–112. http://dx.doi.org/10.31168/2305-6754.2021.10.1.6.

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The present paper offers a rethinking of inscriptions and images on the famous artifact known as “Prince Ivan Khvorostinin’s reliquary”. We are interested both in the texts inscribed directly on various parts of this objects and those potentially linked with some of its elements. Contrary to the widely accepted opinion, the article suggests seeing this reliquary not as an attribute of state power, but as a family relic of the Khvorostinins. From this perspective, the important tools of research are the history of the cult of personal saint patrons and the history of secular Christian binominality.

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Popovic, Danica. "The Siena relic of St John the Baptist’s right arm." Zograf, no. 41 (2017): 77–94. http://dx.doi.org/10.2298/zog1741077p.

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The paper takes a systematic approach to the hitherto unpublished relic of St John the Baptist?s right arm which is kept in a cache in Siena cathedral. It includes the available historical information about the relic?s journey from Serbia until its arrival in Siena (1464) and the circumstances in which it came into the possession of pope Pius II. It provides a detailed description both of the relic and of the reliquary, an exquisite piece of medieval goldsmithing and filigree work with few direct analogies. Particular attention is devoted to the inscription on the reliquary lid: ?Right arm of John the Forerunner, cover me, Sava the Serbian archbishop.? Based on the inscription, the reliquary is identified as one of the founding objects of the treasury of the monastery of Zica (the Serbian cathedral and coronation church) which was gradually built up in the first decades of the thirteenth century through the effort of Sava of Serbia. Discussed in the context of this topic are also the ?veil? and the ?cushion?, the luxurious textiles in which the Baptist?s arm was brought to Siena.

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Noga-Banai, Galit, and Linda Safran. "A Late Antique Silver Reliquary in Toronto." Journal of Late Antiquity 4, no. 1 (2011): 3–30. http://dx.doi.org/10.1353/jla.2011.0010.

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Vigneron, Sophie. "The holy thorn reliquary and cultural heritage." Northern Ireland Legal Quarterly 68, no. 3 (November 7, 2017): 329–39. http://dx.doi.org/10.53386/nilq.v68i3.44.

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A thorn, a valueless piece of wood, is displayed in an exquisite box made of gold and precious stones, and ornamented with intricate figures and symbols. This rare artefact showcases a worthless item, but for the meaning attached to it – the belief that it comes from the Crown of Thorns worn by Jesus Christ, during the Crucifixion. In the British Museum, the reliquary is one among many objects displayed for their tangible rather than intangible values. Thus, it becomes a metaphor for the definition of heritage, the identification of heritage values and the framework of cultural heritage law.

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M. Aradi, Csilla. "Középkori zarándokjelvények és mellkereszt töredéke a Szulok-gyűjteményből." Kaposvári Rippl-Rónai Múzeum Közleményei, no. 6 (2018): 11–22. http://dx.doi.org/10.26080/krrmkozl.2018.6.11.

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Petrosyan, Hamlet. "Politics, Ideology and Landscape: Early Christian Tigranakert in Artsakh." Electrum 28 (2021): 163–87. http://dx.doi.org/10.4467/20800909el.21.012.13370.

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Tigranakert in Artsakh was founded at the end of 90s BC by the Armenian King Tigranes II the Great (95–55 BC) and in the Early Christian period continued to play a role of an important military-administrative and religious center. As аresult of excavations the Early Christian square of the Central district with two churches, remains of a monumental stela witha cross, as well as an Early Christian underground reliquary and a graveyard were unearthed. The sepulchre-reliquary was opened under the floor of the small church of early Christian Square. It has only the eastern entrance. As had been shown by further excavations Saint Grigoris’s sepulchre-reliquary in Amaras also had an eastern entrance. Saint Stephanos’s reliquary in Vachar also has only an eastern entrance. All these three structures are dated from 5th–6th centuries. In early Christian East the only tomb that had an only eastern entrance is Holy Sepulchre in Jerusalem. Analysis of the data on Vachagan the Pious (end of 5th–early 6th centuries), king of Albania (which included since the middle of 5th century the eastern provinces of Greater Armenia – Artsakh and Utik), allows us to conclude that at the end of the 5th century the king initiated theecclesiastical reform, trying to link the origin of the Albanian church to Jerusalem. One ofthe manifestations of this reform was the creation of the legend of the Apostle Yeghisha arriving to Albania from Jerusalem. Comparative analysis of archaeological, architectural and written data leads to the conclusion that all three tombs with the single east entrance are the result of the reformist activity of Vachagan, and the idea of single eastern entrance, most likely, was taken from the tomb of the Holy Sepulchre in Jerusalem. A new approach to the localizations of Early Christian sanctuaries in and near Tigranakert allows to compare this sacred area with early Christian sacred topography of Jerusalem.

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Marzela, Francesco. "‘In me porto crucem’: a new light on the lost St Margaret’s crux nigra." Anglo-Saxon England 47 (December 2018): 351–64. http://dx.doi.org/10.1017/s0263675119000103.

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AbstractSt Margaret of Scotland owned a reliquary containing a relic of the True Cross known as crux nigra. Both Turgot, Margaret’s biographer, and Aelred of Rievaulx, who spent some years at the court of Margaret’s son, King David, mention the reliquary without offering sufficient information on its origin. The Black Rood was probably lost or destroyed in the sixteenth century. Some lines written on the margins of a twelfth-century manuscript containing Aelred’s Genealogia regum Anglorum can now shed a new light on this sacred object. The mysterious lines, originally written on the Black Rood or more probably on the casket in which it was contained, claim that the relic once belonged to an Anglo-Saxon king, and at the same time they seem to convey a significant political message.

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Butler, Lawrence, and James Graham-Campbell. "A Lost Reliquary Casket from Gwytherin, North Wales." Antiquaries Journal 70, no. 1 (March 1990): 40–48. http://dx.doi.org/10.1017/s0003581500070281.

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SummaryA reliquary casket known from seventeenth- and eighteenth-century records as that of St Winifrid had been lost by the mid-nineteenth century from the church at Gwytherin in Clwyd. A drawing attributed to Edward Lluyd, published here for the first time, suggests that it was most probably of eighth- or early ninth-century date and was influenced by Anglo-Saxon (JG-C) or Irish (LB) models, if not an actual import into North Wales.

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Williamson, Beth. "Matter and Materiality in an Italian Reliquary Triptych." Gesta 57, no. 1 (March 2018): 23–42. http://dx.doi.org/10.1086/695772.

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Bažantová, Nina. "The Tunic from the Reliquary of Saint Ludmila." Textile History 21, no. 1 (January 1990): 3–12. http://dx.doi.org/10.1179/004049690793711316.

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Mims, Caitlin. "Visual and Textual Narratives." Athanor 37 (December 3, 2019): 127–39. http://dx.doi.org/10.33009/fsu_athanor116670.

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The True Cross, understood by the Christian faithful as the wood on which Christ was crucified, was legendarily discovered by Helena, the mother of Byzantine Emperor Constantine I, in 362 CE in Jerusalem. This discovery established imperial Byzantine control of the Cross and its relics, limiting their movement out of Byzantium. With the Crusader sack of Constantinople in 1204, reliquaries of the True Cross became more accessible. Many were taken west into the treasuries of Western European churches, where they can still be found today. The reception of these objects varied, but often, western viewers imposed new identities on these reliquaries by refashioning them or assigning them new narratives. One such reliquary of the True Cross that traveled from Byzantium to the west is now known as the Croce degli Zaccaria. In the pages that follow I will examine how the Byzantine identity of this reliquary was perceived as it moved through the medieval world.

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Ostapkowicz, Joanna, and Lee Newsom. "“Gods… Adorned with the Embroiderer’s Needle”: The Materials, Making and Meaning of a Taino Cotton Reliquary." Latin American Antiquity 23, no. 3 (September 2012): 300–326. http://dx.doi.org/10.7183/1045-6635.23.3.300.

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AbstractA unique cotton Taíno reliquary—the only extant example currently known—provides an unprecedented window onto the complex mortuary and ritual ceremonies of the pre-Hispanic Caribbean. This study explores its cultural context as recorded by the early Spanish and French chroniclers and missionaries who were witness to the use and beliefs surrounding these objects in both the Greater and Lesser Antilles. It provides the first AMS radiocarbon date for the reliquary, placing it within a firmer historical context. It also examines the woven sculpture in some detail, providing a review of the manufacture process and a detailed study of the components—cotton, animal hair, lianas, gourd, resins and shell—that went into its creation. From the wrapping of important cemís (representations of spirits) in cotton, to the binding of the skeletal remains of venerated ancestors within elaborate weavings, cotton had an intrinsic value as a material that wrapped and bound the ancestors to the living and the living to each other.

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Geddes, Jane. "The earliest portrait of St Columba: Cod Sang 555, p 166." Proceedings of the Society of Antiquaries of Scotland 147 (November 21, 2018): 127–45. http://dx.doi.org/10.9750/psas.147.1245.

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The portrait of St Columba was made on the last page of a version of The Life of St Columba by Adomnán. The book, Cod Sang 555, was written at the monastery of St Gallen in the later 9th century and the drawing possibly added shortly afterwards. The image shows Columba both on a mountain and inside a church, both alive with hands raised in prayer and dead, represented by his adjacent reliquary. The shape of the reliquary is matched by an illustration of the Ark of the Covenant, made at St Gallen at about the same time. This reveals the meaning of the picture: as God spoke to his people from the mercy seat on the Ark of the Covenant, Columba speaks directly to his reader and devotees through his relics in the shrine. It is proposed that the smaller container beside the reliquary is a satchel, possibly for containing this book itself. Typological exegesis relating the Old Testament to Columba explains Columba’s mystical appearance simultaneously on the mountain and in a church; and his ability to appear in person after his death. The concept of praesentia accounts for his active role as intercessor for his followers. The picture was composed at a time when illustrated saints’ lives were beginning to develop with detailed narrative sequences. This image stands apart because it does not illustrate events from the accompanying text. The text of Cod Sang 555 had already excised details of Columba’s Irish/ Scottish background on Iona to make it more relevant to a continental audience. Likewise, this image places Columba, through the power of his relics, no longer on Iona but directly before his followers in St Gallen Abbey.

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Asher, Frederick M. "Travels of a Reliquary, Its Contents Separated at Birth." South Asian Studies 28, no. 2 (September 2012): 147–56. http://dx.doi.org/10.1080/02666030.2012.725582.

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LaGamma, Alisa. "Eternal Ancestors: The Art of the Central African Reliquary." African Arts 40, no. 4 (December 2007): 32–43. http://dx.doi.org/10.1162/afar.2007.40.4.32.

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Cannon-Brookes, P. "Picture framing II: A reliquary panel by Pietro Lorenzetti." Museum Management and Curatorship 13, no. 3 (September 1994): 323–25. http://dx.doi.org/10.1016/0260-4779(94)90016-7.

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GARRISON, ELIZA. "A Curious Commission: The Reliquary of St. Servatius in Quedlinburg." Gesta 49, no. 1 (January 2010): 17–29. http://dx.doi.org/10.2307/41550535.

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Swales, Janna. "Lying in Wait to be Found: Reliquary Communities of Memories." Nordlit 12, no. 1 (February 1, 2008): 337. http://dx.doi.org/10.7557/13.1349.

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Edwards, Nancy, and Tristan Gray Hulse. "A Fragment of a Reliquary Casket from Gwytherin, North Wales." Antiquaries Journal 72 (March 1992): 91–101. http://dx.doi.org/10.1017/s0003581500071195.

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A Drawing By The Antiquarian Edward Lhuyd or one of his assistants, which was made some time before the completion of his Parochialia c. 1699, was recently located in the Bodleian Library, Oxford (fig. 1). It shows a triangular-section wooden box decorated with metal mounts and is captioned Arch Gwenfrewi yn eglwys Gwytherin yn swydh Ddimbech (‘the shrine of Gwenfrewi [i.e. Winefride] in the church of Gwytherin Denbighshire’). This drawing, together with other illustrations of the shrine, and a discussion of its ornament, affinities and dating were subsequently published in an article in this journal. The shrine was thought to have been finally destroyed in the mid-nineteenth century, perhaps when the old church at Gwytherin was demolished in 1867. But in June 1991, while the above article was in press, a piece of wood was discovered by Tristan Gray Hulse in the presbytery attached to St Winefride's Catholic Church in Holywell (Flintshire), which includes the site of the famous holy well bearing her name. The fragment was wrapped in brown paper and labelled in faded black ink ‘From the wooden chest at Gwytherin supposed to have contained body of St Winifrede’. Enough survives for the piece to be identified securely as a fragment of one of the gable ends from the shrine of Gwenfrewi as illustrated in the Bodleian manuscript.

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LLOYD, JAMES. "The Priests of the King's Reliquary in Anglo-Saxon England." Journal of Ecclesiastical History 67, no. 2 (March 3, 2016): 265–87. http://dx.doi.org/10.1017/s0022046915003310.

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That the priests of the Anglo-Saxon royal household functioned as a primitive chancery is a popular and reasonable hypothesis, corroborated both by contemporary continental practice and by the overlap between chancery and chapel evident from the twelfth century to the fourteenth. Evidence for an Anglo-Saxon chancellorship as such, however, remains frustratingly elusive. This paper argues for the existence of a special tier of priests entrusted with the king's reliquary and archive. It examines their role in the royal household, resolving conflicts in the evidence, to argue that the later office of chancellor evolved from their office.

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TUDOR, A. P. "THE RELIGIOUS SYMBOLISM OF THE 'RELIQUARY OF LOVE' IN LAUSTIC." French Studies Bulletin 13, no. 46 (January 1, 1993): 1–3. http://dx.doi.org/10.1093/frebul/13.46.1.

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Cornelison, Sally J. "Art Imitates Architecture: The Saint Philip Reliquary in Renaissance Florence." Art Bulletin 86, no. 4 (December 2004): 642. http://dx.doi.org/10.2307/4134457.

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Barzman, Karen-Edis. "DEVOTION AND DESIRE: THE RELIQUARY CHAPEL OF MARIA MADDALENA DE'PAZZI." Art History 15, no. 2 (June 1992): 171–96. http://dx.doi.org/10.1111/j.1467-8365.1992.tb00480.x.

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Mota, Maria João. "Textile treasures in the reliquary chest of Princess Santa Joana." Conservar Património 31 (2019): 155–65. http://dx.doi.org/10.14568/cp2018030.

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Bruni, Yannick, Frédéric Hatert, Philippe George, Hélène Cambier, and David Strivay. "A gemmological study of the reliquary crown of Namur, Belgium." European Journal of Mineralogy 33, no. 2 (April 27, 2021): 221–32. http://dx.doi.org/10.5194/ejm-33-221-2021.

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Abstract. The reliquary crown, hosted in the diocesan museum of Namur, was produced during the beginning of the 13th century to shelter a fragment of the holy crown of thorns. This beautiful piece of goldsmithery is made of eight gold plates, topped by round lobes, and connected to each other by hinges blocked with a pin decorated by a pearl. The crown is decorated by filigrees, flowers, and approximately 400 pearls and coloured (green, reddish pink, turquoise, red, blue) stones showing simple cutting with various sizes and shapes. Raman and portable X-ray fluorescence spectrometer (pXRF) techniques have been used to determine the nature and sources of all samples, as well as the composition of filigrees. Analyses have identified emeralds from Pakistan, reddish pink spinels from Tajikistan, red almandine garnets from India, turquoise from Iran, blue sapphires from Sri Lanka or Myanmar, and European pearls. The filigrees contain approximately 86 wt % Au, 7 wt % Ag, and 7 wt % Cu, thus confirming a gold-rich composition. The gemstones, contemporary with the crown, probably arrived in Europe by the silk trade road.

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Lee, Gemma. "Conservation and Replica of Glass Sarira Bottle in Sarira Reliquary." Journal of Digital Art Engineering and Multimedia 8, no. 3 (September 30, 2021): 313–23. http://dx.doi.org/10.29056/jdaem.2021.09.07.

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Thomson, Ron B. "The Reliquary of the Manger, Church of São Roque, Lisbon." Journal of the Warburg and Courtauld Institutes 80, no. 1 (January 1, 2017): 243–48. http://dx.doi.org/10.1086/jwci44841051.

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Bruni, Yannick, Frédéric Hatert, Merry Demaude, Nicolas Delmelle, Philippe George, and Julien Maquet. "An Archaeometric Investigation of Gems and Glass Beads Decorating the Double-Arm Reliquary Cross from Liège, Belgium." Heritage 4, no. 4 (November 30, 2021): 4542–57. http://dx.doi.org/10.3390/heritage4040250.

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In 1914, a magnificent reliquary cross dating from the early XIIIth century was discovered in a safe from the Liège Cathedral. This double-arm cross shows a wooden structure, covered by gold-coated copper on the front, and by carved silver plates on the back. Its total length is 34 cm, and it is covered by filigrees, gems, glass beads, and pearls on its front. The reliquary cross was analysed by Raman spectrometry and X-ray fluorescence spectrometry (pXRF) to determine the mineralogical and chemical compositions of gems, glass beads, and metals that have been used to decorate it. The results confirm the identification of twenty-five turquoises from Egypt, one garnet from Sri Lanka, as well as six quartz and one opal whose origin is difficult to certify. Twelve glass beads, showing green, blue, or amber tints, were also identified. Their compositions either correspond to soda lime glasses with natron or to potash–lead glasses similar to those of Central Europe. Moreover, a small polished red cross and a green stone appear to be constituted by nice doublets, composed of coloured glass covered by quartz. The filigrees contain Au and Cu, while carved plates covering the edges and the back of the cross are made of silver.

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Bettina, Giuseppina Fiore, Belinda Giambra, Giuseppe Cavallaro, Giuseppe Lazzara, Bartolomeo Megna, Ramil Fakhrullin, Farida Akhatova, and Rawil Fakhrullin. "Restoration of a XVII Century’s predella reliquary: From Physico-Chemical Characterization to the Conservation Process." Forests 12, no. 3 (March 15, 2021): 345. http://dx.doi.org/10.3390/f12030345.

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We report on the restoration of a XVII century’s predella reliquary, which is a part of a larger setup that includes a wall reliquary and a wooden crucified Christ, both belonging to the church of “Madre Maria SS. Assunta”, in Polizzi Generosa, Sicily, Italy. The historical/artistic and paleographic research was flanked successfully by the scientific objective characterization of the materials. The scientific approach was relevant in the definition of the steps for the restoration of the artefact. The optical microscopy was used for the identification of the wood species. Electron microscopy and elemental mapping by energy-dispersive X-ray (EDX) was successful in the identification of the layered structure for the gilded surface. The hyperspectral imaging method was successfully employed for an objective chemical mapping of the surface composition. We proved that the scientific approach is necessary for a critical and objective evaluation of the conservation state and it is a necessary step toward awareness of the historical, liturgical, spiritual and artistic value. In the second part of this work, we briefly describe the conservation protocol and the use of a weak nanocomposite glue. In particular, a sustainable approach was considered and therefore mixtures of a biopolymer from natural resources, such as funori from algae, and naturally occurring halloysite nanotubes were considered. Tensile tests provided the best composition for this green nanocomposite glue.

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EHRHARD, FRANZ-KARL. "The Register of the Reliquary of Lord Ran-Rig Ras-Pa." Wiener Zeitschrift für die Kunde Südasiens 1, no. 16 (2003): 146. http://dx.doi.org/10.1553/wzksxlvis146.

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김낙중. "The archaeological research on the Sarira reliquary of Mireuksa temple site." Journal of Paekche Culture ll, no. 57 (August 2017): 119–50. http://dx.doi.org/10.35300/bjclab..57.201708.119.

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Dillon, Sarah. "Trecento Devotion and Visuality: A Reliquary Panel by Tommaso da Modena." Comitatus: A Journal of Medieval and Renaissance Studies 43, no. 1 (2012): 115–31. http://dx.doi.org/10.1353/cjm.2012.0020.

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Eniosova, Natalya V., and Anna S. Leontyeva. "Reliquary Cross with Niello from the Upper Dzulat Hillfort in North Ossetia." Povolzhskaya Arkheologiya (The Volga River Region Archaeology) 4, no. 38 (December 20, 2021): 81–93. http://dx.doi.org/10.24852/pa2021.4.38.81.93.

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The present paper deals with the results of the study of manufacturing technique and metal chemical composition carried out for encolpia nielloed cross dated to the end of the 12th – early 13th from the North Caucasus. Analytical results were obtained with a scanning electron microscope equipped with micro ED-XRF in low-vacuum conditions. An eightpointed cross filled with niello was depicted on the survive valve of encolpia. The Christ letter monograms encrusted with niello were made on the cross rounded terminals. Reliquary cross could have been cast in piece-mould made by the impression of previously made encolpia valve. High-tin gunmetal (Sn –17,5%) was used for encolpia production. Recessions for niello were made by casting and left without further treatment. Niello composition comprises copper, tin, and lead sulfides. Sulfur content obtained for several samples exceed 30%. The copper-based niello was more available and cheaper than silver-based composition. It has been widely used for production of the Old Russian pectoral crosses cast of bronze or brass. Manufacturing technique, metal composition, and peculiar niello recipe put encolpia cross from the Upper Dzulat hillfort on a par with widespread Old Russian reliquary crosses dated to the 12th – 13th centuries. There were prestigious but serial items made of cheap copper alloys decorated with cheap niello made without silver. The Old Russian origin of encolpia from the North Caucasus proves by the long list of analogies from the territories of Ukraine, Crimea, Bryansk, Suzdal and Ryazan Lands.

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Chkhaidze, Victor. "Alanian Imitation of Byzantine Reliquary Crosses (Eleventh to the Early Thirteenth Centuries)." Античная древность и средние века, no. 46 (2018): 127–33. http://dx.doi.org/10.15826/adsv.2018.46.008.

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Journal articles on the topic 'Reliquary'

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