Preview

Secreta Artis

Advanced search
Open Access Open Access  Restricted Access Subscription or Fee Access

Pilgrimage Relics of the Vatican in the Collection of the Historical Museum

https://doi.org/10.51236/2618-7140-2025-8-3-4-109-124

Abstract

This article examines the iconographic sources of several devotional images produced for distribution in the second half of the nineteenth and the early twentieth centuries and depicting the Savior Not Made by Hands (Spas Nerukotvornyi). Their prototypes were among the most important sacred images of Christendom preserved in Rome. Over the course of their long histories, these objects have repeatedly attracted scholarly attention and have become standard subjects of encyclopedic entries and general surveys of art history. The veneration of these Roman prototypes, in a scene associated with the solemn procession held in Rome on 15 August, is represented in the mosaic of ca. 1143 decorating the apse conch of the basilica of Santa Maria in Trastevere. The often contradictory traditions surrounding these sacred images have only heightened interest in them. For centuries, Rome’s relic icons were reproduced in numerous painted and engraved copies. Two such copies, together with a photograph of an icon whose present whereabouts are unknown and which was likewise painted after an Italian model, are preserved in the collection of the State Historical Museum. These objects are published here for the first time. Their accompanying inscriptions, translated by the author, shed further light on the cultural and historical contexts of both the works themselves and the sacred images to which they refer.

About the Author

T. Yu. Oblitsova
State Historical Museum; Russian Academy of Arts
Russian Federation

Oblitsova Tatiana Yurievna, Ph. D. in Art History Research Fellow, Department of Old Russian Painting; Senior Research Fellow, Department of Foreign Art, Research Institute of Theory and History of Fine Arts

1 Red Square, Moscow, 109012; 21 Prechistenka Street, bldg. 5, Moscow



References

1. Belting, H. (2002). Obraz i kul’t: Istoriya obraza do epokhi iskusstva [Image and cult: A history of the image before the era of art]. Progress-Traditsiya.

2. Grabar, A. N. (1930). Nerukotvornyi Spas Lanskogo sobora [The image of Christ Not Made by Hands of the Lansk Cathedral]. Seminarium Kondakovianum.

3. Lidov, A. M. (2005). Svyatoi Mandilion: Istoriya relikvii [The Holy Mandylion: History of the relic]. In L. M. Evseeva, A. M. Lidov, & N. N. Chugreeva (Eds.), Spas Nerukotvornyi v russkoi ikone [The Image of Christ Not Made by Hands in the Russian icon] (pp. 12–39). Moskovskie uchebniki i Kartografiya.

4. Lidova, M. A. (2009). Oratorii Ioanna VII v bazilike Svyatogo Petra v Rime [The Oratory of John VII in St. Peter’s Basilica in Rome]. Vestnik Moskovskogo universiteta. Series 8: Istoriya, 5, 61–80.

5. Lidov, A. M. (Ed.). (2006). Relikvii v Vizantii i Drevnei Rusi: Pis’mennye istochniki [Relics in Byzantium and Old Rus’: Written sources]. Progress-Traditsiya.

6. Ryndina, A. V. (2001). Anchiiskii Spas [The Ancha Icon of the Savior]. In Pravoslavnaya entsiklopediya [Orthodox encyclopedia] (Vol. 3, pp. 16–17). Tserkovno-nauchnyi tsentr “Pravoslavnaya entsiklopdiya.”

7. Lopukhin, A. P. (Ed.). (2009). Tolkovaya Bibliya, ili kommentarii na vse knigi Sv. Pisaniya Vetkhogo i Novogo Zaveta [The explanatory Bible, or commentaries on all books of the Holy Scriptures of the Old and New Testaments] (Vol. 2: Historical books). Dar.

8. Uvarov, A. S. (1910). Ubrus Sv. Veroniki [The veil of St. Veronica]. In P. S. Uvarova (Ed.), Sbornik melkikh trudov: Izdan ko dnyu 25-letiya so dnya [Collection of minor works: Published on the 25th anniversary of his death] (Vol. 1, pp. 259–260). Tipografiya G. Lissnera i D. Sobko.

9. Andaloro, M. (2002). Le icone a Roma in eta preiconoclasta. In Roma fra Oriente e Occidente (Vol. 2, pp. 719–753). Fondazione CISAM.

10. Angelelli, E. (2000). La diffusione dell’immagine lateranense: Le repliche del Salvatore nel Lazio. In G. Morello & G. Wolf (Eds.), Il volto di Cristo (pp. 46–49). Electa.

11. Auzépy, M.-F. (1990). La destruction de l’icône du Christ de la Chalké par Léon III: Propagande ou réalité? Byzantion, 60, 445–492.

12. Baldovin, J. F. (1987). The urban character of Christian worship: The origins, development and meaning of stational liturgy. Pontificium Institutum Studiorum Orientalium.

13. Ballardini, A. (2016). Stat Roma pristina nomine: Nota sulla terminologia storico-artistica nel Liber Pontificalis. In M. D’Onofrio (Ed.), La committenza artistica dei papi a Roma nel Medioevo (pp. 381–439). Viella.

14. Belting, H. (1990). Bild und Kult: Eine Geschichte des Bildes vor dem Zeitalter der Kunst. C. H. Beck.

15. Bertelli, C. (1961). La Madonna del Pantheon. Bollettino d’Arte, 46, 24–32.

16. Bertelli, C. (1961). La Madonna di Santa Maria in Trastevere: Storia, iconografia, stile di un dipinto romano dell’ottavo secolo. Herder.

17. Mannowsky, W. (Ed.). (1936). Der Kirchenschatz von St. Marien in Danzig. Danziger Verlags-Gesellschaft.

18. Frings, I. (1996). “Sancta Maria, quid est?”… Hymnus, Herrscherlob und Ikonenkult im Rom der Jahrtausendwende. Analecta Cisterciensia, 52, 224–250.

19. Morello, G., & Wolf, G. (Eds.). (2000). Il volto di Cristo. Electa.

20. Lafontaine-Dosogne, J. (1991). Acheropita. In Enciclopedia dell’Arte Medievale (Vol. 1, pp. 88–92). Istituto della Enciclopedia Italiana Treccani.

21. Leone, G. (2012). Icone di Roma e del Lazio: Repertori dell’Arte del Lazio (Vols. 1–2). “L’Erma” di Bretschneider.

22. Mango, C. (1959). The Brazen House: A study of the vestibule of the imperial palace of Constantinople. I kommission hos Munksgaard.

23. Moretti, S. (1999). Appunti di lettura dal Liber Pontificalis: Valenza dei termini imago, effigies, figura, icona ed entita dei doni dall’impero bizantino. Arte Medievale, 1–2, 61–74.

24. Cacciotti, A. (Ed.). (2023). Nel nome di San Francesco: Nell’anno centenario del Natale di Greccio e della Regola di Francesco d’Assisi. Edizioni Biblioteca Francescana.

25. Parlato, E. (2002). Le icone in processione. In M. Andaloro & S. Romano (Eds.), Arte e iconografia a Roma dal tardoantico alla fine del Medioevo (pp. 55–72). Jaca Book.

26. Rist, R. (2017). Innocent III and the Roman Veronica: Papal PR or Eucharistic icon? In A. Murphy, H. L. Kessler, M. Petoletti, E. Duffy, & G. Milanese (Eds.), The European fortune of the Roman Veronica in the Middle Ages (pp. 114–125). Brepols.

27. Romano, S. (2002). L’icône acheiropoiete du Latran: Fonction d’une image absente. In Art, Cérémonial et Liturgie au Moyen Âge: Actes du colloque de 3e Cycle Romand de Lettres Lausanne-Fribourg (pp. 301–319). Viella.

28. Sansterre, J.-M. (2020). Les images sacrées en Occident au Moyen Âge: Histoire, attitudes, croyances. Recherches sur le témoignage des textes. Ediciones Akal.

29. Leone, G. (Ed.). (2012). Tavole miracolose: Le icone medievali di Roma e del Lazio del Fondo Edifici del Culto, Catalogo della mostra. “L’Erma” di Bretschneider.

30. Wilpert, J., & Schumacher, W. N. (1976). Die römischen Mosaiken und Malereien der kirchlichen Bauten vom IV. bis XIII. Jahrhundert. Herder.

31. Wolf G. “Or fu sì fatta la sembianza vostra?” Sguardi alla “vera icona” e alle sue copie artistiche. In Morello, G., & Wolf, G. (Eds.). (2000). Il volto di Cristo (pp. 103–114). Electa.

32. Yannopoulos, P. A. (1990). Il secondo concilio di Nicea (786–787) o Settimo concilio ecumenico. In Storia dei concili ecumenici (pp. 145–151). Queriniana.


Review

For citations:


Oblitsova T.Yu. Pilgrimage Relics of the Vatican in the Collection of the Historical Museum. Secreta Artis. 2025;8(3-4):109-124. (In Russ.) https://doi.org/10.51236/2618-7140-2025-8-3-4-109-124

Views: 12

JATS XML

ISSN 2618-7140 (Print)