De la Paix de l’Enfant Jésus de Valence au Reliquaire de Montalto : propositions et précisions
This article deals with the production of Parisian goldsmiths in the second half of the 14th century, and is divided between the “propositions” and the “precisions.” The first part looks at the Paix in Valence, and advances the hypothesis that the Enfant can be identified with that of the lost group...
保存先:
| 第一著者: | |
|---|---|
| フォーマット: | Article ou chapitre numérique |
| 言語: | Français |
| 出版事項: |
2020
|
| オンライン･アクセス: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| 要約: | This article deals with the production of Parisian goldsmiths in the second half of the 14th century, and is divided between the “propositions” and the “precisions.” The first part looks at the Paix in Valence, and advances the hypothesis that the Enfant can be identified with that of the lost group Die Gnad (The Grace), known through a reproduction in the Bayerisches Nationalmuseum in Munich. Supported by the elements of the Goldenes Rössl (Golden Horse, also known as the Virgin and Child in a Trellis Garden), which was also destined to be melted down but apparently saved, the author suggests that this detail of the Paix could have been spared and thus exists today.
The second part comes back to the Reliquario di Montalto (Reliquary of Montalto), the object of precedent studies by the author, and presents a panorama of several major pieces executed between the 14th and 15th centuries, in order to demonstrate their similarities, but above all their differences with the masterpiece today at Montalto. By insisting on these latter, the article takes up the hypothesis of a mention in the Inventaire du Trésor of Charles V, going back to 1379-80, which sends the work back to a slightly prior date and confirms its destination in the Oratory of the chapel of the Louvre. |
|---|