Saint Blaise: Protector of Dubrovnik and Patron Saint of Throat Illnesses

19 Monday May 2014

Posted by Reliquarian in "Speaking" Reliquary

Tags

auxiliary saints, Charlemagne, Croatia, Dubrovnik, Festivity of Saint Blaise, Fourteen Holy Helpers, Germany, Rothenburg, Saint Blaise, speaking reliquary, St. Blasien, Venice

Saint Blaise Group, Dom Sankt Blasien (Cathedral of Saint Blaise), Sankt Blasien, Germany. This statute group, which depicts Saint Blaise's most famous miracle, dates to circa 1740. It originally stood in an Ursuline monastery in Vienna.

Saint Blaise Group, Dom St. Blasien (Cathedral of Saint Blaise), St. Blasien, Germany. This statute group, which depicts Saint Blaise performing his most famous miracle, dates to circa 1740. It originally stood in an Ursuline monastery in Vienna.

Saint Blaise and the City of Dubrovnik

For over a thousand years, the city of Dubrovnik, Croatia has celebrated the feast day of Saint Blaise by staging one of the grandest and most impressive annual festivals in the world: the Festivity of Saint Blaise (Festa svetoga Vlaha).[1] The festival commemorates Saint Blaise’s salvation of the city on the eve of a surprise attack in 971. According to tradition, Saint Blaise’s miraculous intervention thwarted a planned invasion of the city, and in gratitude, the people of Dubrovnik enthusiastically embraced the saint’s cult, proclaiming him their patron and protector. Over the centuries, the relationship between city and saint flourished, and the identities of both became virtually inextricable. The annual Festivity of Saint Blaise, which has been celebrated in some form since at least 1190, only reinforced this association.[2] Meanwhile, succeeding generations have adapted the festival to their own needs, which has kept it vibrant and relevant in changing times.[3] Today, Saint Blaise’s likeness can be found virtually everywhere in Dubrovnik, and his spirit continues to imbue the city with a touch of mystery and a sense of the sublime.

Dubrovnik, Croatia. View of the rooftops with the Church of Saint Blaise in the foreground.

Acknowledging its great historical and cultural significance not only to the people of Dubrovnik, but also to the people of the world, UNESCO formally recognized the Festivity of Saint Blaise as an example of the Intangible Cultural Heritage of Humanity in 2009.[4] Who, though, was Saint Blaise? And how did he come to save Dubrovnik from disaster?

The Origin of the Festivity of Saint Blaise

The night of February 2, 971, began quietly enough in city of Dubrovnik. It was Candelmas, the feast of the Presentation of Jesus at the Temple. A fleet of Venetian ships lay at anchor beyond the city walls, taking on provisions before continuing east. And the city’s pastor, a man named Stojko, was out for a walk.

Dubrovnik, Croatia

As Stojko approached the church of Saint Stephen that night, he noticed something odd: the doors to the church had been left wide open. Stojko entered the darkened church and discovered an old, gray-haired man who introduced himself as Saint Blaise, the 4th-century bishop and martyr of Sebaste.[5] Saint Blaise gravely explained the reason for his visit. “I come to warn you of great danger for the city,” he said. The Venetians anchored outside the city walls had arrived under pretext, and they intended to take the unsuspecting city, a flourishing commercial power and potential rival to Venice, by surprise.[6] Alarmed by Saint Blaise’s message, Stojko rushed to the city council and warned them of the impending attack. The gates to the city were quickly secured, and the mighty walls of the town were manned for the city’s defense.[7] Seeing these preparations, the Venetians abandoned their plans and departed, leaving Dubrovnik – then known as Ragusa – in peace.[8] Significantly, the next day, February 3rd, was the feast day of Saint Blaise.

The Festivity of Saint Blaise in Modern Times

Today, the Festivity of Saint Blaise is celebrated over the course of several days, although preparations for the festival begin many weeks in advance.[9] The Festivity officially opens with much fanfare on Candlemas, February 2nd, when the banner of Saint Blaise is raised atop Orlando’s Column in front of the Church of Saint Blaise. (Orlando’s Column, also known as Roland’s Column, commemorates the knight and hero of the famous medieval poem The Song of Roland (La Chanson de Roland), who died in the service of the emperor Charlemagne at the Battle of Roncevaux in 778.) The raising of the banner – a white standard embroidered with an image of Saint Blaise as a gray-haired bishop – is accompanied by the ringing of church bells, the discharging of historic firearms, and the release of white doves.[10] Joyous shouts of “Long live Saint Blaise!” follow from the cheering crowd.[11] In the evening, Vespers to honor Saint Blaise are sung in the cathedral.

Church of Saint Blaise, Dubrovnik, Croatia

The festival resumes early the next morning, the official feast day of Saint Blaise, with the ringing of church bells, the clamor of brass bands, and more volleys from thecity’s historic musketeers, the trombunjeri.[12] About mid-morning, a public mass is held outside Dubrovnik Cathedral (Cathedral of the Assumption). At its conclusion, a grand procession of celebrants – including trombunjeri, banner-bearers, priests, nuns, musicians, First Communicants, pilgrims, residents in national costumes, and specially appointed festanjuls (celebrators) – wends its way from the cathedral down the Stradun, the city’s main thoroughfare, and through the heart of the Old City.[13] The procession is one of the most colorful and most striking elements of the festival. In the words of one book on Saint Blaise, “the Stadun becomes a magnificent cathedral under the open skies” during the procession.[14]

Stradun, Dubrovnik, Croatia

One of the highlights of the parade includes the procession and display of Dubrovnik’s most prized relics, including the head, right hand, foot, and throat of Saint Blaise.[15] Housed in glittering reliquaries of gold and silver, the relics have been described as the “greatest cultural and artistic treasure” of Dubrovnik Cathedral[16]. The Reliquary of the Head of Saint Blaise is shaped like a Byzantine crown and likely dates to the 11th century.[17] The Reliquary of the Right Hand of Saint Blaise is slightly more modern. Crafted in the 12th century by Dubrovnik goldsmiths, the reliquary is shaped like a hand and features a large blue stone surrounded by filigree, pearls, and precious stones embedded on the back of the hand. The Reliquary of the Foot of Saint Blaise, like the hand reliquary, is a “speaking reliquary.” Crafted by Byzantine goldsmiths in the 11th century, the reliquary is shaped like a leg and foot and is covered in intricate gold filigree.[18] The Reliquary of the Throat of Saint Blaise contains the saint’s larynx, which is visible through a crystal window. Shaped like a monstrance, the reliquary is made of embossed silver decorated with enamel and dates to the 15th century.[19] Lastly, the Diapers or Swaddling Clothes of Jesus, housed in an ornate silver chest, are given a place of honor in the parade.[20]

Who Was Saint Blaise?

According to tradition, Saint Blaise was a 4th-century bishop of Sebaste in Armenia who was martyred in approximately 316.[21] He was born to a wealthy Greek or Armenian family in about 280, and he studied medicine, which he practiced with great skill and gentleness.[22] After treating his patients, he often added a sign of the cross.[23]

During a persecution of Christians in the region, Saint Blaise withdrew to a cave on Mount Argeus.[24] The cave was frequented by wild beasts, which Saint Blaise healed when they were sick or wounded. Hunters sent to the mountain to obtain wild animals for the amphitheater eventually discovered Saint Blaise, surrounded by the animals, and “though greatly amazed, they seized him and took him to Agricola,” the Roman governor of Cappadocia and Lesser Armenia.[25] En route, Saint Blaise performed a number of miracles in the presence of the hunters.

Fountain Statute of Saint Blaise, Domplatz (Cathedral Square), Dom St. Blasien, St. Blasien, Germany. The statue was carved by Josef Schupp in 1714. The fountain was designed by Walter Schelenz in 1966.

First, the group encountered a poor woman whose pig had been seized by a wolf. Saint Blaise commanded the wolf to return the pig, and the wolf immediately complied, returning the unfortunate animal unhurt. For this act, Saint Blaise gained a reputation as a protector of pigs and of animals more generally.[26]

Second, Saint Blaise healed a sick boy who was choking on a fishbone. The boy was at the point of death when his mother brought him to Saint Blaise. Saint Blaise placed his hands on the boy’s throat, prayed to God, and healed him. On account of this miracle, Saint Blaise has since been invoked as a protector against throat illnesses, including sore throats, and other associated maladies, such as tonsillitis (also known in Spain as the curse of Saint Blaise) and respiratory problems.[27]

The Martyrdom of Saint Blaise

When Saint Blaise was finally presented before Agricola, Saint Blaise refused to deny his faith. Consequently, he was imprisoned without food and was scourged. During his imprisonment, the woman whose pig Saint Blaise had saved brought him food and gave him candles to lighten his gloomy cell. Candles would later become a common attribute of Saint Blaise.[28] Crossed in an X either against the throat or over the head of an applicant, two candles are used to deliver the traditional Blessing of the Throat and are said to recall the tapers brought to the saint by the grateful woman.[29] The prayer that accompanies the Blessing of the Throat is Per intercessionem Sancti Blasii liberet te Deus a malo gutturis et a quovis alio malo (“Through the intercession of Saint Blaise, may God deliver you from illness of the throat and every other illness”).[30]

Relic of Saint Blaise, Dom Sankt Blasien, Sankt Blasien, Germany

Relic of Saint Blaise, Dom St. Blasien, St. Blasien, Germany

Eventually, Agricola had Blaise tortured and scourged with iron carding combs, which scraped and tore his flesh. Because carding combs are also used to card wool, Saint Blaise’s association with these instruments of torture oddly led to his adoption as the patron saint of wool combers. Additionally, because the iron combs viciously shredded his skin, Saint Blaise also became a protector against skin ailments, such as blisters, pimples, and leprosy, which was much feared during the Middle Ages.[31]

Saint Blaise depicted above a city gate, Dubrovnik, Croatia.

After these tortures, Saint Blaise was beheaded and was buried near the walls of Sebaste.[32] He is commonly portrayed as a bishop with a gray or white beard, and he is often shown holding a crosier, an iron comb, or candles. In Dubrovnik, he frequently holds a miniature version of the city in his hands.

Fourteen Holy Helpers

Saint Blaise is also a member of the Fourteen Holy Helpers or Vierzehn Nothelfer (“fourteen helpers in need”), which has been described as “a potent group of saints invoked collectively in times of near death or dire calamity.”[33] Veneration of the Fourteen Holy Helpers originated in Germany in approximately the 13th century, though the cult did not gain a wide following until the 15th century, when a shepherd declared seeing the Christ Child accompanied by fourteen older children near the Benedictine Abbey at Banz.[34] According to the shepherd, the Christ Child described his companions as the Nothelfer and stated that they wished to work miracles from the site.[35] A small chapel was built on the spot, though it was later replaced by a much grander pilgrimage church, the Wallfahrkirche Vierzehnheilgen, designed by Balthasar Neuman.

Cathedral of Saint Blaise in the Black Forest (Sankt Blasien), Germany

Dom St. Blasien (Cathedral of Saint Blaise), St. Blasien, Germany

Meanwhile, Saint Blaise (Sankt Blasien) continues to be revered throughout Germany, both individually and as an auxiliary saint of the Fourteen Holy Helpers. Many of the traditions associated with the saint’s feast day, however, have begun to fade or have disappeared entirely in Germany. For example, notched breadsticks (Blasiusbrot) and trachea-shaped loaves of bread (Bubenschenkel) used to be common offerings during the saint’s feast day but have become increasingly difficult to find.[36] Meanwhile, in Rothenburg ob der Tauber, Blasiustag used to involve the blessing of horses.[37] Blessed horses were given bronze combs of Saint Blaise, which were attached to their ears.[38] In more modern times, a few farmers even had their tractors blessed before the custom died out completely.[39] Germany still has a number of churches dedicated to Saint Blaise, including the imposing Dom St. Blasien, or Cathedral of Saint Blaise, located in the Black Forest town of St. Blasien. (Dom St. Blasien is pictured above.)

Živio sveti Vlaho! Long live Saint Blaise!

In his last poem, The Bells of San Blas, Henry Wadsworth Longfellow writes of a past when religion and faith still held power and when church bells served as the “voice of the church.”[40] The Bells of San Blas, Mexico, “[h]ave a strange, wild melody, / and are something more than a name,” he writes.[41] They have “tones that touch and search / The hearts of young and old,” yet they are “a voice of the Past, / Of an age that is fading fast.”[42] The chapel that “once looked down / On the little seaport town” has “crumbled into the dust” and the oaken beams that support the bells have become “green with mould and rust.”[43] “Is, then, the old faith dead?” he asks.[44] And the saints: “Ah, have they grown / Forgetful of their own? Are they asleep, or dead . . . ?”[45]

In Dubrovnik, at least, tradition and faith endure. The Festivity of Saint Blaise is proof that Saint Blaise has not been forgotten and remains integral to the life and culture of the city. Živio sveti Vlaho!

Interior Dome of the Cathedral of St. Blasien in the Black Forest, St. Blasien, Germany. The ceiling frescoes are by Walter Georgi.

Interior Dome of the Dom St. Blasien, St. Blasien, Germany. The ceiling frescoes are by Walter Georgi.

[1] See, e.g., Nomination for Inscription on the Representative List 2009: The Festivity of Saint Blaise, the Patron of Dubrovnik, Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage, 2 Oct. 2009; Thousand Year Old Celebration of the Dubrovnik Patron, St Blaise, Dubrovnik Tourist Board Website, Feb. 3, 2012, http://visitdubrovnik.hr/en-GB/Events/Event/Town/Dubrovnik/Thousand-Year-Old-Celebration-of-the-Dubrovnik-Patron-St-Blaise?ZXZcNjUz; Saint Blasius Church–Dubrovnik, DubrovnikCity.com, http://www.dubrovnikcity.com/dubrovnik/attractions/st_blaise_church.htm.

[2] See The Festivity of Saint Blaise, the Patron of Dubrovnik, UNESCO.org, http://www.unesco.org/culture/ich/index.php?RL=00232. Other sources claim the festival is much older.

[3] See id.

[4] Id.

[5] Saint Blaise: Veneration Without Boundaries 105 (Adriana Kremenjaš-Daničić ed., Biserka Simatović trans., 2012).

[6] Id.

[7] Saint Blasius Church–Dubrovnik, supra note 1. Fans of the television show “Game of Thrones” may recognize the stout defensive walls of Dubrovnik. Dubrovnik has doubled as King’s Landing and Qarth in various episodes of the popular show. See Natasha Geiling, On the Ultimate “Game of Thones” Tour, Apr. 10, 2014, Smithsonian.com, http://www.smithsonianmag.com/travel/iceland-croatia-go-ultimate-game-thrones-tour-180950450/?no-ist.

[8] The Venetians would eventually conquer Dubrovnik, also known as Ragusa, centuries later.

[9] A lectures series called “In Expectation of Saint Blaise” held in January marks the beginning of the preparations for the festival. Europski Dom Dubrovnik, Saint Blaise: Veneration Without Boundaries 107 (2012).

[10] Musketeers known as trombunjeri are responsible for firing the volleys that accompany the raising of Saint Blaise’s banner. See, e.g., id.; Nomination for Inscription on the Representative List 2009, supra note 1.

[11] Saint Blaise: Veneration Without Boundaries, supra note 9, at 107.

[12] See, e.g., Saint Blaise: Veneration Without Boundaries, supra note 9, at 107; Nomination for Inscription on the Representative List 2009, supra note 1.

[13] See Saint Blaise: Veneration Without Boundaries, supra note 9, at 108.

[14] Id.

[15] See, e.g., Nomination for Inscription on the Representative List 2009, supra note 1 (“Priests in the procession carry many saintly powers in reliquaries, an exceptional cultural and historical treasure, which mostly contains the relics of Blaise and the holy martyrs from the first centuries of Christianity.”).

[16] The Dubrovnik Cathedral (Don Stanko Lasić ed., n.d.) (pamphlet describing Dubrovnik Cathedral).

[17] Id.

[18] Id. Additional decoration was added to the reliquary in subsequent centuries. For example, an enamel medallion featuring the coat of arms of the Republic of Ragusa was apparently added to the reliquary in the 17th century. An inscription around the medallion reads “SANCTUS 1684 BLASIUS.”

[19] Id.

[20] See, e.g., Tom Kelly, A Party for the Patron Saint of Sore Throats, Telegraph (UK), Jan. 27, 2007, available at http://www.telegraph.co.uk/travel/destinations/europe/croatia/739995/A-party-for-the-patron-saint-of-sore-throats.html. The author mistakenly identifies the relic as “a fragment of Jesus’s loincloth.” In fact, the silver reliquary is said to contain the diapers or swaddling cloths of the baby Jesus.

[21] See, e.g., 1 Butler’s Lives of the Saints 239 (Herbert J. Thurston, S.J. & Donald Attwater eds., 2d ed. 1956); Saint Blaise: Veneration Without Boundaries, supra note 9, at 10–16.

[22] Saint Blaise: Veneration Without Boundaries, supra note 9, at 13.

[23] Id.

[24] Id.

[25] Butler’s Lives of the Saints, supra note 21, at 239.

[26] Saint Blaise: Veneration Without Boundaries, supra note 9, at 13; see also Butler’s Lives of the Saints, supra note 21, at 239.

[27] Saint Blaise: Veneration Without Boundaries, supra note 9, at 14, 17.

[28] Butler’s Lives of the Saints, supra note 21, at 239.

[29] Id.

[30] Id.

[31] Saint Blaise: Veneration Without Boundaries, supra note 9, at 17.

[32] Id. at 15.

[33] Id. at 19.

[34] Id.

[35] Id.

[36] Id. at 54.

[37] Id.

[38] Id.

[39] Id.

[40] Henry Wadworth Longfellow, Complete Poetical Works (1893).

[41] Id.

[42] Id.

[43] Id.

[44] Id.

[45] Id.

The Way of Saint James: Pilgrimage to the Tomb of a “Son of Thunder”

09 Saturday Mar 2013

Posted by Reliquarian in Altarpiece

≈ 4 Comments

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Altar of the Holy Blood, altarpiece, church, Friedrich Herlin, Germany, martyr, pilgrimage, relic, Rothenburg, Saint James, Santiago de Compostela, tomb

Twelve Apostles Altar, Church of Saint James (St. Jakobskirche), Rothenburg ob der Tauber, Germany. Photo by Reliquarian.

The Way of Saint James

According to tradition, Saint James, one of the twelve Apostles, was martyred by beheading in the year 44. After the rediscovery of his relics in 814, pilgrimages to his tomb in Compostela, northern Spain, became extremely popular. Compostela even rivaled Jerusalem and Rome as a destination for pilgrim travelers during the Middle Ages. Consequently, routes to Saint James’s shrine, including one through Rothenburg, Germany, crisscrossed Europe, marking the path to the saint’s tomb. Today, the Way of Saint James (Camino de Santiago) continues to direct travelers to the remains of the fiery-tempered Apostle whom Jesus once called a “Son of Thunder.”

Invitation to a Beheading

Saint James was beheaded in Jerusalem during the Christian persecutions of King Herod Agrippa I. According to Clement of Alexandria, Saint James’s accuser was so moved by the courage and conviction James showed at his trial that he subsequently repented and declared himself a Christian. As a consequence, the man was sentenced to be beheaded alongside Saint James. As both men were led to execution, the accuser turned to James and begged for his forgiveness. According to Butler’s Lives of the Saints, “St James, after pausing a little, turned to him and embraced him, saying, ‘Peace be with you’. He then kissed him, and they were both beheaded together.”[1]

A Tomb by the Sounding Sea

Isenheim Altarpiece, Matthias Grunewald (sculptures by Nicolas of Hagenau) (detail), 1510-1515, Colmar, France. On the carved predella of the Isenheim Altarpiece, Saint James can be seen holding a large seashell in his right hand. His pilgrim’s cap is also adorned with a shell. Photo by Reliquarian.

Early chronicles suggested that after his death, Saint James’s remains were transported from Jerusalem to the northern coast of Spain where they were buried contra mare Britannicum, “close to the British sea.”[2] The location of the tomb, however, remained a mystery until, centuries later, in about 814, the tomb was rediscovered under miraculous circumstances.[3] According to legend, a local monk named Pelayo was guided by a star to a secluded spot in the woods near the Galician coast.[4] There he discovered a marble sarcophagus that contained human bones, apparently very old.[5] Bishop Teodomir, the local bishop, proclaimed the remains to be those of Saint James, long believed to have been buried in the region. After learning of the discovery, King Alfonso II journeyed to the site to venerate the relics and ordered that a church be built on the spot. The modest church established by King Alfonso II later grew into the Cathedral of Santiago de Compostela, the ultimate destination of pilgrims traveling the Way of Saint James.

King Alfonso II’s journey to the tomb of Saint James is considered the first pilgrimage to Santiago de Compostela, and it set the example for subsequent generations of pilgrim travelers. Departing from Oviedo, the location of his royal court, King Alfonso II likely took the Roman road known as the Camino Primitivo to Compostela. As the popularity of Saint James’s shrine grew, other routes gradually came into regular use, such as the Camino del Norte, another Roman road, which skirted the coast. By the 11^th century, the pilgrimage to Santiago de Compostela had become an international phenomenon, drawing visitors from all over Christendom and establishing Santiago de Compostela as a rival to Jerusalem and Rome for pilgrims.[6] In a paper discussing the history of the pilgrimage, Laurie Dennett opines that interest in Saint James’s relics had begun to shift the “conceptual geography of Christian Europe, giving it a new pole in the west, a new focus for popular devotion, that balanced the Byzantine east with its spiritual centre at Jerusalem.”[7] She further notes that “Santiago de Compostela even seemed to rival the pretensions of Rome,” at least for a time.[8]

St. Jakobskirche and the Twelve Apostles Altar

The St. Jakobskirche (Saint James’s Church) in Rothenburg ob der Tauber was once an important stop on the pilgrimage road to Santiago de Compostela. Known more widely as the home of the Altar of the Holy Blood, the church also houses the impressive Twelve Apostles Altar (Zwölfbotenaltar), a carved altarpiece with a painted predella and painted wings, which incorporates several images of Saint James.

View of St. Jakobskirche from the city walls. Photo by Reliquarian.

Completed in 1466, the altarpiece is the work of Hans Waidenlich and Friedrich Herlin with carvings in the Multscher tradition by an unknown sculptor.[9] Herlin, who may have been from Rothenburg, moved to Nördlingen later in his career and is closely identified with the Twelve Apostles Altar, which he signed: “This work was made by Friedrich Herlin, painter, mcccclxvi. Saint James pray to God for him.”[10]

In Carved Splendor: Late Gothic Altarpieces in Southern Germany, Austria, and South Tirol, Rainer Kahsnitz identifies the Twelve Apostles Altar as “one of the best-preserved altarpieces from the Late Gothic period.”[11] Although little is known about the origins of the altarpiece, Kahsnitz speculates that it must have replaced an earlier work at St. Jakobskirche.[12]

Twelve Apostles Altar (detail). Photo by Reliquarian.

The corpus of the altarpiece depicts the Crucifixion, with Mary (to the left) and Saint John the Evangelist (to the right) below the cross, flanking the dying Christ. Next to Mary stands Saint James wearing a pilgrim’s hat decorated with a scallop shell, a symbol of pilgrimage. Two other shells dangle from his wrist, and he is shown with a pilgrim’s staff, another defining attribute of the patron saint of pilgrims.[13] The other carved figures below the cross are Saint Elizabeth (to the far left), who is carrying a loaf of bread and a pitcher; Saint Leonard (next to Saint John), the patron saint of prisoners of war; and Saint Anthony the hermit (to the far right), who is shown with a bell. According to Kahsnitz, the altar was kept permanently closed following Rothenburg’s adoption of the Reformation.[14] This helped preserve the sculptures and the paintings on the inner wings.[15]

Saint James and Saint Peter. Friedrich Herlin’s predella depicts Saint James with his traditional attributes in art: a pilgrim’s staff and a seashell. To the right of Saint James is Saint Peter with several of his symbols: a set of keys and a book. Photo by Reliquarian.

Saint James appears again on Herlin’s predella with a shell in one hand and a pilgrim’s staff in the other. To his left, Saint Peter carries two of his traditional attributes: a set of keys and a book, which he peers into with the aid of spectacles. All twelve Apostles are represented on the predella, arranged in pairs behind a Late Gothic balustrade.[16] In addition to other paintings, the back of the predella also features a depiction of the veil of Saint Veronica: the image of Christ’s face with a crown of thorns imprinted on a veil or shroud.[17]

Sons of Thunder

Saint James is often known as “the Greater” to distinguish him from Saint James, son of Alphaeus, known as “the Lesser.” He was the son of Zebedee and brother of Saint John the Evangelist, and he was the first Apostle martyred. Saint James and his brother John apparently earned the epithet Boanerges, or “Sons of Thunder,” on account of their “impetuous spirit and fiery temper.”[18] Nevertheless, as noted in Butler’s Lives of the Saints, James, John, and Peter, the Apostles “who from time to time acted impetuously, and had to be rebuked, were the very ones our Lord turned to on special occasions.”[19] James, John, and Peter were the only Apostles to witness the agony in the garden of Gethsemani and were the only ones present for the Transfiguration.

Modern Pilgrims

The Way of Saint James continues to be a popular with pilgrims even today. According to the Confraternity of Saint James, an organization founded “to bring together people interested in the medieval pilgrim routes through France and Spain to Santiago de Compostela,” the last several decades “have seen an extraordinary revival of interest in the pilgrimage to Santiago.”[20] Once considered “one of the greatest of all Christian shrines” in the Middle Ages,[21] the route from the border of France and Spain known as the Camino Francés was inscribed as a UNESCO World Heritage Site in 1993.[22]

Twelve Apostles Altar, Church of Saint James (St. Jakobskirche), Rothenburg ob der Tauber, Germany. Photo by Reliquarian.

Still, some scholars question whether Saint James ever preached in Spain and whether the remains interred at Santiago de Compostela really are those of Saint James. Butler’s Lives of the Saints states, “Outside of Spain almost all eminent scholars and critical students of history answer both questions in the negative.”[23] Several authors have argued that Saint James’s visit to Spain is “improbable” because Saint James was martyred in Jerusalem in the year 44 and because he was “unheard of in Spain before the end of the seventh century.”[24] Additionally, while it may be “quite possible that the relics recovered, after they had been lost, are identical with those which were venerated at Compostela in the middle ages, . . . the authenticity of medieval relics is always difficult to establish and in this case it is more than dubious.”[25]

Nevertheless, thousands of people continue to follow the Way of Saint James to Santiago de Compostela each year. While there are “as many reasons for this revival as there are pilgrims,” the Confraternity of Saint James observes that “many people make the pilgrimage at a turning point in their lives, and . . . many are helped to come to terms with personal crisis by a period of separation from all that is familiar, and the shared hardship of the road.”[26]

Pilgrim’s Hat, felt, silk braid, shell, bone, jet (c. 1571). This pilgrim’s hat is currently on display at the Germanisches Nationalmuseum, Nuremberg, Germany, along with a matching pilgrim’s cloak and staff. The matching set of pilgrim’s garb belonged to Stephan Praun III, a pilgrim to Santiago de Compostela. Photo by Reliquarian.

Saint James the Greater, pine with paint and gilding, South German (1475-1500), Metropolitan Museum of Art, New York. The influence of Veit Stoss, who worked in Nuremberg and Krakow, is evident in the carving of the statue’s robes and face. Photo by Reliquarian.

[1] 3 Butler’s Lives of the Saints 183 (Herbert J. Thurston, S.J. & Donald Attwater eds., 2d ed. 1956).

[2] Laurie Dennett, “2000 Years of the Camino de Santiago: Where Did It Come From? Where Is It Going?,” The Confraternity of Saint James, http://www.csj.org.uk/2000-years.htm (citing martyrologies by Florus of Lyons and Usuard of St. Germaine-des-Prés). Dennett observes that “by the late 8^th century, a literary tradition had developed which held that the burial place of St James lay in Spain, even if the site had not yet been identified.” She further notes, “Interestingly, it was not until after the purported discovery of the tomb in about 814 that a corresponding tradition evolved concerning the Apostle’s return to Palestine and death, and the transportation of his mortal remains back to Spain for burial.” Id. The mare Britannicum is the present-day English Channel.

[3] See id.

[4] Id.

[5] Id.

[6] Id.

[7] Id.

[8] Id.

[9] See Rainer Kahsnitz, Carved Splendor: Late Gothic Altarpieces in Southern Germany, Austria, and South Tirol 58 (2006). Kahsnitz explains that the sculptures “were executed by a carver from the circle around the Ulm sculptor Hans Multscher (active there from 1427 until his death in 1467). In their compact three-dimensionality they are based more strongly on Multscher’s earlier works from the 1450s, at which time the sculptor was probably Multscher’s pupil.” Id. at 61.

[10] Id. at 58. A clever Latin inscription on the frame of the altarpiece also dates the work to 1466. It begins, “Bis duo c quoque sexagintaque sex quoque mille . . . .” Id.

[11] Id.

[12] Id.

[13] See George Ferguson, Signs and Symbols in Christian Art 112 (1959). Ferguson observes that the pilgrim’s staff is “used alone and in combination with various other objects as an attribute of numerous saints who have been noteworthy for their travels and pilgrimages.” Id. Other saints commonly depicted with staffs include Saints Christopher, John the Baptist, Jerome, Philip the Apostle, Ursula, and Roch. Id.

[14] Kahsnitz, supra note 9, at 58.

[15] Id.

[16] Id. at 60.

[17] See, e.g., Rosa Giorgi, Saints in Art 119 (Stefano Zuffi ed. & Thomas Michael Hartmann trans., 2002).

[18] Butler’s Lives of the Saints, supra note 1, at 182.

[19] Id.

[20] The Confraternity of Saint James, The Confraternity of Saint James, http://www.csj.org.uk/csj.htm; The Present-Day Pilgrimage, The Confraternity of Saint James, http://www.csj.org.uk/present.htm.

[21] Butler’s Lives of the Saints, supra note 1, at 183.

[22] The Present-Day Pilgrimage, supra note 20.

[23] Butler’s Lives of the Saints, supra note 1, at 183.

[24] Id.

[25] Id.

[26] The Present-Day Pilgrimage, supra note 20.

The Altar of the Holy Blood

02 Saturday Mar 2013

Posted by Reliquarian in Altarpiece

≈ 2 Comments

Tags

Altar of the Holy Blood, altarpiece, blood relic, Germany, Judas, pilgrimage, reliquary, Rothenburg, Saint James, Santiago de Compostela, Tilman Riemenschneider

Altar of the Holy Blood, Tilman Riemenscheider, St. Jakobskirche, Rothenburg ob der Tauber, Germany, Limewood (1501-1505). Photo by Reliquarian.

The Altar of the Holy Blood

The Altar of the Holy Blood, located at the church of Saint James (St. Jakobskirche), Rothenburg ob der Tauber, Germany, is named for the rare relic it contains: a small sample of Christ’s blood. The relic, encased in rock crystal, is set in a cross held aloft by two carved angels, enshrined above the corpus (central panel).[1] The altarpiece itself is a masterpiece of woodcarving created by the Würzburg sculptor Tilman Riemenschneider between 1501 and 1505. In the medieval period, the church of Saint James, named for the patron saint of pilgrims, was an important stop on the pilgrimage route to Santiago de Compostela in Spain, and the Holy Blood (Heilig Blut) relic was an object of intense devotion. Today, the Altar of the Holy Blood, as well as the church’s other great altarpiece, the Twelve Apostles Altar, continue to draw visitors to the church of Saint James and the picturesque, medieval town of Rothenburg.

Tilman Riemenschneider

Street view of Rothenburg ob der Tauber, Germany. Photo by Reliquarian.

Tilman Riemenschneider (1460-1531), a sculptor and woodcarver who worked primarily in the prince-bishopric of Würzburg, is considered the “most famous of all German late-Gothic sculptors.”[2] Although little is known of his early life, it is believed that he learned to sculpt while traveling in the Rhineland and Swabia, possibly in the cities of Strasbourg and Ulm. In addition to the Altar of the Holy Blood, other celebrated works by Riemenschneider include the Assumption of the Virgin Altarpiece in the Herrgottskirche, Creglingen, Germany, and the Tomb of Emperor Henry II and Empress Cunigunde in Bamberg Cathedral, Bamberg, Germany.

Altar of the Holy Blood (detail), Tilman Riemenscheider, St. Jakobskirche, Rothenburg ob der Tauber, Germany, Limewood (1501-1505). This central panel of the altar depicts the Last Supper. The central figure here, however, is Judas rather than Jesus. Photo by Reliquarian.

Design of the Altar of the Holy Blood

The central panel of the Altar of the Holy Blood depicts the Last Supper, although the figure of Christ, who is normally portrayed at the center of such scenes, has been supplanted by Judas, the Apostle who would later betray Jesus in the Garden of Gethsemane. In The Limewood Sculptors of Renaissance Germany, 1475-1525, Michael Baxandall writes, “Judas is Riemenschneider’s protagonist, displacing Christ from the centre of the Corpus. . . . The emphasis on poor Judas invites meditation, though its significances are unlikely to be arcane: Judas might, for instance, be taken to stand for the lack of discrimination with which God offers grace.”[3] Citing a sermon from the 1490s by Johannes Pauli, a Franciscan writer, Baxandall observes, “Judas . . . can be a signal of hope to pilgrims poor in spirit.”[4]

The two side panels, or wings, flanking the corpus are carved in low relief and depict two other scenes from Jesus’ life: the Entry into Jerusalem and the Agony in the Garden. Near the central pinnacle of the altarpiece is a carving of the Christ of Mercy, which is approximately 3 feet tall.

Relic of the Holy Blood. The Altar of the Holy Blood (Heilig Blutaltar) is named for the relic it was designed to contain: a small sample of Christ’s blood. The relic is set in the center of the cross above, encased in rock crystal. Photo by Reliquarian.

The relic of the Holy Blood, as mentioned above, is displayed just above the corpus and below the figure of the Christ of Mercy. A contract between Riemenschneider and members of the Rothenburg city council from April 1501 describes how the relic was to be displayed. It states, “[A]bove in the shrine in the Auszug he shall carve in the middle two Angels kneeling opposite each other and holding the Holy Cross, and also above the Cross two gliding Angels . . . ; and at the sides next to the Cross, on the right the image of the Virgin Mary and on the left the Angel Gabriel of the type announcing the angelic greeting to her virgin heart . . . .”[5]

Altar of the Holy Blood, Tilman Riemenscheider, St. Jakobskirche, Rothenburg ob der Tauber, Germany, Limewood (1501-1505). Photo by Reliquarian.

A Monochrome Altarpiece

Unusual for this time period, the Altar of the Holy Blood is not gilded or painted. Rather, the wood has been left in its natural state, unfinished. Some sources have argued that Riemenschneider eschewed paint because he preferred the natural beauty of wood.[6] Alternatively, the altarpiece may have remained unpainted because it would have cost too much to paint. Julien Chapuis of the Department of Medieval Art and The Cloisters at the Metropolitan Museum of Art notes, “Retables were costly undertakings that often resulted from the collaboration of several individuals: a sculptor, a joiner, an ironmonger, and, in the case of a polychrome altarpiece, a painter.”[7] The Altar of the Holy Blood, meanwhile, was relatively inexpensive. Baxandall observes, “The sculpture is cheap, monochrome, narrative work . . . . It was very inexpensive work indeed, Riemenschneider being paid sixty Florins for the sculpture, Harschner fifty Florins for the shrinework, very little for a quite large retable in an important station . . . .”

Baxandall suggests that the absence of color “makes for a degree of alienation” and discourages “personal participation” and the “empathetic relation” one may feel toward other works.[8] He states, “The monochrome medium is like black-and-white engraving in that it declares itself as a convention, not fully identifiable with the actual person or event.”[9] In Baxandall’s opinion, the “altarpiece complements rather than abets the kind of pious attention aroused by a relic of the Holy Blood, for Riemenschneider is carving, to use Zwingli’s term, in Geschichteswyß, in a narrative way.”[10]

An Immersive Experience

Nevertheless, the opportunity to see an altarpiece in situ, especially one as significant as the Altar of the Holy Blood with its prized relic, is rare and should not be undervalued.[11] As Chapuis observes, “very few carved altarpieces have survived intact” despite their ubiquity in the late 15^th and early 16^th century in Central Europe.[12] “The destruction of religious images during the Protestant Reformation, along with neglect, changes in taste, fire, and the secularization of ecclesiastic institutions account for this loss,” he explains. “Many figures and reliefs in museum collections are merely fragments of elaborate, monstrance-like structures, which served as a focus for liturgy, veneration, and pilgrimage.”[13]

[1] See generally Julien Chapuis, Late Medieval German Sculpture: Images for the Cult and for Private Devotion, The Metropolitan Museum of Art, http://www.metmuseum.org/toah/hd/grmn_4/hd_grmn_4.htm (describing the four main elements of an altarpiece).

[2] Tilman Riemenschneider, Encyclopedia of World Biography (2004), available at http://www.encyclopedia.com/topic/Tilman_Riemenschneider.aspx.

[3] Michael Baxandall, The Limewood Sculptors of Renaissance Germany, 1475-1525, at 179 (1980).

[4] Id. at 180.

[5] Baxandall, supra note 3, at 174.

[6] See, e.g., “The Reredos IV: The German World – Tilman Riemenschneider,” The Society of St. Hugh of Cluny (Nov. 16, 2009), http://sthughofcluny.org/2009/11/the-reredos-iv-the-german-world-tilman-riemenschneider.html (“He was one of the German carvers of altarpieces to leave the carvings in the natural wood and abandon the gilt and painted surfaces of tradition.”); Encyclopedia of World Biography, supra note 2 (“Sensing the beauty of the wood itself, Riemenschneider frequently did not polychrome his altarpieces, a novelty at this time.”).

[7] Chapuis, supra note 1.

[8] Baxandall, supra note 3, at 186.

[9] Id.

[10] Id.

[11] See, e.g., Karen Rosenberg, At the Altar of Renaissance Tuscany, NY Times, February 14, 2013, at C32, available at http://www.nytimes.com/2013/02/15/arts/design/piero-della-francesca-in-america-at-the-frick.html?_r=0 (explaining how difficult it can be to “recreate the immersive experience” of a church setting).

[12] Chapuis, supra note 1.

[13] Id.