The Temple in the Iconography of Early Christian Art Carla Gomez ...

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Fig. 6: Northumbria, Franks Casket, whalebone chest. differences in the background featuring the Temple. On the chair panel Leclercq identifies in the background the Temple colonnade. 48 Behind the figure on the left, identified as Joseph, there are two spiral columns with capitals, perhaps Corinthian, that support a diagonally-shaped cornice and behind all of this - a brick wall. On the Etchimiadzin book cover below a scene of the Annunciation, is a representation of the Ordeal of the Bitter Water. With great difficulty one can make out on the left of the scene a spiral column and the beginning of an arch. On another sixth century ivory, preserved in Moscow the arch symbolizing the Temple is complete and resting on two spiral pillars. 49 In all these sixth century works, the configuration of the scene and the betokening of the Temple by arch and pillars is basically the same, with discrepancies of detail only. However, the same architectural elements occur in other scenes that are quite unconnected to the Temple or even to Jerusalem. The ivory Werden Casket or Pyxis was made in Italy between 425-450 and illustrates various New Testament scenes from the Annunciation to the Visit of the Magi. Some scholars identify the scene after the Annunciation as the Ordeal of the Bitter Water, partly because that is the scene which, in the accepted chronological sequence, follows the Annunciation. 50 Contrasting opinion is that the scene shows the Presentation of Mary in the Temple, as found on the Milan ivory book cover. 51 Whatever the case, the building in the scene must be the Temple. It is represented as a massive structure, standing on a high podium (half the height of the Temple itself) constructed of blocks of dressed stone 72
each painstakingly reproduced by the artist. The tall, narrow building is depicted at an angle showing only the façade and one side wall. A flight of steps leads up to the façade, in the center of which is an arched opening. In the side wall are two tall windows below a sloping, tiled roof. The pediment is quite plain and, as in the other Temple representations, very small, smaller indeed than the figures alongside it, as though it were a secondary element whose function is merely to help identify the scene. An ivory in the British Museum, ascribed to fourth - fifth century Italy, 52 features two scenes - the Baptism of Jesus and Jesus Among the Doctors in the Temple, after Luke 2:46-47. One element in the background of the latter is a precisely reproduced brick wall with two arched and curtained openings, the curtains drawn back and tied to either side. The building is of the same height as the left-hand figure, perhaps to indicate the distance between it and the figures and that the event is happening outside the building. On the right is a stepped structure, similar to one in the Milan ivory in a corresponding scene, except that the latter has no architecture in the background. It is unclear whether the wall with the two apertures is meant to indicate the exterior or interior of the Temple; nor is the Gospel story of assistance since it merely relates that they found Jesus "in the Temple" - an expression used equally to indicate the Temple proper and the Temple enclosure. One of the stone columns of the early seventh century San Salvador church in Toledo (fig. 3) is sculpted with four of Jesus' miracles, including the Healing of the Man Blind from Birth (according to John 9:1-7;8:59), which takes place after Jesus has just left the Temple. This extremely condensed representation shows the blind man, on a smaller scale than Jesus himself, below an arched opening in the building. A mere three courses of blocks are crudely reproduced above the arch and a vertical line of blocks to one side of it, a manner of depiction, however, not exclusive to the Temple. The Palermo or Andrews Diptych presents difficulties both of dating and of scene identification. Most scholars have attributed it to the fifth century; 53 others claim that, due to its style, it cannot be earlier than the sixth century or, even more precisely, the Heraclian period (610-641); 54 it has also been dated to before 719 55 and even identified as an ivory of Carolingian or Ottonian workmanship. 56 One particular scene has also proved resistant to an agreed identification. The middle picture of the three on the left-hand panel depicts two figures opposite Jesus, who is touching the eyes of the nearer one. Leclercq and Lawrence are convinced that the scene is the Healing of the Blind Man. 57 If their interpretation is correct and the scene illustrated is Jesus healing the blind man after leaving the Temple (John 9:1-7;8:59), the architectural background 73
Page 1 and 2: J The Temple in the Iconography of
Page 3 and 4: scene as Jesus healing the blind ma
Page 5 and 6: the two already cited, a third cons
Page 7 and 8: acceptable, in spite of the anachro
Page 9 and 10: Leclercq claims the various anachro
Page 11 and 12: Fig. 3: Toledo, St. Salvador Church
Page 13: Fig. 5: Jordan, Mount Nebo, Church
Page 17 and 18: of mythological tales. The inscript
Page 19 and 20: on it as the symbol of the Temple i
Page 21 and 22: 26 Matthiae, 1965, 48-49, Fig.34. 2
Page 23 and 24: Delbrueck 1945: R. Delbrueck, "The

The Temple in the Iconography of Early Christian Art Carla Gomez ...

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