Step into a world where devotion met artistry. We’re looking at a remarkable double-sided wooden cross, a stunning piece attributed to the hand of Master Ravdas from the 17th century. This isn’t just any artifact; it’s a vibrant testament to the Venetian-Cretan school of religious art, originating from Piana degli Albanesi in Palermo. Imagine this painted cross, not merely as an object of worship, but as a profound narrative captured on wood, its two faces revealing layers of Christian theology meant for deep contemplation. The meticulous craftsmanship and the vivid storytelling in its imagery speak volumes about the era’s aesthetic sensibilities and technical prowess, a time when Byzantine traditions elegantly conversed with Western artistic currents. Delving into such creations allows us a richer understanding of the spiritual life and the intricate cultural dialogues that shaped the Mediterranean world. This particular cross is a window into that shared artistic heritage, echoing themes found throughout Post-Byzantine art (Maltezou and Galavaris). To engage with this painted cross is to almost feel the pulse of history.
Decoding the Artistry: Iconography of the Painted Cross
At first glance, this wooden cross captivates with its rich devotional art. The gilded wood surface, a common feature of such pieces, provides a luminous backdrop for the cross’s sacred figures and scenes. Dominating the primary face is its main event. Christ, rendered in a liturgical pose not unlike those in similar Venetian-Cretan pieces, and flanked by Mary and John the Theologian, looks down from an arm protruding, not up, as is more common in Christ images (cfr. Fig. 1). Above the event is a pelican feeding its young with a rendition of the stuff of life that, in itself, is a magnificent blending of language and image, going what we might hope a
Even though this sacred object is layered with gesso, paint, and gold leaf, the wood underneath lends it a very real warmth. An ornate, carved wooden edge enhances that warmth, and we might guess that the motifs adorning the edge of the object (if they are not covered by any number of layers of pigment) are either floral or geometric, maybe even both. Inside that carved edge, the painted visual field is split into two complementary halves. On one side, the figure of Christ on the cross is flanked by either life-size or almost life-size figures of the Virgin Mary and St. John, the two figures with apparently very real faces and windswept hair. Their positioning puts them just underneath Christ’s figure yet at the same time places them front and center, making them not just next to Christ but also very nearly above him.
Echoes of Faith: Liturgical Use and Symbolic Depth
This cross, painted in Crete by a Venetian artist, is not merely an artistic object. It embodies profound truths of Christian faith and represents both the Passion and the glory of Christ. On one side, Jesus hangs on the cross in agony. On the other is another scene, either the triumph of Christ in the Resurrection (which is more probable) or some other major event from the life of Jesus that demonstrates the glory part of the equation. This really is a dual-sided cross with two scenes of sacred drama made by the same divinity at different times. And one can’t help but think that since this is a rare painted cross, that’s why the artist virtually covered this one with figures and events. After all, if it were to be a focal point for a liturgical procession and turned about to reveal its images to a congregation, a lot more attention would need to be paid to what was going on on this cross than what was going on in the congregation when a cross without figures was being revered.
The double-sided painted cross from Piana degli Albanesi, a 17th-century artifact, is much more than an object from an earlier time. It connects us with the faith and art of those who made and revered it. Each of its details tells a part of the story that leads straight back to that time. It serves as a vibrant link to the past, illuminating the essence of 17th-century Christian belief. It was made during a time of great cultural exchange, between East and West, in which Venetian and Cretan styles fused. This cross, which was made by Master Ravdas, an artist of that time and style, has a lot to tell us about the essence of art and faith in that earlier time.
Frequently Asked Questions
What does a double-sided painted cross typically represent?
A double-sided painted cross often symbolizes the entirety of the Christian redemptive narrative. Typically, it might depict the Crucifixion on one face and the Resurrection or a similar scene of glory on the other, thus presenting Christ’s suffering and triumph as interconnected aspects of salvation, offering a complete theological message.
What are common features of the Venetian-Cretan style on such a painted cross?
On a Venetian-Cretan painted cross, one usually observes a blend of Byzantine artistic conventions with Western Renaissance influences. This is evident in elongated figures and gold backgrounds (Byzantine traits) combined with more naturalistic expressions, a greater sense of volume, and detailed realism (Western traits).
How might a Venetian-Cretan painted cross have been used in worship?
An ornate Venetian-Cretan painted cross would have served multiple liturgical purposes. It could have been a central object of devotion within a church, carried in religious processions where both sides would be visible, or used during special services to enhance the sacred atmosphere of the ceremonies.
What materials were typically used to create a 17th-century painted wooden cross?
For a 17th-century painted wooden cross, artists primarily used wood as the support. The surface was often prepared with layers of gesso, then painted using pigments mixed with a binder like egg tempera. Gold leaf was frequently applied for backgrounds and to highlight significant details, enhancing the cross’s divine radiance.
Why is studying a Venetian-Cretan painted cross important for art history?
Studying a Venetian-Cretan painted cross is crucial because it reveals artistic techniques, theological concepts, and cultural interactions of a specific period. Such artworks offer valuable insights into the evolution of Post-Byzantine art, religious practices, and the cross-cultural artistic dialogues that occurred, particularly in the Mediterranean.
Bibliography
- Dousmanēs, Viktōr. Megalē hellēnikē enkyklopaideia – Τόμος 10. 1934.
- Maltezou, Chrysa A., and George Galavaris, editors. Christos stē Vyzantinē kai Metavyzantinē technē: atti del …. 2002.
- Rossi, Maria Alessia, and Alice Isabella Sullivan, editors. Eclecticism in Late Medieval Visual Culture at the …. 2021.
- Vassilaki, Maria. The Painter Angelos and Icon-Painting in Venetian Crete. 2023.
