The
chalice, paten, and fistula are elegantly wrought in parcel gilt silver with
prominent and masterful use of the niello technique (note all figures and all
text), with judicious and elegant gem incrustation, and a continuous plant
filigree ornament on the body of the chalice. Due to its size and generous
proportions, the chalice exudes a graceful monumentality that is normally
rather difficult to achieve in the design of altar vessels. The chalice, the
paten, and the fistula were crafted in the Abbey of St. Trudpert (region of
Bavaria) in the early XIII c. by an anonymous master goldsmith who might also have
been the designer. The complex iconographic program indicates that the
mastermind behind the set was probably a religious, perhaps Abbott Konrad of
St. Trudpert’s.
When
working with chalice commissions a question often comes up about what makes a suitable
sacred vessel – St. Trudpert’s set is an exceptionally fitting case study to
address this question, because it is such a beautifully realized altar set. Rather
than trying to name one specific quality, it is more effective to observe a harmonious
fusion of liturgical, didactic, and aesthetic characteristics. Also, every element
that makes up this set is unequivocal as to its purpose. Yet it is obvious that
function as such is not the guiding principle. As in all Medieval art, the liturgico-theological
layer become a dominant one. And it is reflected in a rich iconography that offers
a profound mediation material.
The
cup which is the most important component of the chalice features the Lord and
the Twelve Apostles in niches. This architectural detail is meant to emphasize the
stability of the teaching about the Eucharist and validity of the celebration
of the Eucharist in an institutional setting. The nodus and the foot of the
chalice feature medallions with scenes from the New Testament and the Old
Testament respectively. The medallions are typologically related – the Old Testament
prefiguring the New Testament ones. The chalice is further integrated with a use
of niello phrases around Old Testament medallions and around the foot of the
chalice. Here is a transcription of all phrases from Latin:
Base, around Brazen Serpent medallion: the serpent on
the wood marks [where] Christ suffered on the Cross
Base, around Moses and Burning Bush medallion: the
non-burning bush [is] the revelation of the angelic word
Base, around Aaron’s Rod medallion: the flowering rod
bears fruit which produces a complete virgin
Base, around Noah’s Ark medallion: Noah’s Ark, baptism
in the form of a flood
Around rim of base: the Lord says he who devours my flesh and drinks my blood remains in me and I [remain] in him [John 6:57]
The paten includes a
loped interior organized around paten proper which is the polished gold,
undecorated round surface in the center. The figures on the paten include Lord
Jesus Christ at the top and St. Trudpert the Martyr at the opposite side (this figurative
detail helped to narrow down the provenance of this set). On the left, Abel and
on the right Melchizedek. The black niello on both the paten and the chalice lend
elegance to the entire ensemble and also give it what later became termed a
German character, an aesthetic of black and gold rather than colorful enamel so
prominent in France and England. Text on the paten reads around the rim: ‘the
bread which you blessed is now the flesh of Christ. If you truly believe, may
you have eaten this so that it may be your flesh.’
The fistula or the liturgical straw were used to consume consecrated wine from the chalice and to prevent spillage. It is quite rare that the fistula survived almost 800 years without being lost. It seems that the first guardians of the chalice set were the Abbey monks. Later, it was the care of discerning art collectors, who ensured that the pieces were properly maintained, that safeguarded this elegant set for the edifications of our generation.
Photography Credits: Metropolitan Museum of Art, New York
