To Die and Be Resurrected with Christ: The Milan Passion Diptych and Its Function in the Baptismal Rite
| Authors | |
|---|---|
| Year of publication | 2021 |
| Type | Article in Periodical |
| Magazine / Source | ICONOGRAPHICA |
| MU Faculty or unit | |
| Citation | |
| web | http://www.sismel.it/pubblicazioni/1844-iconographica-xx-(2021) |
| Keywords | The Milan Passion Diptych; Baptismal Liturgy; Roman Rite for the Easter; Milanese Rite for the Easter; Ivory Diptychs |
| Description | The Milan Passion diptych, composed of two ivory panels, is decorated with scenes of Christ’s Passion and Re- surrection. It resembles the 5th-century Roman ivories, but has been convincingly proved to be a 9th-century piece produ- ced in the context of the so-called Carolingian revival. Its original provenance and function remain, however, a matter of controversy. We aim to contribute to this discussion answering the following: (1) was the diptych carved at the Carolingian court, or in the Northern Italy, probably for the Cathedral of Milan; (2) what was its original purpose? Our interpretation stems from a discovery of wax residues on the reverses of the panels. The central parts of the reverses were once covered with wax, which leads us to assume that they could have been used for temporary writing. By cross-checking the sequence of sce- nes on the diptych, contemporary liturgical sources, and patristic treaties, we suggest that the object originally had a litur- gical function in (pre)-baptismal rituals following the Roman, rather than the Milanese Rite. This in turn excludes the possibility of its Milanese provenance. Based upon these findings, our interpretation of the function of the diptych might open further inquiry into the use of similar objects throughout Late Antiquity and the Early Middle Ages. |