“Visigothic Art”: The Treasure of Guarrazar
From Hiberno-Saxon manuscripts, the survey then turned to Spain and the Visigoths, beginning with the Treasure of Guarrazar.
Two contemporary texts nicely introduced this group of objects. First, we read prayer 59 in the Liber Ordinum for the blessing of the crown with the aim of understanding both the general purpose of a votive offering and the particular meaning of a votive crown:
Ihesu Domine, qui es corona sanctorum, hanc coronam benedicendo sanctifica: ut pro decore domus tue et tui honore ac ornamento altaris, accepta hec munera feras, et de manibus offerentium respect hilari et pia benignitate suscipias. Amen.
Jesus, Lord, you who are the crown of the saints, sanctify this crown with your blessing: so that for the decoration of your house and for your honor and as an ornament of the altar, may you take up this gift, having been accepted, and may you receive it from the hands of offering with joyful respect and pious kindness. Amen. (my translation)
The second text comes from Julian of Toledo’s Historia Wambae regis, newly translated by Joaquin Martinez Pizarro. A discussion in chapter 26 of the return of sacred objects to the churches includes a brief reference to the usurper Paul placing on his head a crown that King Reccaredhad once dedicated to Felix. This aside permits a glimpse into the life of this class of objects, in particular, into their intentional and meaningful misuse.
These texts bring to life the objects of the Treasure of Guarrazar, of which we examined the votive crown with pendant crossat the Musee du Moyen Age in Paris, especially its inscription, and the votive crown of Recceswinth at the archaeological museum in Madrid, both of which appear in the catalogue, The Art of Medieval Spain, a.d. 500-1200.
The cross held by Bishop Maximianus in the Justinian panel at San Vitale in Ravenna provides a comparison for the votive cross. Bishop Maximianus puts the cross to a second function within a liturgical context, and the similar placement of the cabochons suggests a Byzantine model for the Visigothic metalwork.