Pasear entre ruinas: retablos-tabernáculo castellanos de la Baja Edad Media

This article explores the origins and distinctive features of castilian tabernaclealtarpieces. Less attention will be paid to the well-known examples of the fourteenth century (as for example the castildelgado and yurre altarpieces) and the focus will be on a number of poorly preserved, fragmented and altered examples of the late thirteenth century, for which proposals of reconstruction are provided in some instances. to investigate the origins of castilian tabernacle-altarpieces, this study centres on several thirteenth-century sculptures that were made prominent by being placed either before back panels or within baldachins. These displays are usually regarded as the forerunners of genuine tabernacle-altarpieces. In this context, special attention is paid to the images of the Virgin and child in the church of Villalcázar de sirga (Palencia). concerning the distinctive features of castilian tabernacle-altarpieces, the text points out the relationship between the earliest tabernacle-altarpieces and the locally produced monumental and tomb sculpture, which in all likelihood served as a model for these early altarpieces.

Minor or Major? Castilian Tabernacle-Altarpieces and Monumental Arts

Baños

2020

Movement on the Altar: Gothic Tabernacle-altarpieces in the Crown of Aragon (and Their Context)

Gonzàlez

2020

The arrival of tabernacle-altarpieces in regions under the crown of aragon makes up part of a complex context revolving around the evolution of altar furnishings from the late romanesque to the early gothic period. The late 13 th century and first half of the 14 th century saw a series of fundamental movements-changesprior to the verticalization of altarpieces. all of this took place at the same time that specific types of altar furnishing that already existed during the romanesque, such as those presenting a sculptural image inside a tabernacle, became steeped in new features, and evolved by taking on movable wings at the sides which could be ritually opened up. This lent them a certain theatricality and the ability to conceal and reveal, while also allowing for processes activating the central image presiding over them. These, specifically, are some of the main contributions of tabernacle-altarpieces to the history of christian altar furnishing. in the crown

Central Italian “Tabernacula”: A Survey

Pasqualetti

2020

This paper aims to provide an in-depth survey of grand-scale medieval italian tabernacles and other types of closing altarpieces with all of their wings-or substantial parts thereof-still preserved (1200-1435). Most such altarpieces, enclosing a statue of the Virgin Mary or a saint, come from the culturally homogeneous and generally conservative regions of the central apennines, in particular from abruzzo. structure, provenance, original location, function, patronage, iconography are only a few of the many questions raised by the surviving examples here discussed within a broader European frame. notwithstanding the great variety and composite character of medieval altar furnishings, three major types of medieval italian closing retables will be here described-according to claude lapaire's formal classification (1969 and 1972): the tabernacle-altarpiece in the strict sense of the word, i.e. an open ciborium with the pedestal, rear wall, and canopy, equipped with carved or painted bi-fold wings; the polygonal tabernacle-altarpiece ('le retable à tabernacle polygonal'); and the cupboard-altarpiece ('le retable en forme d'armoire'). in central apennine regions all of these types coexisted throughout the fourteenth century at least, resisting the spread of tuscan polyptychs.