BERNAR BERTO (BERNARD BERTHOD)
Docteur ès lettres, conservateur du Musée d'art religieux de Fourvière (Lyon) / doktor nauka, konzervator u Muzeju religiozne umetnosti Furvijer, Lion
GAEL FAVIJE (GAËL FAVIER)
doctorant à l'Ecole pratique des Hautes Etudes, Paris / doktorand u Školi za visoke studije, Pariz

LE CALICE DE SAINT RÉMI: inspiration et réinterprétation aux XIXè et XXè siècles / PUTIR SVETOG REMIJA: inspiracija i reinterpretacija u XIX i XX veku
SAINT RÉMI'S CHALICE: inspiration and a new interpretation during the 19th and 20th centuries

Zbornik 9/2013 (Muzej primenjene umetnosti), strana 57-69

UDK:
904:27-524(44)"13/18"
ID 203974412

Apstrakt:
Le calice de saint Rémi, conservé au trésor de la cathédrale de Reims et utilisé pour le sacre des rois de France depuis le XIVème siècle jusqu'au sacre de Charles X, en 1827, a beaucoup marqué l'imaginaire français voire européen. Le mouvement «néogothique» a renouvelé le regard des arti

Ključne reči:
Orfèvrerie, Néogothique, Catholicisme, Armand-Calliat, Poussièlgue–Rusand, Saint Remi, Viollet-le-Duc / zlatarstvo, neogotika, katoličanstvo, Arman-Kalija (Armand-Calliat), Pusielg–Risan (Poussièlgue-Russand), sveti Remi, Viole-le-Dik (Violet-le- Duc)

Summary:
Saint Rémi's chalice, held by the treasury of the cathedral of Reims and used in the coronation of kings of France between the 14th century and Charles X's coronation, in 1827, made a deep impression on French and European people. Due to the fact that it was confused with the Vase of Soissons, it became the mythical object brought into relation with the founding of the Kingdom of the Franks, the first Christian kingdom of the West. This vase was actually a product of a workshop in northern France manufactured during the first half of the 13th century. The Gothic revival turned the eyes of artists towards medieval works and many architects and designers working for silversmiths were inspired by symbolically loaded liturgical objects, such as the chalice of Saint-Rémi, which was one of the most copied models. Since 1848, the publisher Adolphe Napoléon Didron and the architect Viollet-le-Duc presented it as an example of the peak achievements of medieval art in the 13th century. The study presents the reinterpretation of this work by two French silversmiths who were very famous in the 19th and the early 20th centuries: the Parisian Poussièlgue-Rusand and Armand-Calliat of Lyon. The revival of the art inspired by the Middle Ages was a segment of the struggle between the Roman Catholic Church and the state anticlericalism.

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