They created a tremendous demand for works of all kinds – painted altarpieces, crucifixes, fresco cycles, illuminated choir books, and liturgical objects – to decorate their churches. Italy in the thirteenth century was transformed by two new religious orders, the Dominicans and the Franciscans. Francis before the Bishop by Niccolo da Verona, The Metropolitan Museum of Art, Robert Lehman Collection 1975.1.318. In addition to this iconographic study, we will examine the qualities of this tradition’s founding text, the Reversio Sanctae Crucis, which served as inspiration for medieval artists. In the Medieval West, Heraclius’ deeds took on a mythical flavor, with characterizations swinging between pride and humility – from the triumphant emperor to the imitator Christi in search of the Restitutio Crucis. The renown of the basileus in western medieval society roots itself directly in the recovery of the True Cross, the Restitutio Crucis. Upon recognizing his sin, the sovereign humbles himself in an imitatio Christi, only after which does he return the relic to the Holy Sepulcher. This is a messenger sent from God to tell the emperor he should dismount his horse and remove his imperial dress to enter Jerusalem, following the example of Christ. From a mythical-religious perspective, the story comes to its climax when Heraclius reaches the entrance of the Holy City – suddenly, stones block the Golden Gate and an angel appears above it. In a successful counterattack, Heraclius defeated the Sassanids, retook the Holy Land and triumphantly escorted the relic back to Jerusalem (630). In 614, the Persians – led by King Chosroes II – invaded Palestine, conquering the Holy City of Jerusalem and stealing the relic of the True Cross. 575-641) in Western Europe between the eleventh and thirteenth centuries. How do the narrative, visual, and material aspects of this legend relate to the figure of Adam? I will present three approaches to untangle this matter: the contextualization of the Legend of the Wood of the Cross, a focus on the figure of Seth in Christian tradition, and the impact of Seth and the legend on medieval iconography.Ībstract: This iconographic study focuses on the representation of Emperor Heraclius (ca. If the 'choice' of his sacred places were left to man himself, then there could be no explanation for this continuity.1 The autonomy of hierophanies and the continuity of the sacred in Nature from without are embedded in the medieval Legend of the Wood of the Cross and the transmission of knowledge about the protoplasts. (…) But what the continuity of the sacred places in fact indicates is the autonomy of hierophanies the sacred expresses itself according to the laws of its own dialectic and this expression comes to man from without. In his Patterns in Comparative Religion, Mircea Eliade describes the archetypi-cal need to remain in direct communion with a " center " producing the sacred: The rocks, springs, caves and woods venerated from the earliest historic times are still, in different forms, held as sacred by Christian communities today.
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