Books.org participates in affiliate programs including Bookshop.org and the Amazon Services LLC Associates Program. We may earn a commission from qualifying purchases made through links on this page, at no additional cost to you.
Overview
McNamee's detailed and well illustrated new study is about eucharistic symbolism in Early Netherlandish painting. It focuses on the pervading presence of the vested angel in this school of painting and its eucharistic significance. These angels, dressed in every possible variation of the vestments of the subministers of the traditional Solemn High Mass, are represented as serving the Christ in each episode of His life. As celebrant of the Eternal Liturgy, Christ is shown wearing "the chasuble of his flesh". the motif of the Eternal Liturgy (or Mass) in the Byzantine tradition. Here Christ is represented at an altar wearing the phelonion or eastern equivalent of a chasuble, and being assisted by angels dressed in orarions, the eastern equivalent of the dalmatic, the vestment of deacons and subdeacons at the traditional Solemn High Mass in the West. Another more immediate source is the long tradition of the Latin liturgical dramas, in which the directives frequently prescribe that the angels in the plays be dressed in some variation of vestments of the traditional Solemn High Mass in the West. paintings representing scenes from the life of Christ: from the Annunciation through the Last Judgement. The theological basis of this study is offered in a discussion of Maurice de la Taille's Mysterium Fidei, a theory of Mass that best parallels the concept of Eucharistic symbolism in Early Netherlandish painting. The author provides clarifying new insights into the paintings he analyses, such as The Adoration of the Lamb, by Jan van Eyck and the Beaune Last Judgement by Rogier van der Weyden. Colour illustrations and over a hundred photographs of the original paintings help the reader to follow this fascinating analysisSynopsis
McNamee's detailed and well illustrated new study is about eucharistic symbolism in Early Netherlandish painting. It focuses on the pervading presence of the vested angel in this school of painting and its eucharistic significance. These angels, dressed in every possible variation of the vestments of the subministers of the traditional Solemn High Mass, are represented as serving the Christ in each episode of His life. As celebrant of the Eternal Liturgy, Christ is shown wearing "the chasuble of his flesh". the motif of the Eternal Liturgy (or Mass) in the Byzantine tradition. Here Christ is represented at an altar wearing the phelonion or eastern equivalent of a chasuble, and being assisted by angels dressed in orarions, the eastern equivalent of the dalmatic, the vestment of deacons and subdeacons at the traditional Solemn High Mass in the West. Another more immediate source is the long tradition of the Latin liturgical dramas, in which the directives frequently prescribe that the angels in the plays be dressed in some variation of vestments of the traditional Solemn High Mass in the West. paintings representing scenes from the life of Christ: from the Annunciation through the Last Judgement. The theological basis of this study is offered in a discussion of Maurice de la Taille's Mysterium Fidei, a theory of Mass that best parallels the concept of Eucharistic symbolism in Early Netherlandish painting. The author provides clarifying new insights into the paintings he analyses, such as The Adoration of the Lamb, by Jan van Eyck and the Beaune Last Judgement by Rogier van der Weyden. Colour illustrations and over a hundred photographs of the original paintings help the reader to follow this fascinating analysis (Peeters 1998)