There is one advantage to writing every week ... getting Press privileges at various museums. On our recent trip to New York, I was able to take advantage of this perk for the press preview for “To The Holy Sepulcher: Treasures from the Terra Sancta Museum” at the Frick Collection. The Church of the Holy Sepulcher in Jerusalem is Christianity’s most sacred building in that it is believed to be the site of Christ’s burial and resurrection. The title of the show starts with “To” in order to show that, quite naturally, the Holy Sepulcher has been a destination for pilgrims of several Christian denominations for over 2,000 years. Catholic rulers over centuries sent magnificent gifts, most in the form of liturgical objects, to this holy repository. They continue to be used in ceremonies, and, in that sense, they are part of a living museum where the collection is both permanent and itinerant.
In the first half of the 14th century, the Pope created the Custody of the Holy Land, an organization of Franciscan monks entrusted with the care of its religious sites and these holy objects. The Custodians miraculously succeeded in hiding the treasures, protecting them from centuries of regional conflicts and upheaval. They were only discovered by art historians through the research of Alvar Gonzales Palacios in the 1980s. Xavier Salomon, Deputy Director and Chief Curator of the Frick, worked with Fra Stéphane Milovitch, Chairman of the board of directors of the Terra Sancta Museum, Director of the Cultural Heritage Office, Custody of the Holy Land to organize this exhibition. The Custodian spoke at the press preview, explaining the plans for a new museum at the site, open to the public.
Most of the photographs here are mine, taken at the press event, the only time that photography is permitted at the Frick, because in the relatively small spaces, particularly on the newly opened second floor, where the art would be at risk with people backing up and jostling each other.
A miniature 18th-century model of the Church introduces the exhibition.
From that point on, I was overwhelmed by the monumentality of the works, in every sense of the word. Many of the objects are over life size and obviously created by the foremost artists of their day. Moreover, most of the gold and silver work of the 17th and 18th centuries in Europe was melted down, so many of these survivals are unique.
At the beginning of the show is an incredibly exciting object. This huge silver relief (67 5/16 X 78 9/16 inches) was created in 1736 in Naples and represents the essence of the site as Christ’s body rises between sleeping guards. The chased detail down to the mock wood frame becomes an integral part of the majestic whole. My second image, showing someone reading the label, is to give an idea of its scale.
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| Photo courtesy of the Frick |
It was decided that the exhibition would focus on textiles and metalwork from the collection. Although I am concentrating on the metal work I cannot neglect examples of the textiles, that includes the set of vestments in the altar scene in front of you as you enter the show; one of the vestments with the Coat of Arms of Louis LXV, created in 1741 of Lampas, brocade liseré and satin ground; finally a detail of the coat of arms from a different vestment. All look as fresh and vibrant as when they were made, and the quality is incredible. (Images (3) Entry, Vestment and detail Coat)
Getting back to the metal work, this is one of a pair of Torchères made in Venice in 1762 from the Al San Lorenzo Giustinian Workshop. You can see how tall they are from the guard standing next to it. A detail shows the workmanship. Seeing them up close rather than from further back in a church or cathedral was incredibly exciting.
A singular, magnificent object, the Throne of Eucharistic Exposition, is given pride of place in the installation. The tour de force of gold, gilt copper, glass, and precious and semi-precious stones was made by the goldsmith Antonio de Luarentiis in 1754. Emblazoned with the arms of King Charles of Naples and his wife, Queen Maria Amalia of Saxony, It was sent from the Kindgdom of Naples to Jerusalem the following year to serve as a setting for the presentation of the rulers’ gifts of a monstrance or this crucifix in gold, lapis lazuli, glass, quarts and jewels, alternating in place according to the religious occaision.
I am not sure if a museum exhibition can give you a spiritual experience, but this one certainly inspires awe.
