monstrance
A monstrance ( lat. Monstrare "to show") is a precious liturgical display device , decorated with gold and often also with precious stones , with a window area in which a consecrated host is solemnly shown for adoration and adoration .
history
The use of the first monstrances can be traced back to the Feast of Corpus Christi , which was introduced at the Council of Vienne in 1311. They consisted of a simple glass can with a cross on it. In the second half of the 14th century, larger, tower-like monstrances in the Gothic style were created. Only the monstrances from the 16th century show the shape of a sun, which was still in use in the 19th century.
The Eucharistic monstrance is derived from relics and eastern sensoria in monstrance form, which have been widespread since the 13th century. With the increasing number of Corpus Christi processions in the 14th century and the exposure of the Holy of Holies on the altar in the 15th century , the Eucharistic monstrance became the most common liturgical display vessel. The name monstrancia has been used since the middle of the 14th century; in the early days it was synonymous with ostensorium , in Italian sources also with tabernaculum , in French with custode and in Spanish with custodia .
Types
Art history distinguishes three types: the tower, altar retable or lantern monstrance - since the late Gothic period for visible storage in the sacraments -, the disc monstrance of the Renaissance and the sun or ray monstrance, especially of the Baroque , a further development of the disc monstrance.
A monstrance is made up of a foot, shaft and attachment. The semicircular or circular device for fastening the host in the attachment is called Lunula (from Latin luna "moon") because of its crescent-like shape . The decoration can go so far that the whole monstrance is figurative, for example as a tree of life , the root of Jesse or with the figures of saints . Another special feature is a statue monstrance, in which the Mother of God is depicted, who is holding Christ in her body in the form of the host.
A special form is the up to three meters high, multi-storey monstrance that is carried in processions in Spain and Portugal on a chariot or by several people; it is called Custodia .
use
When the Holy of Holies is not exposed, it is kept in the custodia in the tabernacle . Any consecrated host can be used for the monstrance, but most of the time especially large or embossed celebration hosts are placed in the monstrance.
The Catholic Church uses the monstrance in sacrament processions , especially on Corpus Christi , in Eucharistic adoration and for blessing . During the procession and the Eucharistic blessing, the priest or deacon does not hold the monstrance with bare hands, but covers his hands with the velum . The wrapping of the hands is an ancient gesture of reverence and also serves to protect the precious metal tools. The monstrance is then raised so that it can be seen by everyone present. Before the Eucharistic blessing is given, the tantum is sung ergo .
Andechs three host monstrance
The three host monstrance in the monastery and pilgrimage church of St. Nicholas and Elisabeth in Andechs is a special form . It contains three hosts inlaid in rock crystal , which refer to Pope Leo IX. and Pope Gregory I the Great go back. The following bleeding signs appeared on the consecrated hosts: a phalanx, a cross and the inscription IHS . The Gothic three-host monstrance from the middle of the 15th century forms the center of the Andechs reliquary .
Similar liturgical vessels
There are reliquaries that are monstrance-shaped and in which relics are kept and shown ("reliquary monstrance"). In addition to the relics themselves, such an ostensorium sometimes also contains a devotional image of the saint from whom the relic originates.
Tabor
The tabor is a pedestal for the monstrance. The name is derived from the pericope of the transfiguration of the Lord on Mount Tabor ( Mk 9.2–10 EU ). In Eucharistic adoration , the monstrance can be placed on the tabor, which in turn stands on the altar . As a result, the monstrance stands a little higher and is particularly easy to see from a greater distance from the altar. Usually the Tabor is artistically designed. According to the appearance of the monstrance, it is also often decorated with precious stones or enamel work . Sometimes the tabor is also carried by angel figures .
The monstrance as an attribute of saints
In Christian iconography, the monstrance appears as an iconographic attribute of saints in the following saints :
- Clare of Assisi († 1253): monstrance or cup because she drove the Saracens out of the monastery of San Damiano in Assisi with the holy of holies
- Eleutherius († 531): blessing the people with a monstrance
- Franziska von Rom (1384–1440): kneeling in front of a monstrance whose rays strike her heart
- Hugo von Rouen († 730): driving out the devil with the monstrance
- Anthony of Padua
- Barbara of Nicomedia
- Paschal Baylon
- Franz von Berja
- Norbert von Xanten
- Thomas Aquinas
See also
proof
- ↑ The Gothic monstrance of the cathedral church in Pressburg in the communications of the Imperial and Royal Central Commission for the research and preservation of architectural monuments . Vienna 1856, p. 206.
- ^ Rudolf Huber (Ed.): Church implements, crosses and reliquaries of the Christian churches. (= Glossarium Artis, Volume 2). KG Saur Verlag, 3rd edition, Munich-London-New York-Paris 1991, ISBN 3-598-11079-0 , pp. 82-179.
- ↑ Joseph Braun: The Christian altar device. Munich 1932, pp. 349-359.
- ↑ Tree of Life Monstrance by Fritz Schwerdt
literature
- Karl Atz: Church art in words and pictures. Revised by Stefan Beissel. 4th edition, Regensburg 1915
- Rupert Berger : Monstrance . In: Walter Kasper (Ed.): Lexicon for Theology and Church . 3. Edition. tape 7 . Herder, Freiburg im Breisgau 1998.
- Joseph Braun: The Christian altar device. Munich 1932, pp. 348-413. Fundamental, also as a reprint in Olms, Hildesheim a. New York 1973, ISBN 3-487-04890-6 .
- FX Noppenberger: The Eucharistic Monstrance of the Baroque Age. Dissertation, Munich 1958
- L. Perpeet-Frech: The Gothic Monstrance in the Rhineland. Düsseldorf 1964
- Rudolf Pfleiderer: The attributes of the saints. Ulm 1898
