Match des deux D , Daniel Boisserie, maire de St-Yrieix contre Donald Trump : la restitution du chef reliquaire d’Aredius

 » le conseil a été informé de la poursuite de l’action menée par la ville pour le retour du chef reliquaire d’Arédius, conservé actuellement au Metropolitan museum of art (MET), à New York, chez lui à Saint-Yrieix-la-Perche. Soutenu par la ministre de la Culture, Daniel Boisserie fera parvenir, très prochainement, un courrier de restitution au MET, via le ministère de l’Europe et l’ambassade de France aux Etats-Unis. En cas de refus de la part du MET, la commune intentera une action en justice. »

http://www.lepopulaire.fr/saint-yrieix-la-perche/2017/12/22/cetait-mercredi-la-derniere-reunion-de-lannee-pour-les-elus-arediens_12679242.html

https://www.metmuseum.org/toah/works-of-art/17.190.352a,b/

Reliquary Bust of Saint Yrieix

Et savez-vous que le nouveau President et Chief Officer Executor du Metropolitan Museum of Arts est un Daniel !

https://www.metmuseum.org/press/news/2017/daniel-h-weiss

« New York, June 13, 2017)—The Board of Trustees of The Metropolitan Museum of Art has appointed Daniel H. Weiss President and Chief Executive Officer of The Metropolitan Museum of Art. At a special meeting of its Board, the Trustees voted unanimously that Mr. Weiss will assume the title President and Chief Executive Officer, and also announced that the Museum will lead a search to appoint a Director of the Museum, who will report to Mr. Weiss. The President and CEO will be responsible for the overall leadership of the Museum, and the Director will lead the core mission functions. »

Avoir le vrai au lieu d’une copie, ça aura quand même de la classe. Espérons que le public pourra voir l’original. Qu’on ne nous fasse pas le coup de la grotte de Lascaux.

Quoiqu’il en soit, je suis sûr de mourir en ayant vu l’original à New-York (à une époque où personne ne disait à St-Yrieix que nous avions une copie et, pire, que l’original avait été vendu) et sa photo tous les 100 mètre dans la First Avenue annonçant une grande expo sur le Moyen-Age au MET, et en ayant vu l’original de la grotte de Lascaux

Avis aux enseignants :

Le MET a mis en ligne un excellent document de 194 pages

MEDIEVAL ART
A Resource for Educators
THE METROPOLITAN MUSEUM OF ART

dont nous vous donnons celles portant sur le chef-reliquaire d’Aredius (hors les photos qui l’accompagnent)

http://deimos3.apple.com/WebObjects/Core.woa/FeedEnclosure/metmuseum.org.1657526883.01657496679.1650078953/enclosure.pdf

Reliquary head of Saint Yrieix (Aredius),
ca. 1220–40

This sumptuous container, which once held the skull of the saint Yrieix (d. 591), demonstrates the medieval reverence and fascination for relics—holy remnants, such as a saint’s bone or piece of clothing, which were thought to have spiritual power and an abiding connection to the saint in heaven. The early Christian church kept individual saints’ bones together in containers called reliquaries, which were often in the shape of a coffin. One of the great innovations of the Middle Ages was the creation of reliquaries whose form mimicked the part of the saint’s remains contained within them, whether it was an arm, a hand, a finger, a thigh, a foot,
a heart, or, as here, a head. The shining metals of this reliquary not only testify to the preciousness of the relic inside it, but also deny the decaying, unsavory nature of the
body part itself. Details such as curly hair, tonsure, and beard stubble attempt to create a portrait of Yrieix, while the open eyes imply the saint’s immediate presence. But the reliquary’s luminous appearance also suggests Yrieix’s face at the time of his future resurrection, when his restored body, as described by twelfth-century mystics and monastic writers, will be like a recast vessel or a golden statue forged again from its original metal.
Interestingly, a head reliquary is especially apt for the sixth-century aristocrat Yrieix because one event that marked him for special spiritual favor was when, inside the church at Trier in Germany, a dove flew down and landed on his head. This was taken to be a sign that Yrieix was imbued with the Holy Spirit, and the bird went on to follow him for thirty more days. descriptions of images 95
questions for your students
How has the artist indicated which relic is inside the container? How has the artist tried to make this a somewhat realistic likeness of a man? What might be the reasons the artist would use precious metals and stones in this work?
discussion
Read the following text to your class or have your students read it themselves. Then, showing image 23 as a focal point, discuss Bernard’s comments on the ways of honoring a saint’s relics.

questions for your students
How has the artist indicated which relic is inside the container? How has the artist tried to make this a somewhat realistic likeness of a man? What might be the reasons the artist would use precious metals and stones in this work?
discussion
Read the following text to your class or have your students read it themselves. Then, showing image 23 as a focal point, discuss Bernard’s comments on the ways of honoring a saint’s relics.
This sumptuous container, which once held the skull of the saint Yrieix (d. 591), demonstrates the medieval reverence and fascination for relics—holy remnants, such as a saint’s bone or piece of clothing, which were thought to have spiritual power and an abiding connection to the saint in heaven. The early Christian church kept individual saints’ bonestogether in containers called reliquaries, which were often in the shape of a coffin. One of the great innovations of the Middle Ages was the creation of reliquaries whose form mimicked the part of the saint’s remains contained within them, whether it was an arm, a hand, a finger, a thigh, a foot,
a heart, or, as here, a head.
The shining metals of this reliquary not only testify to the preciousness of the relic inside it, but also deny the decaying, unsavory nature of the body part itself. Details such as curly hair, tonsure, and beard stubble attempt to create a portrait of Yrieix, while the open eyes imply the saint’s immediate presence. But the reliquary’s luminous appearance also suggests Yrieix’s face at the time of his future resurrection, when his restored body, as described by twelfth-century mystics and monastic writers, will be like a recast vessel or a golden statue forged again from its original metal.
Interestingly, a head reliquary is especially apt for the sixth-century aristocrat
Yrieix because one event that marked him for special spiritual favor was when, inside the church at Trier in Germany, a dove flew down and landed on his head. This was taken to be a sign that Yrieix was imbued with the Holy Spirit, and the bird went on to follow him for thirty more days.
96 descriptions of images
…Eyes are impressed with the relics covered in gold, and purses are opened. The most beautiful form of a male or female saint is shown and it is believed holy to the extent that it is colored—men run to kiss it and are invited to donate money, and the beautiful is admired more than the sacred is venerated. Then jeweled things are placed in a church—not just crowns, but wheels with lamps shining as much as the encrusted precious stones! And we see some sort of trees set up for candlesticks, great weights of bronze fabricated by the amazing work of a master, their lights glittering no more than their jewels. What is looked for in all of these things, do you think? The pricked consciences of those repenting, or the admiration of viewers? O vanity of vanities, but not more vain than insane! The church shines with her walls and is in need of the poor; her stones she dresses with gold, and her sons she abandons naked.
—The Cistercian monk Bernard of Clairvaux (1090–1153), from his “Apologia” to William, Abbot of Saint-Thierry, translated by Michael Norris

Le chef-reliquaire de St-Yrieix a inspiré les artistes. Voici une oeuvre de Tony Karp

reliquaireStYrieix

Puis-je suggérer aux négociateurs français de garder sous le coude l’offre d’échange entre la copie présente à St-Yrieix et l’original présent à New-York. Et l’argument imparable : on vous offre du plus neuf contre du très vieux.

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