Master Thesis by Ingrid Eitrem
It is safe to say that from Early Christian Times the architectual enviroment of a church has bee... more It is safe to say that from Early Christian Times the architectual enviroment of a church has been used to create a dramatic setting for liturgical rituals which echances a sense of divine presence in the midst of its performance. According to this thesis Cosmatesque ornaments, pavements and liturgical furniture that were made during the High Middle Ages, and which is still a part of the many churches of Rome today, must be understood as a secondary actor for liturgical rituals.
Classical iconographical methodology emphasises the importance of understanding art historical objects and architecture in connection to written sources dating from the same time. The purpose of this study is to show that some methodological problems might occur if only litterary liturgical sources, like the Dictatus papae and Ordo Romanus I, are used in order to comprehend the ritual function of a specific liturgical object. My attention will be on the schola cantorum and the papal chair in Santa Maria in Cosmedin in Rome. This project will also show that ideological and historical events like the Investiture Controversy and the Gregorian Reform played an important role in the way the liturgical furnishings were perceived.
As an antithesis I will present an alternative way of understanding Cosmatesque ornaments, pavements and liturgical furniture based on the empirical material that is present in the church of Santa Maria in Cosmedin in Rome. The pictoral turn in Art History has paved a way for a new understanding. Decorative elements and interiors can be meaningful by themself. They functioned as primary agents, as artistic form which captured the sensorial universe of the Middle Ages, and gave the viewer spiritual pleasure and knowledge.
Articles by Ingrid Eitrem
Aftenposten Innsikt , 2015
Papers by Ingrid Eitrem
It is safe to say that from Early Christian Times the architectual enviroment of a church has bee... more It is safe to say that from Early Christian Times the architectual enviroment of a church has been used to create a dramatic setting for liturgical rituals which echances a sense of divine presence in the midst of its performance. According to this thesis Cosmatesque ornaments, pavements and liturgical furniture that were made during the High Middle Ages, and which is still a part of the many churches of Rome today, must be understood as a secondary actor for liturgical rituals. Classical iconographical methodology emphasises the importance of understanding art historical objects and architecture in connection to written sources dating from the same time. The purpose of this study is to show that some methodological problems might occur if only litterary liturgical sources, like the Dictatus papae and Ordo Romanus I, are used in order to comprehend the ritual function of a specific liturgical object. My attention will be on the schola cantorum and the papal chair in Santa Maria in Cosmedin in Rome. This project will also show that ideological and historical events like the Investiture Controversy and the Gregorian Reform played an important role in the way the liturgical furnishings were perceived. As an antithesis I will present an alternative way of understanding Cosmatesque ornaments, pavements and liturgical furniture based on the empirical material that is present in the church of Santa Maria in Cosmedin in Rome. The pictoral turn in Art History has paved a way for a new understanding. Decorative elements and interiors can be meaningful by themself. They functioned as primary agents, as artistic form which captured the sensorial universe of the Middle Ages, and gave the viewer spiritual pleasure and knowledge.
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Master Thesis by Ingrid Eitrem
Classical iconographical methodology emphasises the importance of understanding art historical objects and architecture in connection to written sources dating from the same time. The purpose of this study is to show that some methodological problems might occur if only litterary liturgical sources, like the Dictatus papae and Ordo Romanus I, are used in order to comprehend the ritual function of a specific liturgical object. My attention will be on the schola cantorum and the papal chair in Santa Maria in Cosmedin in Rome. This project will also show that ideological and historical events like the Investiture Controversy and the Gregorian Reform played an important role in the way the liturgical furnishings were perceived.
As an antithesis I will present an alternative way of understanding Cosmatesque ornaments, pavements and liturgical furniture based on the empirical material that is present in the church of Santa Maria in Cosmedin in Rome. The pictoral turn in Art History has paved a way for a new understanding. Decorative elements and interiors can be meaningful by themself. They functioned as primary agents, as artistic form which captured the sensorial universe of the Middle Ages, and gave the viewer spiritual pleasure and knowledge.
Articles by Ingrid Eitrem
Papers by Ingrid Eitrem
Classical iconographical methodology emphasises the importance of understanding art historical objects and architecture in connection to written sources dating from the same time. The purpose of this study is to show that some methodological problems might occur if only litterary liturgical sources, like the Dictatus papae and Ordo Romanus I, are used in order to comprehend the ritual function of a specific liturgical object. My attention will be on the schola cantorum and the papal chair in Santa Maria in Cosmedin in Rome. This project will also show that ideological and historical events like the Investiture Controversy and the Gregorian Reform played an important role in the way the liturgical furnishings were perceived.
As an antithesis I will present an alternative way of understanding Cosmatesque ornaments, pavements and liturgical furniture based on the empirical material that is present in the church of Santa Maria in Cosmedin in Rome. The pictoral turn in Art History has paved a way for a new understanding. Decorative elements and interiors can be meaningful by themself. They functioned as primary agents, as artistic form which captured the sensorial universe of the Middle Ages, and gave the viewer spiritual pleasure and knowledge.