Sacrifice of Mosaic Law (Sacrificio de la Ley Mosaica)

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<p>Among the four cloths of the series foretelling the Eucharist –<i>Meeting of Abraham and Melchizedek, Harvesting of the manna, Elijah and the angel</i>– this is the only episode showing a gory sacrifice. The composition is set through a clear diagonal, starting in the lower left side and climbing up to the other end. It shows a procession of many characters bringing presents and animals to the altar where the priest, holding a knife, has just sacrificed a calf, still plenty of blood gushing from its neck.</p>
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<p>Among the four tapestries of the series foretelling the Eucharist – ‘Meeting of Abraham and Melchizedek’, ‘Harvesting manna’ and ‘Elijah and the angel’ – this is the only episode showing a gory sacrifice. The composition is set through a clear diagonal, starting in the lower left side and climbing up to the other end. It shows a procession of many characters bringing presents and animals to the altar where the priest, holding a knife, has just sacrificed a calf, blood still gushing from its neck.</p>
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<p><b>A sacrifice typical of the Old Testament</b></p>
 
<p><b>A sacrifice typical of the Old Testament</b></p>
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<p>Rubens made apparent that this was a sacrifice typical of the Old Testament, with elements such as the Ark of the Covenant and the explicit introduction of Jewish characters in the upper part. Although it foretells the Eucharist, they are not equivalent, and that would be why the painter may have wanted to conceal this behavior, common among Israelites. He thus made this scene the less theatrical of all: he represented many characters which hinder a clear reading, and placed great importance in the architecture, taking the focus away from the story. Besides, the location of the Ark of Covenant on the opposite end to the sacrifice altar introduces two visual focuses which make the attention of the spectator swing, avoiding focusing on just the immolation. </p>
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<p>Rubens makes it clear that this sacrifice is typical of the Old Testament, with elements such as the <b>{{Detalle|texto=Ark of the Covenant|left=1934|top=1358|%=40}}</b> and the explicit introduction of Jewish characters in the upper part. Although it foretells the Eucharist, they are not equivalent. This may explain why Rubens wanted to conceal this procedure common among Israelites and therefore made this scene the less theatrical of all. The many characters hinder a clear reading, and he places great importance in the architecture, taking the focus away from the story. Furthermore, the location of the Ark of Covenant on the opposite end to the <b>{{Detalle|texto=sacrifice altar|left=4988|top=1604|%=40}}</b> introduces two visual focuses which make the attention of the spectator swing, avoiding focusing on just the immolation.</p>
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<p><b>Change of location</b></p>
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<p>It is currently found in the nave of the temple, but it was placed at the front for years, partly covering the access to the sacristy. To make passing easier, its lower part had a double cut and was folded inwards, fortunately without being destroyed. Recent restoration has brought back its original aspect.
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<p><b>Series: </b><i>Apotheosis of the Eucharist</i></p>
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<p><b>Series </b><i>Apotheosis of the Eucharist</i></p>
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<p><b>Cartoon: </b>Cartoon copied from an original by Rubens</p>
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<p><b>Model </b>Cartoon copied from an original by Rubens</p>
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<p><b>Manufacture</b>: Brussels. Manufacture by Frans van den Hecke. Mid 17th c.</p>
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<p><b>Manufacture </b>Brussels. Manufacture by Frans van den Hecke. Mid-17th century</p>
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<p><b>Fabric</b>: Silk and wool, 7/8 warps per cm</p>
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<p><b>Fabric</b> Silk and wool, 7/8 warps per cm</p>
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<p><b>Size</b>: 405 x 650 cm</p>
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<p><b>Size</b> 405 x 650 cm</p>
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<p><b>Location</b>: Church of San Millán de la Cogolla, Oncala (Soria)</p>
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<p><b>Location</b> Church of San Millán de la Cogolla, Oncala (Soria)</p>
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<p><b>Origin</b>: A donation by Bishop Juan Francisco Ximénez del Río, c. 1800</p>
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<p><b>Origin</b> A donation by Bishop Juan Francisco Ximénez del Río, c. 1800</p>
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<p><b>Exhibition</b>: Hangs from the church’s nave, opposite the entrance door</p>
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<p><b>On display</b> Hangs from the church’s nave, opposite the entrance door</p>
 
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|buscador= <p>Among the four cloths of the series foretelling the Eucharist –<i>Meeting of Abraham and Melchizedek, Harvesting of the manna, Elijah and the angel</i>– this is the only episode showing a gory sacrifice. The composition is set through a clear diagonal, starting in the lower left side and climbing up to the other end. It shows a procession of many characters bringing presents and animals to the altar where the priest, holding a knife, has just sacrificed a calf, still plenty of blood gushing from its neck.</p>
 
 
|imagenbuscador= [[Imagen:Sacrificio_de_la_Ley_Mosaica_low.jpg]]  
 
|imagenbuscador= [[Imagen:Sacrificio_de_la_Ley_Mosaica_low.jpg]]  
  
 
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{{Pag-Anterior|Harvesting_manna_(Recogida_del_maná)}}
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{{Pag-Siguiente|Triumph_of_the_Eucharist_over_idolatry_(Triunfo_de_la_Eucaristía_sobre_la_idolatría)}}

Latest revision as of 11:52, 20 November 2014

Sacrifice of Mosaic Law (Sacrificio de la Ley Mosaica)

Among the four tapestries of the series foretelling the Eucharist – ‘Meeting of Abraham and Melchizedek’, ‘Harvesting manna’ and ‘Elijah and the angel’ – this is the only episode showing a gory sacrifice. The composition is set through a clear diagonal, starting in the lower left side and climbing up to the other end. It shows a procession of many characters bringing presents and animals to the altar where the priest, holding a knife, has just sacrificed a calf, blood still gushing from its neck.



A sacrifice typical of the Old Testament

Rubens makes it clear that this sacrifice is typical of the Old Testament, with elements such as the Ark of the Covenant and the explicit introduction of Jewish characters in the upper part. Although it foretells the Eucharist, they are not equivalent. This may explain why Rubens wanted to conceal this procedure common among Israelites and therefore made this scene the less theatrical of all. The many characters hinder a clear reading, and he places great importance in the architecture, taking the focus away from the story. Furthermore, the location of the Ark of Covenant on the opposite end to the sacrifice altar introduces two visual focuses which make the attention of the spectator swing, avoiding focusing on just the immolation.


Series Apotheosis of the Eucharist

Model Cartoon copied from an original by Rubens

Manufacture Brussels. Manufacture by Frans van den Hecke. Mid-17th century

Fabric Silk and wool, 7/8 warps per cm

Size 405 x 650 cm

Location Church of San Millán de la Cogolla, Oncala (Soria)

Origin A donation by Bishop Juan Francisco Ximénez del Río, c. 1800

On display Hangs from the church’s nave, opposite the entrance door



MAZ



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