Showing posts with label Saint Thomas. Show all posts
Showing posts with label Saint Thomas. Show all posts

Monday, 17 June 2019

A milestone for the Thomas tapestry

Anne and Katinka busy with the St. Thomastapestry in the Kemenade of castle Ammersoyen, 10 June 2019

Previous two weekends we have been active with living history at both castle Ammersoyen (together with the re-enactment group Het Woud der Verwachting) and at the Historic open air museum in Eindhoven. The ladies of our group have been very busy working on the recreation of the Thomasteppich (of which the original resides in cloister Wienhausen in Germany). Last Sunday Katinka finalised the first row of the tapestry, which allowed us to see this part of the story of Saint Thomas in its full glory.

The last few stitches by Katinka before this row is finished: five-and-a-half years work.

 Embroidering the last threads of the first row of the St.Thomastapestry in the Historic open air museum in Eindhoven, the Netherlands.

 
The complete view of the first row of the Thomas tapestry.

 The first row of the Thomasteppich on the table.

Earlier that Sunday, St. Thomas (in the small shrine) clearly blessed that day's work on the tapestry.

Tuesday, 21 August 2018

Pieces of St. Thomas and St. Joseph

When visiting several churches and musea in Tuscany, Italy, we discovered some pieces of the patron saints of the woodworkers: Saint Thomas and Saint Joseph. The reliquary of St. Thomas likely contained another arm bone (his skeleton in Ortona is missing several arm bones), while that of St. Joseph contained an unknown piece of him. The containers for the reliquaries were 'modern', dating from the 17th and 18th century.

Reliquary of Saint Thomas (Tommaso), third quarter of the 17th century, gilded bronze.
 Santa Maria della Scala, Siena, Italy.

 
Reliquary of Saint Joseph (Giuseppe), 18th century. 
San Gimignano Museum of Sacred Art,  San Gimignano, Italy.

Friday, 8 December 2017

Christ as a 16th century woodworker by Hieronymous Wierix

Many woodworkers know the cover of the book 'The History of Woodworking Tools' by W.L. Goodman which displays a woodworking bench surrounded by all the possible tools that can be used with the woodworking trade. The engraving was the frontispiece of an early 16th century book by Hieronymus Wierix containing engravings of the Youth of Christ. Hieronymus Wierix (1553–1619) was a Flemish engraver born in Antwerp as the son of Anton Wierix, a painter, but also known as a cabinet maker. Both Hieronymous, as well as his brothers Johannes (1520-1572) and Anton II are knon as engravers. It is thought that Hieronymus and Johannes were trained as artist by a goldsmith, while the younger Anton II received his training by his  older brother. The Wierix brothers started their career making engravings after works of known artist like Albrecht Dürer (e.g. an engraving of Dürers Melancholica by one of the Wierix brothers exists). The Wierix brothers became employed by the Antwerp publisher Christopher Plantin. However, they had a notorious reputation for disorderly conduct. Plantin complained in 1587 that whoever wanted to employ the Wierix brothers had to look for them in the taverns, pay their debts and fines and recover their tools, since they would have pawned them. Plantin also wrote that after having worked for a few days the brothers would return to the tavern; the publisher regularly had to repay their debts. 

The frontispiece of the book 'The youth of Christ' by Hieronymous Wierix with a workbench and many woodworking tools. Image by Rijksmuseum, Amsterdam, RP-P-1898-A-19903.

 

The youth of Christ


Despite their disorderly behaviour, they produced a large number of engravings of which the book 'The youth of Christ' (published around 1563, perhaps ordered by Joachim de Buschere) is of particular interest to us. As mentioned in the bible, Jesus grew up with Maria and Joseph, the last one being a carpenter. Not surprising that a lot of medieval 'holy family' images involve Joseph as a carpenter, Jesus as a young apprentice (sweeping shavings) and Maria doing some spinning or sewing.  Would a book on the early years of Christ perhaps also involve some carpentry? This is indeed the case. The book contains at least nine plates of Jesus with woodworking activities, excluding the frontispiece. As Hieronymous did know the woodworking trade from his father, all the tools and scenes are very - correctly - detailed. 


Thanks to the Rijksmuseum (Amsterdam) where the originals are kept, and the online versions can be found for free in the Rijksstudio. Here some smaller versions of the engravings are presented. As my knowledge of Latin is zero, I am unfortunately not be able to translate the the text below each engraving.

  
 
Starting with a felled tree, it is cut into shorter pieces by a two-handed belly saw by Joseph and Jesus. An angel holds a rule and an axe is found on the ground. The tree is resting on an X-frame. Maria is sitting at a spinning wheel. Image by Rijksmuseum, Amsterdam, RP-P-1904-792. 

 
The tree is being squared by Joseph with an axe. Jesus collect the wood chips and almost gets his head chopped of if not for the protection of the angle. Maria is winding the spinned thread on a wheel. Image by Rijksmuseum, Amsterdam, RP-P-1904-790.




































 

Next, boards have to be sawn from the squared tree. Jesus and Joseph are sawing together using a large frame saw (the pit saw). Christ also keeps a large rule next to him. One the ground a variety of tools can be found: a mallet, a square, an axe, a chisel and a compass; and near Joseph a hammer and wedge. The angels check if the wood is straight, while Maria is spinning by hand. Image by Rijksmuseum, Amsterdam, RP-P-1904-793


























Now the house can be built. Joseph is hammering trenails into the frame of the house with a mallet (as does one angel). Jesus drill holes in the frame with an auger, wile another angel produces the trenails with a chisel. On the right a workbench can be seen with more tools: two planes, an axe, a rule and brace. Note between the plane and the brace is some almost undefinable tool. The form suggest this is a holdfast. Furthermore, the workbench has one leg set at an angle. Maria is winding thread spools. Image by Rijksmuseum, Amsterdam, RP-P-1898-A-19907.




















 











The house being built, it now needs a roof. Joseph is kneeling on a scaffold and hammering nails using a metal hammer. Jesus is bringing some lattice rails to him. On the bottom right, the same workbench as before with a frame saw, plane, axe, mallet and chisel. Note that the workbench has a hole (next to the axe handle) where a holdfast would perfectly fit. Under the handle of the mallet likely a bench dog or a holdfast can be seen. Maria is breaking flax. Image by Rijksmuseum, Amsterdam, RP-P-1898-A-19908.














 

















The house is ready, now the garden wall has to be erected. Joseph drives in the stakes with a mallet, while Jesus nails the horizontal rails with a hammer with help of two angels. One the left bottom, the workbench is seen with a frame saw, a chisel and a holdfast. One the ground a brace (piercer) is seen. Maria makes a flower crown. Image by Rijksmuseum, Amsterdam, RP-P-1898-A-19909.

 











 

Inside the house, we now get a view of the workshop op Joseph. The top shelf contains numerous block and moulding planes and a box with some tools (pincer). The rail below holds a compass, and a set of gouges and chisels. On a pin beneath hang two different types of squares. On another pin on the right are two frame saws. Against the pile of wood, also the blade of a two-handed saw is seen. Joseph is working with a foreplane on the workbench. Also on the workbench, a holdfast and a gauge are seen. Meanwhile Jesus enjoys himself blowing soap bubbles and Maria and Anna are preparing cloth with a scissor. Image by Rijksmuseum, Amsterdam, RP-P-1898-A-19905.















 














Another scene of the inside of house with Maria cooking and Jesus sweeping the floor. An angel is gathering the wood that Joseph is splitting outside with a maul and wedge. Image by Rijksmuseum, Amsterdam, RP-P-1904-791.

 Finally, to be able to do some fishing a boat is made. Joseph is hamming nails into the board planks, while Jesus and the angles do some caulking. On the ground a two-handed saw and an spoon auger, while on the boat itself a brace and an adze are found. Maria seems to be knitting. Image by Rijksmuseum, Amsterdam, RP-P-OB-66.866.



































 

 

 

 

Other engravings with woodworking tools


The making of the cross also needs some woodworking tools and they are frequently depicted in crucifixion scenes. The engravings of Hieronymous Wierix on this theme are no exception. Usually the tools are present or carried in a wicker basket/toolbox.

 
In these two engravings the child Jesus is already carrying the cross together with the tool basket.
 In it are a hammer, brace and pincer.
Images by Rijksmuseum, Amsterdam, RP-P-OB-66.883 and RP-P-1926-686.

  
Three scenes from the crucifixion. The carpenter has a two-handed saw, brace, pincer, chisel, claw-hammer. The scene where the cross is prepared has two carpenters working with a brace. They use their breast to give pressure on the drill. Images by Rijksmuseum, Amsterdam, RP-P-1904-110, RP-P-OB-66.824 and RP-P-1911-492.

Other Saints



Hieronymous Wierix are made a series of engravings of Saints and Apostles, one of which is Saint Thomas. Unfortunately, Thomas does not carry a square or compass here, but only the spear. Image by Rijksmuseum, Amsterdam, RP-P-1984-26.

Johannis Wierix

Johannis, the brother of Hieronymous has a different style of engraving. Also he has made an engraving with woodworking tools.

The flight to Egypt. Joseph carries the tools of his trade with him in a wicker basket on a large two-handed saw resting on his shoulder. The basket contains a brace, chisel, square, compass and a mallet. 
Image by Rijksmuseum, Amsterdam, RP-P-1904-1221.

Wednesday, 26 April 2017

A new visit to Kloster Wienhausen

Yesterday we went for our second visit to Kloster Wienhausen in Germany. This cloister - one of the six protestant female convents around the Luneburger Moor - hosts the famous Thomasteppich dating from the fourteeth century. During our first visit, five years ago, we saw the Thomastapestry for the first time and Anne and Katinka hatched the plan to embroider a (bit smaller(but still large) replica of this tapestry. Several blog posts have shown the progress of their work and now we wanted to show and compare the tapestries. We also had some questions on the tapestry which we hoped to solve as well. Like the previous time one of the konventualinnen - Frau Daenicke, who is also an expert on the tapestry stitchings - showed us around and answered our curiousity.

 
Our tapestries at the entrance of the cloister together with konventonalin Frau Daenicke.

The rows of the original tapestry were embroidered separately, just like Anne and Katinka are doing. However, the linen shrinks during the embroidery process, so both our rows likely end up having a slightly different width. Did this also happen with the original tapestry? This is quite possible. The end scene of the second row shows Thomas in prison. Next to the prison is a tree with a cut-off branch, but there are still some lines of blue and green next to it, which could indicate an extension of the row. On the other side of the same row, the space next to the throne is relatively large.

Another of our questions was how the rows were fixed to each other. This could probably be seen from the backside of the tapestry; however, as the tapestry nowadays is fixed in its showcase, this was not possible to see. There was however a part of another tapestry where the method of attachment could be seen. For this fragment, a 'hexenstich' was used, which is used for instance for seams and is a bit elastic. With this knowledge we again had turned our attention to the original Thomasteppich. What we then noticed was that the rows of text were neatly attached to the rows with the images. Likely the sewing together of both image-rows was hidden beneath the text row; and the added text row thus provided extra strength to the tapestry.

Some parts of the Thomastapestry have been cut off, most notably the top decorative row and part of the left decorative row that surrounds the tapestry. According to Frau Daenicke, there are still some fragments of the tapestry in the museum depot, e.g. a dragon that used to be part of the top row. The top row would thus have looked more or less similar to the bottom row.

Another thing we noticed was that the wool the nuns used to embroider the Thomasteppich was much thicker that the wool used by us. The spinned threads also looked more rough, having thicker dots of wool at places along the threads. Such unequal thickness of the thread have made embroidering more difficult for the nuns.

 
The 'old' and 'new' Thomastapestries together in the museumroom. 
From our tapestry 2 rows are almost ready (lying on the table).

After the meeting of the Thomas tapestries, we also received a small tour of this inspiring convent were we were shown some additional Thomasses, as well as some unique and interesting medieval furniture.

 'Unbelieving' St. Thomas on the ceiling of the nonnenchor of the chapel. The complete walls and ceilings of the chapel are covered with paintings dating from the 1325 (of course restored as can be seen by the bright colours). It is an impressive sight, showing the wealth of colour in medieval buildings.

'Unbelieving' St. Thomas putting his finger into the ressurected Christ. It is one of the images on the inside of the doors of the 'holy grave' reliquary shrine of Kloster Wienhausen. The shrine itself dates from the late thirteenth century. The inside shows 30 scenes of the Vitae Christi. The paintings on the shrine seem to be of a later date, more likely 15th century, according to the type of clothing the figures are wearing. The texts on the Thomas image are: D(omi)n(u)s meus et deus meus. [My Lord and my God] by Thomas. Mitte manum tuam et cognosce loca clauorum  [Take thy hand and know the place of the nails] by Christ. A complete description of the scenes and texts can be found on this site [in German].

Tuesday, 29 March 2016

Saint Thomas for sale


A late medieval sculpture of Saint Thomas is currently for sale at Period Antiques, for the price of 'only' 6,950 UK pounds (around 8,800 Euro). This is unfortunately above the budget of the St. Thomasguild, so we will have to do with the set of high quality photos that the antique shop provides. This Saint Thomas is made of oak and made around 1480. Thomas is holding a carpenters square, which is also correctly made for a square of this period. In his other hand he is holding a leather girdle book. The sculpture is 5 cm high and 28 cm wide.

 The carpenters square is made of wooden rails.The carpenters square he is holding is quite large.

The girdle book. The leather cover folds over the book and has a knot which is 
put under the girdle/belt in order to carry the book.

A girdle book of around 1500, now in the Beinecke Rare Book Library (Beinecke MS 84) of Yale University, USA. The book contains a work by Boetius 'De consolatione philosophiae' together with short notes on medical recipes, including 'Medicyn for the Colyk' (in Dutch). The mathematical work of Boetius formed the base for the medieval board game rithmomachia, which rules are often found at the end of the reproduced works of Boetius; however not in this book. More on girdle books can be found on this medieval book blog.

Friday, 11 September 2015

The bones of Saint Thomas

I was curious if there were some relics of our guild patron saint Thomas spread over Europe (or India). The answer is yes - and, surprisingly, there is an almost complete skeleton of him! The story is that after Saint Thomas was slain, he was initially buried in India. In the 3rd century, however, his bones were transported to Edessa in Mesopotamia (the place from the feast with the hand of the cupbearer) by the Indian King Mazdai (Misdeus), where a tomb was build for him. In 13th century the bones were 'rescued' together with the tombstone to Italy, as the shrine with the bones was threatened by the Turks. The relics made an intermediate stop at the island of Chios in the Aegean. From there they were stolen by Leone Acciaiuoli, captain of a ship from the fleet of Manfred, prince of Taranto, and taken to Ortona in Italy were they arrived on 6 September 1258. In Ortona, the relics were kept in the basilica San Thomasso Apostolo, which was desecrated by the Turks in 1566. After this event the remains were kept in an gild copper urn that was made in 1612 by Tommaso Alessandrini from Ortona.

From the 17th century to today, the shrine has been opened several times to do some surveys (which bones are there) and even some research. Between 1983-1986, the shrine was opened for a protection and preservation project. The opportunity was also taken to do some scientific research on the bones of the apostle. This was done under supervision of prof. dr. Arnaldo Capelli, prof. dr. Sergio Sensi, prof. dr. Luigi Capasso (paleopathology) and prof. dr. Fulvio Della Loggia, all from the Faculty of medicine from the University of Chieti. The anthropological examination on the remains of the skeleton established that the bones belonged to a relatively long male individual with delicate bone structure, with a height of 1 metre 60 cm plus/minus 10 cm. At the age of death the individual was between 50 and 70 years old, with a fracture of the right cheekbone caused by a sharp blow shortly before or after death. The person did also suffer from rheumatism or artritis, which could be seen at the small joints of the hands. Furthermore, a small osteoma (bone tumour) was found in the frontal region of the skull.

  
 The gild copper urn holding the most of the remains of Apostle Thomas.

As can be seen from the photo of the skeleton, several bones are missing, especially the bones of the arm. In 1953, a wrist bone of the right arm was extracted from the Ortona skeleton and given to the Indian church. It now resides at the Marthoma Pontifical Shrine in Koddungalloor in Kerala, India, one of the places where Thomas supposedly has built a church.


The shrine with the right wrist bone of Apostle Thomas in Koddungalloor. 

Another bone from the arm of Thomas is found in a relic in the church of Saint Nicholas in Bari, Italy. The Cronicon Bari mentions that a French bishop, cousin of Baldwin of Le Bourg, Lord of Edessa, returning in 1102 from the Holy Land and from Edessa, left the relic of St. Thomas the Apostle in the Basilica in Bari, The reliquary itself is dated to 1602-1618 and has the form of a right arm holding a spear in the iconography of the martyrdom suffered by the Apostle, and rests on a base containing a relic of the Magdalene. The bone of Thomas can be seen through a window of the reliquary. In 2009, the bone was measured and compared to the bones in Ortona. The upper arm bone has a length of 23 cm; this can be used to calculate the full body length, resulting in a length of 163.4 cm plus/minus 2 cm, more or less the same as the skeleton in Ortona. The left upper arm of Bari is missing in Ortona, so this bone could be from the same person. 

Imm1
The reliquary S. Tommaso Apostolo in Bari. The central window shows a rectangular bone set.

Imm2
On the long sides that surround the window, some words are carved: on the left side from bottom to top "Brachii SANCTI THOMAE Apostles" and on the right side in descending order "ECCLESIAE SANCTI NICOLAI BARENSIS".


Surprisingly, another arm bone of Thomas is found in Maastricht, the Netherlands, in the treasury of the Basilica of  St. Servaes. Curiously, the treasury text mentions this as the right arm bone of St. Catherine, but the text that can be seen through the window of the reliquary clearly state: St. Thomas Apollona (Apostle). Perhaps this is the missing right upper arm bone from the Ortona skeleton.




The reliquary containing a right arm bone of St. Thomas in Maastricht, the Netherlands.

Also some finger bones are lacking in Ortona. The bone from the index finger of 'doubting' Saint Thomas, which touched the wound of Christ, can be found in the Basilica Santa Croce in Gerusalemme in Rome Italy. Some say that this relic has been in Santa Croce from the time of St. Helen (third century, i.e. the time that the body was moved to Edessa). In the centre of the reliquary, remade after the French revolution,  is an oval case with both sides of crystal in which a holder in the shape of a finger with two openings in the side is placed. Through the openings the finger bone can be clearly seen. Some other finger pieces of Thomas did return from Edessa to India (instead of to Europe). A reliquary with some hand bones is preserved in the St. Thomas Museum in Milapore.

The index finger of St. Thomas in Rome, Italy.


Piece of a hand Bone of St. Thomas in the St. Thomas Museum in Milapore, India.


Finally, a second skull of Saint Thomas exists (really a miracle!) in the Greek orthodox monastery of Saint John the Theologian on the island on Padmos, Greece. It is kept in a large embossed silver goblet with a lid of silver with a very rich Venetian rug. Byzantine Emperor Alexios Kommenos (11th century) had the relic bound with silver strips, both lengthwise and over the top. Where the silver strips crossed, they were adorned with precious stones. After it was completed, it was presented to St. Christodoulos, the founder of the monastery.

The second skull of Thomas Apostle in an orthodox monastery on the island Padmos in Greece. 

Other Thomas artefacts


Some other artefacts related to St. Thomas are his tombstone, which made the same trip from Edessa to Ortona as the skeleton, and also resides in the Basilica San Thomasso Apostolo. The tombstone measures 137 by 48 cm and has a thickness of 48 cm and is made of chalcedone. This tombstone is actually a plaque used to cover a tomb made of lower quality material, a practise used in early Christian times. The plaque has an inscription and a bas-relief that similar to those in the Syrian Mesopotamian area (i.e. where Edessa is situated). The inscriptions are in Greek unicals and are dated from the 3rd to 5th century and mention 'thomas osios' (holy Thomas or Saint Thomas). More careful study of the inscription found some traced signs over the words, which would change the meaning slightly to that of 'the real Thomas'. The bas-relief depicts a religious figure with a halo in the act of imparting, with the right hand, the blessing (according to the rites of the Eastern Church and indicating the first two letters, in Greek, of the word Christ).  In the left hand he holds an object that could be a sword, which is a clear reference to the martyrdom of Saint Thomas. The lower part of the stone has two holes of different sizes, such as those found in various tombs of the early centuries of Christianity,  in order to introduce balms or make libations on the grave of the deceased. When it came to the tomb of a martyr, the broader was also used to provide relics from contact. 

 A close look at the tombstone from Edessa in the Basilica San Thomasso Aposotolo in Ortona. 

The following relic of Saint Thomas is a bit strange; it is said to be the tip of the lance that took the life of the saint. It was recovered from the (original Indian) grave during a Portuguese excavation in the 16th century and is now preserved in the Milapore St. Thomas Museum in India. However, it is also said (see above) that Saint Thomas was slain by a sword, which would mean this reliquary is a hoax. Death by the sword is also depicted on the Thomas Teppich in Wienhausen, Germany and in the windows of Chartres Cathedral in France.


The reliquary with the tip of the lance that took the life of St. Thomas 
in the Milapore St. Thomas Museum.

Modern science


Now imagine what you can do with all these bones using modern 21st century research techniques (not those employed 1983): check his exact age using C14 radiocarbon dating; extract some DNA from the bones or teeth and you would have the complete genome of the doubting Apostle himself. Having the genome, the geographic origin of the skeleton can be deduced (does he come from the Galilee region). As Thomas is sometimes called Dydimus ('the twin' - in fact the name Thomas means twin in Aramese), he is therefore by some thought to be the brother of Jesus (for instance in the Book of Thomas the Contender, one of the New Testament apocrypha represented in the Nag Hammadi library, a cache of Gnostic gospels secreted in the Egyptian desert). If one takes this to be true, then you would have the genetic material of Maria and Joseph as well (actually the brother idea might not be that strange: Joseph was a carpenter and likely would pass his knowledge to his siblings. If Thomas was given the woodworking knowledge by Joseph, his voyage to India to build a palace is less far-fetched as it seems). More down-to-earth, simple DNA fingerprinting (a now common forensic technique), would also allow to compare all the scattered arm bones of the saint. Check, for instance, if  the forearm in Bari and the index finger in Rome originate from the same person. 

And you could also use 3-D forensic facial reconstruction techniques to shape the face of Thomas in clay...

Sources used:

Website of the Basilica San Thomasso Apostolo.
The website of Keith Hunt on Doubting Saint Thomas in India
And many other internet sources, including some utterly confusing Indian ramblings on St. Thomas.