The Lucca Cathedral Museum exhibits one of the ivory diptychs commissioned by Flavius Areobindus Dagalaiphus Areobindus when he was installed as consul in Costantinopoli in 506, but already used for liturgical purpose in Lucca about 7th-8th century. Between his seven diptychs preserved, this is the only one without his portrait and it is also the only known diptych that has the unique representation of two pairs of crossed cornucopias, usually considered a symbolic way of rendering of Areobindus’ generosity: despite this unanimous explanation, the absence of any sign of his consular dignity seems very strange in an object carved out for its celebration, so it is hypothesized that the crossed cornucopias allude to the curule chair, the typical consular seat.
IL CONTENUTO VISIVO DEL DITTICO DI AREOBINDO DELLA CATTEDRALE DI LUCCA: UN’IPOTESI DI INTERPRETAZIONE
Capitanio, Antonella
2021-01-01
Abstract
The Lucca Cathedral Museum exhibits one of the ivory diptychs commissioned by Flavius Areobindus Dagalaiphus Areobindus when he was installed as consul in Costantinopoli in 506, but already used for liturgical purpose in Lucca about 7th-8th century. Between his seven diptychs preserved, this is the only one without his portrait and it is also the only known diptych that has the unique representation of two pairs of crossed cornucopias, usually considered a symbolic way of rendering of Areobindus’ generosity: despite this unanimous explanation, the absence of any sign of his consular dignity seems very strange in an object carved out for its celebration, so it is hypothesized that the crossed cornucopias allude to the curule chair, the typical consular seat.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
