Early Christian Palestinian ampullae and their interpretation

Abstract

This thesis reconsiders the iconography of the small group of early Christian pilgrims’ eulogiae known as Palestinian ampullae, in relation to the diaries of more or less contemporary pilgrims, and in connection with the Byzantine Christianity tradition. The importance of Palestinian Pilgrim ampullae in art history and their contribution in the developing of Christian iconography is under-appreciated and the ampullae also constitute evidence that relates to current research in the movement of people and ideas of late antiquity. The parallel between the iconography of the scenes engraved on these ampullae and the first-hand accounts of early Christian pilgrims sheds light on the formation of the sacred topography of the Holy Land in conjunction with the emperor Constantine’s church building programme. Four scene types in particular are discussed and analysed: the Crucifixion, the Resurrection, the Adoration of the Magi, and Doubting Thomas. The analysis of these focuses on the details as considered both individually and as part of the unique compositional scheme of the ampulla viewed as a form of visual art. The result reveals the multi-layered elements of the iconography, in both its historical and symbolic aspects. One level of the symbolism relates to the pilgrims’ own experience of early Christian worship at the holy places which the scenes represent. When the elements of the iconography are evaluated against the background of the Tradition of the Eastern Orthodox Church, the Christian symbolism inherent in the scene takes shape. This analysis is based on the ampullae collection of the Treasure of the Museum at Monza, but the ampullae from the collection at Bobbio are also considered.