Sacred art was born in the Middle Ages as the principal artistic expression of Europe at the time. In the 12th–14th centuries, practically no painting existed outside of religious themes. All objects connected with Christianity were created for the furnishing of churches, expressed primarily through painting and sculpture.
Why is sacred art worth collecting? Because it represents part of Europe’s spiritual and cultural heritage. Because it is often the only accessible way to engage with the artistic creativity of past centuries. Because it is deeply symbolic art, carrying not only aesthetic beauty but also profound meaning. And finally, because the supply is limited, and like all rare and authentic art, its value does not diminish.
Cabinet Reliquary with Relic of the True Cross and 26 Saints, wood, textiles, Central Europe, 18th century
An 18th-century Baroque cabinet reliquary, a freestanding wooden display case of trapezoidal form, containing a total of 27 relics. The side walls and top are chamfered, widening toward the front. The interior is lined with burgundy velvet, trimmed with decorative borders of gold bullion thread.
At the center, set slightly forward from the back, is a raised textile reliquary in the form of a monstrance, embroidered with gold thread and richly adorned with bullion, filigree, miniature beads, and multicolored glass imitating precious stones. On the base and shaft are placed six relics, identified by inscriptions painted in gold on dark blue banderoles.
Within the central repository is a reliquary capsule with a convex glass cover, containing two fragments of the True Cross, surrounded by a radiant glory.
Above the “monstrance” is an oval image with an indistinct representation, encircled by 20 additional relics interspersed with decorative elements of bullion, beads, gold thread embroidery, and colored glass. At the level of the nodus are two larger relics (Ex Ossibus) of Saint Vincent and Saint Fortunatus, uniquely labeled on white banderoles.
A distinction should be made between a reliquary and a reliquary cabinet: a reliquary is a vessel that directly contains relics, whereas a cabinet reliquary serves as a structure housing and presenting them. This object is therefore not a typical example, as—besides the central textile reliquary in the form of a monstrance containing fragments of the Cross on which Jesus Christ died—it also incorporates an additional 26 relics of various saints placed directly within the composition, without individual containers.
Their preservation is ensured either by a fine mesh covering or solely by labeled banderoles. The relic of the True Cross is the only one enclosed within a glazed, and undoubtedly sealed, capsule.
The interior of the case, measuring 37.3 × 26.5 × 10 cm, is lined with burgundy velvet, trimmed with gold bullion thread.
Chapel with Our Lady of Czestochowa and Eagle, Poland, 19th century.
Christ Salvator Mundi, polychrome wood, Poland, 19th century.
Devotional Ring, Silver, Lviv, 1872-1920
Icon of Our Lady of the Dawn Gate, brass, enamel on metal, Poland, 19th century.
Irish (Celtic) cross, stone sculpture, Ireland, 19th century.
Madonna and Child, polychrome wood, gilded, Central Europe, 18th/19th century.
Relikwiarz z relikwią Krzyża Świętego i 4. świętych, brąz złocony, Europa Środkowa, XVIII w.
Barokowy relikwiarz w formie monstrancji, wykonany z brązu złoconego. Stopa owalna, wielostopniowa, zdobiona repusowanym i rytym ornamentem roślinnym. Trzon gładki z profilowanym nodusem. Reservaculum otoczone glorią gloria relikwiarza uformowana została ze strzępiastych, licznych promieni, na które nałożony jest kontrastujący ozdobny wieniec z pokryty rocaillami i motywami roślinnymi. W repozytorium umieszczona jest owalna kapsuła z blachy srebrnej, przeszklona od przodu. Szkło przy krawędzi zdobione ośmiobocznym fasetowaniem. Z tyłu pieczęć lakowa na sznureczkach. Na pieczęci widnieje herb: w ozdobnym kartuszu lew w lewo, a poniżej – oddzielony belką – naprzeciwlegle gryf w lewo. Całość wieńczy kapelusz kardynalski (Galero): kapelusz z szerokim rondem i zwisającymi sznurami z chwostami (fiocchi) będący oznaką godności kardynalskiej. Wewnątrz kapsuły umieszczono 5 relikwii, opisanych tuszem na banderolach.
Christ Crucified, wood, Spain (Pyrenees?), 12th-13th century.
The sculpture impresses with the pronounced rigidity of the body, typical of early Roman depictions. The calm yet poignant expression of Christ's face is emphasized by huge, forward-facing eyes set in deep eye sockets.
His gaze, however, is slightly lowered, emphasized by a prominent nose and large, spreading ears that frame his face. His hair falls symmetrically on his shoulders; a peculiar hairstyle draws attention - the hair, separated by a parting on top of the head, is arranged in rollers covered with densely diagonal cuts. Very similarly arranged hair, resembling braids, has the famous statue of Christ of Mig Aran, located in the church of Sant Miquèu de Vielha (Val d'Aran valley). The beard and mustache end in artificial, volute curls.