Desecration of Host
The desecration of the Host refers to the alleged profanation of the wafer consecrated in the Roman Catholic ceremony of the Eucharist, and believed in the Catholic doctrine of Transubstantiation to become thereby the actual body of Jesus. The doctrine was first officially recognized at the Fourth Lateran Council of After that period it was widely held that in certain circumstances – for instance disbelief or desecration – the Host might show supernatural powers. At the same time, it was imagined in some Christian circles that the Jews, believing paradoxically (which they obviously could not if they remained Jews) that the consecrated wafer was in fact the very body of Jesus, desired to renew upon it and him the agonies of the Passion, by stabbing, tormenting, or burning it. Such was the intensity of their paradoxical hatred that they would not abandon their Jewish perfidy even if the sacred wafer manifested its indignation and its miraculous essence by shedding blood, emitting voices, or even taking to flight.
There is no need to regard as a wholly spiteful invention the statement that the consecrated wafer shed drops of blood, the most common manner in wh
The Miracle of the Desecrated Host
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The Miracle of the Desecrated Host is a six-panel tempera-on-panel predella by Paolo Uccello, painted between and for the Confraternity of the Corpus Domini and their oratory in the Corpus Domini church in Urbino. The predella was completed before van Wassenhove's work and Uccello received his last payment on 17 October (folio 37v) and the rules made by folio 38r (a total of 18 florins and 16 bolognini).
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Description
It shows a story of host desecration, possibly inspired by Bernardino of Siena's sermons, running from left to right and with each scene separated from the next by separately-painted half-balustrades. From left to right these show
- a woman exchanges a host with a Jewish merchant for a mantle or a Jewish usurer for money
- the Jew tries to burn the host, but it starts to bleed, alerting the guards
- a procession is organised to re-consecrate the host
- despite repenting, the woman is going to be hanged at the tree, however an angel descends from heaven to save her soul
- the
Paolo Uccello Biography In Details
In Uccello was in Urbino with his son Donato, where he was engaged until working for the Confraternity of Corpus Domini, a brotherhood of laymen. He painted part of the Corpus Domini predella with the Miracle of the Profaned Host. (The main panel was finished by Justus van Ghent with a scene from the "Communion of the Apostles" in ) Ucello's predella comprises six scenes, with meticulous naturalistic interiors, related to the antisemitic myth of host desecration, based on a supposed event in Paris in It was an effort by Duke Frederick of Montefeltro of Urbino to vilify the Jews, while tolerating somewhat Jewish activity. Not all these scenes are unanimously attributed to Paolo Uccello.
In his Florentine tax return of August he declared: "I find myself old and ailing, my wife is ill, and I can no longer work." In his last years, he was a lonesome, forgotten man, afraid of hardship in life.
His last known work is The Hunt, c.
He made his testament on 11 November and died shortly afterwards at the age of 78 on 10 December at the hospital of Florence. He was buried in his father's tomb in the Florentine chu
Art e Dossier
Paolo Uccello: biography
">Documentary sources tell us that the young Paolo worked with Ghiberti from to while the sculpture was making the first door of the baptistery in Florence. Perhaps his apprenticeship lasted until , but it is possible that his training was also influenced by the late-Gothic art of Gherardo Starnina. He became a member of the Guild of Physicians and Herbalists, to which painters belonged, sometime between and , and in joined the Compagnia di San Luca. The following year he journeyed to Venice where he stayed for five years and did the mosaic of St. Peter on the façade of St. Mark’s Basilica. In – but there is no consensus as to the date – he painted Scenes from Genesis in the Green Cloister of Santa Maria Novella in Florence. Between and he frescoed Scenes from the Life of the Virgin and Scenes from the Life of St. Stephen in the Prato cathedral. In he signed and dated the fresco of an Equestrian Monument to Sir John Hawkwood in Santa Maria del Fiore. In the mid-eighties Paolo Uccello was a highly successful painter on the Florentine artistic scene and was called to the cathedral () to draw the cartoons of the Resurrection and
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