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Extra resources for Art Theory: A Very Short Introduction (Very Short Introductions)
The conceptual tension he describes between the image-as-medium and the image-as-object church, with identity theoretically carried over intact from panel to panel. The early fourteenth -century overpainting of parts of the panel was undertaken as a form of functional maintenance in the face of an increasing rate of stylistic change. The following centuries were the most dangerous for early panel paintings. Even the most famous of them fell so far out of step with the sequence of modern and ever more modern painting manners that they were routinely discarded.
And that meant that a striking modernization, paradoxically, became a collateral and almost accidental effect of the restoration project. 19 The evidence suggests that the rhythm of restoration of Tuscan panels quickened in the late thirteenth and early fourteenth centuries. A well-known example is Coppo di Marcovaldo's Madonna del Bordone of 1261, in the church of the Servi in Siena, the faces of which were repainted in the early trecento. 1 ° Coppo's Madonna in the church of the Servi in Orvieto, also from the 126os, underwent a similar intervention even before the end of the thirteenth century.
Yet throughout the Middle Ages, Christian travelers associated the structure, even identified it, with the Temple of Solomon. 6 5 ANACHRONIC RENAISSANCE described the Dome of the Rock with its cylindrical drum (erroneously polygonal in van Eyck's painting) and hemispherical cupola as the biblical temple. "9 The Crusaders took the city in 1099 and the Dome was for the first time open to Christians. In ll+l it was rededicated as a church. The Dome is usually described by Crusaders as Templum Domini, "Temple of the Lord," with reference to the Jewish temple as site of the Holy of Holies.