Search	The Work of San Casciano Val di Pesa, Museo di Arte Sacra :: Processional cross Tuscan Manifacture, Late 14th century - early 15th century :: Martyrdom of St. Lucy Giovan Camillo Ciabilli, Late 17th century :: Thurible Tuscan Manifacture, Dated 1775 :: Navicule Tuscan Manifacture, Dated 1775 :: Madonna and Child Gino Micheli da Castello, Dated 1341 :: Sculpted Column Master of Cabestany, Second half of the 12th century :: Chasuble Tuscan Manifacture, 16th century and late 15th century-16th century :: Cope Tuscan Manifacture, Late 17th century :: Madonna and Child Lippo di Benivieni, Second decade of the 14th century :: Coronation of the Virgin Neri di Bicci, Dated 1476 and 1481 :: The Archangel St. Michael and stories from the legend of his life Coppo di Marcovaldo, 1250-1260 ca. :: St. Anthony Abbot, St. Sebastian and St. Rocchus Master of Tavarnelle, 1510-1515 ca. :: Madonna and Child Ambrogio Lorenzetti, Dated 1319	.:. works .:. artists Sculpted Column Second half of the 12th century Master of Cabestany San Casciano Val Di Pesa, Museum of Religious Art Oriental alabaster; h. 87 x 58cm. Source: Oratory of the Pieve Vecchia of Sugana   This sculpture, a Romanesque work of the late 12th century, has been included in the corpus of the anonymous Master of Cabestany, who gets his name from a tympanum sculpted in the Parish Church of Cabestany in the area of Rossiglione. This attribution finds further confirmation when stylistically compared with the decoration of a capital in the Church of Sant'Antimo, which testifies to this artist's presence in Italy.Its strong formal similarity, united with the type of materials used (oriental alabaster) has also led to the theory that the column, now at San Casciano, was carried out for the above mentioned abbey. Various theories have been advanced as to what this column's original function must have been, as it was only later transformed into a Holy water stoup. It may have been an architectural element for an altar, or a candle bearer for the Easter candle. Its unusual scenic decoration shows a cycle of the Nativity (Annunciation, Announcement to the shepherds, Nativity and Bathing the Child), leading some experts to believe that it was once part of a baptismal font. The episode of the Bathing of the Child, a symbol of purification, is in fact placed in an important position and above that of the Annunciation, the sign of Redemption. Moreover the Angel Announcing the Nativity to the shepherds, the same angel as the one in the Annunciation, is shown in the act of awakening them and therefore bringing them back to a new life. Here the guiding star in the sky represents light, another important symbol of the baptismal ceremony. Characterised by the strong classical style typical of the sculpture in western France or northern Spain, this work is thought to come from the earliest stage in the Master of Cabestany's career. back print
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