Optical and Acoustic Aura in the Medieval Image: The Golden Retable of the Pentecost at Stavelot

Abstract

This study explores optical and sonic brightness–aura–in the medieval church interior by focusing on one object: the golden retable of the Pentecost at Stavelot (Belgium). Its metal surface changes and becomes radiant in candlelight, in contrast to its static and dormant presence in the steady electric light of the standard museum display. This phenomenon–ephemeral brightness–was purposefully activated in the medieval ritual in order to offer the faithful an optical experience of the divine. Phenomenal aura exemplifies how matter imbued by the Spirit becomes alive, purified and perfected. The subject matter of the retable, a scene of Pentecost, further inscribed this descent of Pneuma in the visible. Its in-dwelling causes a return (choros) to the image of God. Thus, the enlightened apostles begin to mirror the imago Christi. The retable further links optical luminosity with sonic aura by means of a chant inscribed on the panel. The way the bright tones of this melody are spatialized traces the same principles of choros and mirroring in the sonic. To uncover the cultural significance of optical and acoustic aura, this analysis relies on texts produced or used at Stavelot, the vitae of the patron saint Remaclus, a treatise on the Eucharist composed by Alger of Liège (c. 1060–c.1131), the letters of Wibald, Abbot of Stavelot, Malmedy, Montecassino, and Corvey (1130–1158), his personal sacramentary, and the liturgy and poetry written at the monastery of Cluny for the feast of Pentecost.