The reliquary shrine of Saint Odilia in Borgloon (1292): An iconographical reconstruction

Abstract

A remarkable thirteenth-century reliquary shrine of Saint Odilia kept in the Church of Saint Odulphus in Borgloon (Belgium) – notably the oldest dated example of panel paintings in the Low Countries – has been the topic of several art historical studies. These studies attempt to unravel the iconography of the painted panels, indicating how they should be interpreted, and in which order. The difficulty of this, however, lies in the fact that the reliquary shrine has been fully overpainted but also dramatically modified in the seventeenth century to fit into a smaller location. In the process, the original roof panels were modified, with sawn-off elements lost to time. The reliquary shrine, commissioned by the Order of the Holy Cross in Huy (Belgium) in 1292, depicts multiple scenes, on all sides, that illustrate the life of Saint Odilia.

Scholars have regularly drawn on published legends of Odilia from the seventeenth and eighteenth centuries, but no consensus on the source of the images has ever been reached. The current article, however, draws attention to a much earlier, fifteenth-century manuscript of the legend of Saint Odilia that is kept in the library of the University of Liège. The manuscript, written by Wolterus of Nijmegen in 1467 with references to an even older version from 1291, has rarely been associated with the reliquary shrine, but it is of vital importance for the analysis and interpretation of the paintings. In bringing this version of the legend of Saint Odilia together with recent material-technical research carried out at the Royal Institute for Cultural Heritage (KIK-IRPA) in Brussels, a new iconographic analysis and reconstruction of the reliquary shrine is presented here.

It can now be verified that each panel had to be read from left to right, with the first roof scene with the arrival of the virgins in Rome originally positioned above the murder scene in Cologne. The second scene on the roof, where Saint Ursula receives the Pope’s blessing, was placed above the excavation and translation of Odilia’s relics. Additionally, the depiction of Saint Ursula with a banner can be seen as a highly unusual example of panel painting in the Low Countries, and it probably even shows the oldest depiction of the Pope in relation to the Saint Ursula cult. Finally, this study shows how the shrine was used: each pilgrim was given the opportunity to experience the legendary life of Saint Odilia in chronological order by walking around the reliquary shrine not once, but twice.