Alessandro Sanquirico (1777 – 1849) was a renowned Italian painter and stage designer who created sets for many Italian theater companies, including La Scala. He also made contributions to the interior decoration of the Milan Cathedral (Duomo di Milano). This painting, c.1820-1839, is usually referred to as “The Tombs of the Knights Templar.” It probably represents some grand imaginary (?) vaulted hall where past glory of the great military order is kept safe and secure. On the left side one can see hosts of Templar knights in full battle gear.
Knights Templar Art & Posters
Institution of the Knights Templar Order by Pope Honorius II
At the Council of Troyes in 1129, Pope Honorius II approved the creation of the Order of the Knights Templar. The Latin rule (Regula pauperum commilitionum Christi Templique Salomonici) was accepted as the basis for the Order’s operations. Sometimes the date given for this event is 1128. Could it be because January 13, 1128 was Friday? 🙂 Regardless, a very important event in Templar history. It was depicted by the French painter François Marius Granet in 1840. I believe the original is now in Versailles. Maybe not much in terms of art history, but a treasured scene for those in the Knights Templar world.
“First Templars”, 1783
“Premiers Templiers en habit de guerre a cheval” (1783). An early modern image. Clearly in the 17th century they did not have a good concept of armor. The knights appear to be wearing masks, not helmets. A rather surreal sight. I was told that these must be early helmets with flat tops. So, it must be an unfortunate angle chosen by the artist.
“The Shadow” by Edmund Blair Leighton
Edmund Blair Leighton is known for his iconic works depicting medieval life in its most romanticized form: “The Accolade”, “God Speed”, “Tristan and Isolde” and many others. “The Shadow” is probably the most symbolic and enigmatic. A noble maiden is tracing the silhouette of her beloved knight on the castle wall. There is a ship clearly visible in the harbor, indicating the knight’s imminent departure, probably for the Holy Land. And be sure to notice the other shadow in the lower left quadrant of the canvass. The second shadow certainly adds depth to the painting, but it definitely creates an ominous presence. I also wonder if some people who got a chance to admire the painting (it exists in several authentic versions, I believe) had a strange feeling that their own shadow is being cast into the romantic past.
Naturally, this is not a Templar Knight, but he will probably go into battle alongside with the Poor Soldiers of Christ.
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