The final chapter of this volume explores the conversation on Jesus held between material and textual sources, where monumental works of sculpture extend salvific themes found in the lives of saints and the verses of poets. Merovingian meditations on Jesus are multivocal, reflecting the cross-cultural rhythms of a world open to and receptive of external influences, whether originating in classical or biblical texts or hailing from Mediterranean or Northern lands. In order to prove this hypothesis on the Merovingian body and the embodied savior, three works of sculpture produced during the early Middle Ages serve as sounding boards for Jesus’ earthly ministry as enacted by human players: the crucified savior featured on the seventh-century Moselkern Stele; the eighth-century Hypogée des Dunes’s sculpted relief of the two thieves crucified along with Jesus; and the so-called Niederdollendorf “Christ,” carved most likely in the seventh century. Saintly actors, such as Radegund of Poitiers (d. 587), animate three themes expressed in the sculpted sources respectively: (1) absence, (2) torture, and (3) light. The three subjects—light, torture, and absence—all point to strategies of integrating the realm of humanity within the celestial spheres, and each motif tracks different styles of meditating on Merovingian Jesus.
