Pilgrimages in Images: Early Sixteenth-Century Views of the Holy Land with Pilgrims' Portraits As Part of the Commemoration of the Jerusalem Pilgrimage in Germany
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Pilgrimages in Images: Early Sixteenth-Century Views of the Holy Land with Pilgrims' Portraits as Part of the Commemoration of the Jerusalem Pilgrimage in Germany Bart Holterman Final thesis for the Research Master Ancient, Medieval, and Renaissance Studies, Utrecht University, under supervision of Bram van den Hoven van Genderen. Second reader: Michele Campopiano (University of York). 11 May 2013. TABLE OF CONTENTS List of Figures 2 Introduction 6 The late medieval Jerusalem pilgrimage 12 Motivation of pilgrims 14 Pilgrimage and social status 15 Chivalric values and Crusading ideology 17 Social composition 19 Decline of the Jerusalem pilgrimage 20 Pilgrimage in Protestant thought 21 The Ottoman expansion in religious discourse 24 Ottoman expansion and Jerusalem pilgrims 25 Commemoration of the Jerusalem pilgrimage 28 Medals, pilgrims insignia, tattoos, relics 28 Travel reports 29 Foundations: chapels, almshouses, Stations of the Cross 33 Confraternities of Jerusalem pilgrims 34 Portraits of Jerusalem pilgrims 35 Tomb monuments 41 Commemoration of the pilgrimage, commemoration of the dead 43 Commemorative ensembles 44 The views on the Holy Land with pilgrim's depictions: appropriation of a commemorative theme 46 1. The Gotha panel 46 2. The Powerscourt panel 54 3. The Liegnitz panel 56 4. The Neuburg tapestries 57 Depictions of the Holy Land in the late Middle Ages: possible sources 60 Summary 67 Commemoration of the pilgrimage at the court of Frederick the Wise of Saxony 69 Biography and political context 69 Frederick's pilgrimage and travel report 70 Commemoration of the pilgrimage 71 Jerusalem pilgrims from Nuremberg: The Ketzel family 74 Socio-political circumstances: Nuremberg and the patriciate 74 Commemoration of the Jerusalem pilgrimage by the Ketzel family 77 Commemoration of the pilgrimage in Nuremberg 80 Interpretation 82 Ottheinrich and the Neuburg tapestries 85 Biography and political circumstances 85 The pilgrimage diary 86 Commemoration of the pilgrimage at the Neuburg court 88 A closer look: The tapestries in relation to the travel report and the Gotha panel 90 Tapestry production at the Neuburg court 93 Interpretation 96 Conclusion 97 Bibliography 100 Appendix A: Overview of portraits of Jerusalem pilgrims 110 Appendix B: Transcriptions of the texts on the views of the Holy Land with pilgrims' depictions 115 Appendix C: Overview of the depicted scenes on the views of the Holy Land 119 2 LIST OF FIGURES Fig. 1. The 'Jerusalem tapestry', showing the city of Jerusalem and surrounding holy places, with prayer portraits of Count Palatine Ottheinrich and his travel companions, 1541. Munich, Bayerisches Nationalmuseum, inv. no. T3860. 4 Fig. 2. The 'Jaffa tapestry', showing the Holy Land with the holy places outside Jerusalem, such as Bethlehem, Ramla, and Jaffa, including the pilgrims' ship and various scenes with pilgrims and Turkish soldiers. Neuburg an der Donau, Schlossmuseum Neuburg. 5 Fig. 3. The 'Gotha panel', depicting a view on the Holy Land with the prayer portrait of duke Frederick the Wise of Saxony, who made the pilgrimage in 1493. Gotha, Schlossmuseum Friedenstein, inv. no. SG77. 7 Fig. 4. Map of the Holy Land (detail) from Bernhard von Breydenbach's Peregrinatio in terram sanctam, 1486. Woodcut by Erhard Reuwich. 11 Fig. 5. Portrait of an unknown knight of the Holy Sepulchre, carrying a palm branch, a Jerusalem cross on a necklace, and a charter in his hand. 1562. 15 Fig. 6. The Chapel of the Holy Sepulchre in Görlitz, end of the fifteenth century. 22 Fig. 7. 12 Members of the Haarlem confraternity of Jerusalem pilgrims, by Jan van Scorel, c.1528. Van Scorel is depicted third from the right. 36 Fig. 8. Arnold von Harff on a camel, MS Oxford, Bodleian Library, Bodl. 972, f. 80r. 39 Fig. 9. Death and the duke, showing the coat of arms and facial features of the pilgrim Caspar von Mülinen, from the Bern Dance of Death. Watercolour of Albrecht Kauw (1649) after the mural by Niklaus Manuel, c.1515-1519. 40 Fig. 10. Tomb slab of Heinrich Ketzel, 1438, at the outside of the west choir of the Church of St Sebald, Nuremberg. 42 Fig. 11. Various depictions of pilgrims, clockwise from top left: in Jerusalem (Gotha panel), idem (Jerusalem tapestry), on horseback near Ramla (Jaffa tapestry), idem (Gotha panel). 46 Fig. 12. Gotha panel (detail): ein heydenisch her. 47 Fig. 13. The caves of St Peter on the Gotha panel (left) and Reuwich's map (right). 48 Fig. 14. 'An Islamic punishment' on the Jaffa tapestry (left) and the Gotha panel (right). 49 Fig. 15. 'Araben' (Gotha panel, left) and 'die witten leut garba genannt' (Jaffa tapestry, right). 49 Fig. 16. Gotha panel (detail): Stations of the Cross and vaulted alleyways (souks). 50 Fig. 17. Back of the Gotha panel with eight kneeling members of the Ketzel family 53 Fig. 18. The 'Powerscourt panel' (lost), after 1503. In: Hofmann, 'Wallfahrtsbilder vom heiligen Lande'. The panel included praying figures from the Ketzel family, but these have been cut off of the photograph. 54 Fig. 19. Ottheinrich's two tapestries taken together, their borders removed: the landscape connects neatly. 58 Fig. 20. The Dome of the Rock as 'Zentralbauwolkenkratzer' on the Road to Calvary after Jan van Eyck (Budapest, Museum of Fine Arts). 60 Fig. 21. Map of the Holy Land from the travel report of Sebald Rieter, 1479, MS Munich, Bayerische Staatsbibliothek, Cod. Icon. 172. The red rectangle indicates the spot where four pilgrims are depicted. 61 Fig. 22. Lamentation of Christ (epitaph for Adelheid Tucher-Gundelach), 1483. Nuremberg, Germanisches Nationalmuseum, inv. no. Gm 1486. 62 Fig. 23. Pilgrims' vessels. Top: Jaffa tapestry, View of Modon by Reuwich, bottom: galley on the Gotha panel, galley on Reuwich's view of the Holy Land. 64 Fig. 24. Map of the Holy Land from Konrad Grünemberg's travel report, 1487, MS Karlsruhe, Badische Landesbibliothek, St. Peter 32, ff. 35v-36r. 65 Fig. 25. Resurrection of Christ and view on Jerusalem with prayer portraits of Jean Godin and family, after 1465. 66 3 Fig. 26. Hans Memling, Scenes from the Passion of Christ (The 'Turin passion'), c.1471. Turin, Galleria Sabauda, inv. no. 358. 67 Fig. 27. Page from the Wittenberger Heiltumsbuch (1509), woodcut by Lucas Cranach the Elder. 72 Fig. 28. Pilgrimage panel of the Ketzel family, after 1503. Nuremberg, Germanisches Nationalmuseum, inv. no. Gm 851. 78 Fig. 29. Back of the lower half of the painted pedigree of the Ketzel family. The top left field depicts a small view of the Holy Land. 80 Fig. 30. Albrecht Dürer, Paumgartner altar, 1500. Munich, Alte Pinakothek, inv. Nos. 701, 702, 706. The left wing contains St Georg carrying the facial features of Stefan Paumgartner. 82 Fig. 31. Harness of Ottheinrich. Paris, Musée de l'Armée, inv. no. G 137. The neck piece shows an engraved necklace with a Jerusalem cross. 89 Fig. 32. Jaffa tapestry (detail): Baptism of Christ, pilgrims drowning in the Jordan, and taken up by angels. Small image: Habakkuk taken up by an angel, detail of the Gotha panel. 91 Fig. 33. Jaffa tapestry (detail): Pilgrims attacked by Turks near Jaffa. 92 Fig. 34. Kneeling figure of Ottheinrich (Jerusalem tapestry, left) and the Martyrdom of St George (Jaffa tapestry, right). 93 4 Fig. 1. The 'Jerusalem tapestry', showing the city of Jerusalem and surrounding holy places, with prayer portraits of Count Palatine Ottheinrich and his travel companions, 1541. Munich, Bayerisches Nationalmuseum, inv. no. T3860. 5 Fig. 2. The 'Jaffa tapestry', showing the Holy Land with the holy places outside Jerusalem, such as Bethlehem, Ramla, and Jaffa, including the pilgrims' ship and various scenes with pilgrims and Turkish soldiers. Neuburg an der Donau, Schlossmuseum Neuburg. 6 INTRODUCTION In the Bayerisches Nationalmuseum in Munich hangs a tapestry from 1541, displaying a view of Jerusalem and the surrounding countryside west to east (from now on: the Jerusalem tapestry, fig. 1). Within the city and its surroundings, small scenes are depicted indicating the sites of episodes from the New and Old Testament: in the city the Stations of the Cross (the via dolorosa) ending at the Church of the Holy Sepulchre; outside the city walls episodes such as the Martyrdom of St Stephen just outside the gates, the Assumption of the Virgin Mary, the Betrayal of Christ, the Hanging of Judas, the Last Supper, and so on. However, not all scenes are based on the Bible: on the south side of the city seven figures can be discerned, just entering the city. They are wearing dark brown cloaks and hats. What they are supposed to represent becomes clear when we look at what is happening in the foreground, in front of the city. Nine harnessed persons are kneeling here, their hands folded in prayer. The first person, whose harness is made of gold, is identified by a short text: “Ser durchleuchtig hochgeborn fürst und her her Otthainrich, pfaltzgraf bey Rein, herrzog in Nidern- und Obern Bairn, zoge uber mer gem Ierusalem zum Heiligen Grab, im iar nach der gepurt Cristi 1521.” The tapestry is first and foremost a commemoration of the pilgrimage that Ottheinrich, Elector Palatine, made in 1521. The persons kneeling behind him were his travel companions, and the unidentified figures in brown in Jerusalem are the pilgrims moving around in the Holy Land. There is, however, a curious side to the praying figures in the foreground: they have turned their backs to the city of Jerusalem and are looking to a point on the right outside the tapestry. If we would like to see what they are looking at, we have to leave Munich and travel about 100 kilometres north, to the small city of Neuburg an der Donau. Another tapestry hangs in the local castle (from now on: the Jaffa tapestry; fig.