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Economic Factors and the Cult of Saint Anne: Augsburg and Annaberg 81 7 Functions and Perceptions: How People Used Images 99 8 Anne’S Decline 121 9 the Images 133

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Economic Factors and the Cult of Saint Anne: Augsburg and Annaberg 81 7 Functions and Perceptions: How People Used Images 99 8 Anne’S Decline 121 9 the Images 133 01.Nixon_front pp.00i-xiv 9/17/04 10:02 AM Page i Mary’s Mother 01.Nixon_front pp.00i-xiv 9/17/04 10:02 AM Page ii Image not available 01.Nixon_front pp.00i-xiv 9/17/04 10:02 AM Page iii Mary’s Mother Saint Anne in Late Medieval Europe Virginia Nixon the pennsylvania state university press university park, pennsylvania 01.Nixon_front pp.00i-xiv 9/17/04 10:02 AM Page iv Disclaimer: Some images in the original version of this book are not available for inclusion in the eBook. Library of Congress Cataloging-in-Publication Data Nixon, Virginia, 1939– Mary’s mother : Saint Anne in late medieval Europe / Virginia Nixon. p. cm. Includes bibliographical references and index. 1. Anne (Mother of the Virgin Mary), Saint—Cult— Germany—History. 2. Germany—Religious life and customs. I. Title. BT685.N59 2004 232.9'33—dc22 2004000482 Copyright © 2004 The Pennsylvania State University All rights reserved Printed in the United States of America Published by The Pennsylvania State University Press, University Park, PA 16802-1003 The Pennsylvania State University Press is a member of the Association of American University Presses. It is the policy of The Pennsylvania State University Press to use acid-free paper. Publications on uncoated stock satisfy the minimum require- ments of American National Standard for Information Sciences— Permanence of Paper for Printed Library Materials, ansi z39.48–1992. 01.Nixon_front pp.00i-xiv 9/17/04 10:02 AM Page v Contents List of Illustrations vii Preface and Acknowledgments xi Introduction 1 1 The Early History of the Cult of Saint Anne 11 2 Changes in the Late Fifteenth Century 21 3 Saint Anne and Concepts of Salvation in Late Medieval Germany 41 4 Salvational Themes in the Imagery of Saint Anne 55 5 Anne’s Promoters: Why Did They Do It? 67 6 Economic Factors and the Cult of Saint Anne: Augsburg and Annaberg 81 7 Functions and Perceptions: How People Used Images 99 8 Anne’s Decline 121 9 The Images 133 Notes 165 Bibliography 197 Index 211 01.Nixon_front pp.00i-xiv 9/17/04 10:02 AM Page vi 01.Nixon_front pp.00i-xiv 9/17/04 10:02 AM Page vii List of Illustrations Title, dates, and other information are those supplied by the institutions owning the works of art. Sculptures, unless otherwise noted, are of wood. 1. Tilman Riemenschneider, Anna Selbdritt, 1490–95. Sandstone. Photograph Rolf Nachbar. Reproduced by permission of the Mainfränkisches Museum, Würzburg. 2. Hans Leinberger, Anna Selbdritt, 1513. Kloster St. Johann im Gnadenthal, Ingolstadt. Photograph and permission to reproduce Kloster St. Johann im Gnadenthal and the Kulturamt, Ingolstadt. 3. Leonardo da Vinci, The Virgin and Child with St. Anne, ca. 1510.Louvre,Paris. Photograph and permission to reproduce Reunion des musées nationaux / Art Resource, New York. 4.Mosan,Anna Selbdritt, ca. 1270/80. Photograph and permission to reproduce Liebighaus Museum Alter Plastik, Frankfurt am Main. 5.Hans Greiff,Sainte-Anne Trinitaire Reliquary Statue, 1472. Silver gilt and enamel. Musée national du Moyen Age—thermes et hôtel de Cluny, Paris. Photo- graph and permission to reproduce Reunion des musées nationaux / Art Resource, New York. 6. Saint Anne Reliquary, fourteenth century, with later additions. Silver gilt. Anna- kirche, Düren. By permission of Katholische Pfarrgemeinde St. Anna, Düren 7. Thomas Anselmus, Holy Kinship, 1501. Woodcut. Pforzheim. Photograph and permission to reproduce Staatsbibliothek Bamberg. 8. Master of the Legend of Saint Barbara, Virgin Enthroned with Angels, 1470–1500. Photograph Brian Merrett, Montreal Museum of Fine Arts. Reproduced by permission of the Montreal Museum of Fine Arts. 9. Hans Holbein the Elder, Anna Selbdritt Katharinenaltar, 1512. Augsburg Staatsgalerie. Photograph and Permission to reproduce Bayerische Staats- gemäldesammlungen. 01.Nixon_front pp.00i-xiv 9/17/04 10:02 AM Page viii viii List of Illustrations 10. Madonna and Child, ca. 1310. Stone. Lorenzkirche, Nuremberg. Photograph and permission to reproduce Stadtarchiv Nürnberg. 11. Northeast Germany, Anna Selbdritt, late thirteenth century. Molded plaster. Nikolaikirche, Stralsund. Photograph and permission to reproduce Kirchenvereinamt, Stalsund. 12. Jan van Steffeswert, Anna-te-Drieen, 1511. Photograph and permission to repro- duce Bonnefantenmuseum, Maastricht. 13.Casper,Anna Selbdritt Plague Sheet, 1494. Woodcut. Augsburg. Photograph and permission to reproduce National Museum, Stockholm. 14. Swabia, Anna Selbdritt (side panel, Fugger Altarpiece), mid-sixteenth century St. Markus in der Fuggerei, Augsburg. Photograph and permission to reproduce Fürstl. u. Gräfl. Fuggersche Stiftung. 15.Lucas Cranach,Relics of Saint Anne, Woodcut (Wittenberger Heiligtumsbuch, book 581/82,p.69). Photograph Jörg P.Anders. Reproduced by permission of the Staatliche Museen zu Berlin, Preussischer Kulturbesitz, Kupfer- stichkabinett/bpk. 16. Holy Kinship from Rabis, Thuringia, ca. 1500. Thüringer Museum, Eisenach, on loan from the Evangelisch-Lutherischen Kirchgemeinde Schöngleina mit Rabis. Photograph and permission to reproduce Klaus G. Beyer. 17. Albrecht Dürer, The Holy Kinship with the Lute-Playing Angels, 1511.Woodcut. Photograph Jörg P.Anders. Reproduced by permission of the Staatliche Museen zu Berlin, Preussischer Kulturbesitz, Kupferstichkabinett/bpk. 18. Daniel Mauch, Saint Anne Altarpiece, 1510. Bieselbach parish church, Chapel of St. Francis Xavier, Bieselbach. Photograph and permission to reproduce Medienzentrale Landkreis Augsburg. 19.Lucas Cranach,Holy Kinship, 1509. Woodcut. Photograph Jörg P.Anders. Reproduced by permission of the Staatliche Museen zu Berlin, Preussischer Kulturbesitz, Kupferstichkabinett/bpk. 20. Lucas van Leyden, Saint Anne with the Virgin and Child, 1516. Engraving. Photo- graph Jörg P.Anders. Reproduced by permission of the Staatliche Museen zu Berlin, Preussischer Kulturbesitz, Kupferstichkabinett/bpk. 21. Dirck van Hoogstraten, Anna-te-Drieen, 1630. Photograph and permission to reproduce Museum Amstelkring. Amsterdam. 22. Bavaria, Anna Selbdritt, late fourteenth century. Photograph and permission to reproduce Bayerisches Nationalmuseum, Munich. 23. Master of the Ortenberg Altar, Ortenberg Altar, ca. 1420–30.Photograph and permission to reproduce, Hessisches Landesmuseum, Darmstadt. 01.Nixon_front pp.00i-xiv 9/17/04 10:02 AM Page ix List of Illustrations ix 24. Quentin Massys, Triptych of the Saint Anne Confraternity at the Church of Saint Peter in Louvain, 1509. Photograph and permission to reproduce Museés royaux des Beaux-Arts de Belgique, Brussels. 25.Flanders,Anne and Joachim at Home (Saint Anne Altarpiece), late fifteenth cen- tury. Photograph Ursula Seitz-Gray. Reproduced by permission of the Historisches Museum, Frankfurt an Main. 26.Brabant,Mechelen,Anna-te-Drieen, 1515–24. Photograph Ruben de Heer. Reproduced by permission of Museum Catharijneconvent, Utrecht. 27. Swabia, Anna Selbdritt Private Devotional Altarpiece (Hausaltarchen), ca. 1490. Photograph and permission to reproduce Metropolitan Museum of Art, The Cloisters Collection, New York. 28. Strasburg master, Anna Selbdritt, 1470–early 1480s. Sandstone. Photograph and permission to reproduce Statliche Museen zu Berlin, Skulpturen- sammlung. 29.Brussels,Holy Kinship, 1500–1510. Musée du Parc du Cinquantenaire, Brussels. Photograph and permission to reproduce Musées royaux des Beaux-Arts de Belgique, Brussels. 30.Lower Rhine,Lamentation with the Anna Selbdritt, ca. 1500. Photograph and permission to reproduce Church of St. Michael, Schwalmtal-Waldniel. 31. Circle of Henning van der Heide, Schlutuper Altar, late fifteenth century. Photograph and permission to reproduce St. Annen-Museum, Lübeck. 32. Lübeck, The Children of Mary Cleophas (detail, Gertrudenbruderschaft Altar), late fifteenth century. Photograph and permission to reproduce St. Annen- Museum, Lübeck. 33. Atelier of the Master of Rabenden, Sainte Anne, la Vierge et l’Enfant, 1515–20. Musée d’Unterlinden, Colmar. Photograph O. Zimmermann. Reproduced by permission of the Musée d’Unterlinden, Colmar. 34. Vulva as pilgrim with phallus staff and rosary, ca. 1375–1425.Found at Reimerswaal, Holland. Stichting Middeleeuwse Religieuze en Profane Insignes. Photograph courtesy of H. J. E. van Beuningen. Reproduced by permission of the Stichting Middeleeuwse Religieuze en Profane Insignes. 35. Bernhard Strigel, Saint Mary Salome and Her Family, ca. 1520–28. National Gallery of Art, Washington, D.C., Samuel H. Kress Collection. Photograph and permission to reproduce National Gallery of Art, Washington, D.C. 36.Flemish,Saint Colette’s Devotion to the Holy Kinship (Saint Anne Altarpiece), late 1400s. Photograph and permission to reproduce Historisches Museum, Frankfurt am Main. 01.Nixon_front pp.00i-xiv 9/17/04 10:02 AM Page x 01.Nixon_front pp.00i-xiv 9/17/04 10:02 AM Page xi Preface and Acknowledgments growing up in a Catholic milieu in Ontario and Quebec, I assumed that I was familiar with the imagery of Mary’s mother, Saint Anne. The images I knew were depictions of the Education of the Virgin and statues of Saint Anne holding the child Mary, the first having roots in English medieval art, the second drawing on a tradition of French sculptures going back to the Saint Anne statue at Chartres. It was years before I discovered there was an entire body of Anne imagery that I knew nothing about. Exploring churches and museums in Germany, I saw statues and paintings in which an adult Anne carried both Mary, depicted as a child, and the Infant Jesus, in her arms. I was curious to know why the artists who created these works had
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