Franconia Art and Architecture in Germany’S Medieval Heartland
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The Empty Tomb
content regulars Vol 24 No 299 April 2021 6 gHOSTLy cOunSEL 3 LEAD STORy 20 views, reviews & previews AnDy HAWES A Missioner to the catholic on the importance of the church Movement BOOkS: Christopher Smith on Philip North introduces this Wagner 14 LOST SuffOLk cHuRcHES Jack Allen on Disability in important role Medieval Christianity EDITORIAL 18 Benji Tyler on Being Yourself BISHOPS Of THE SOcIETy 35 4 We need to talk about Andy Hawes on Chroni - safeguarding cles from a Monastery A P RIEST 17 APRIL DIARy raises some important issues 27 In it from the start urifer emerges 5 The Empty Tomb ALAn THuRLOW in March’s New Directions 19 THE WAy WE LIvE nOW JOHn TWISLETOn cHRISTOPHER SMITH considers the Resurrection 29 An earthly story reflects on story and faith 7 The Journal of Record DEnIS DESERT explores the parable 25 BOOk Of THE MOnTH WILLIAM DAvAgE MIcHAEL LAngRISH writes for New Directions 29 Psachal Joy, Reveal Today on Benedict XVI An Easter Hymn 8 It’s a Sin 33 fAITH Of OuR fATHERS EDWARD DOWLER 30 Poor fred…Really? ARTHuR MIDDLETOn reviews the important series Ann gEORgE on Dogma, Devotion and Life travels with her brother 9 from the Archives 34 TOucHIng PLAcE We look back over 300 editions of 31 England’s Saint Holy Trinity, Bosbury Herefordshire New Directions JOHn gAyfORD 12 Learning to Ride Bicycles at champions Edward the Confessor Pusey House 35 The fulham Holy Week JAck nIcHOLSOn festival writes from Oxford 20 Still no exhibitions OWEn HIggS looks at mission E R The East End of St Mary's E G V Willesden (Photo by Fr A O Christopher Phillips SSC) M I C Easter Chicks knitted by the outreach team at Articles are published in New Directions because they are thought likely to be of interest to St Saviour's Eastbourne, they will be distributed to readers. -
The Capital Sculpture of Wells Cathedral: Masons, Patrons and The
The Capital Sculpture of Wells Cathedral: Masons, Patrons and the Margins of English Gothic Architecture MATTHEW M. REEVE For Eric Fernie This paper considers the sculpted capitals in Wells cathedral. Although integral to the early Gothic fabric, they have hitherto eluded close examination as either a component of the building or as an important cycle of ecclesiastical imagery in their own right. Consideration of the archaeological evidence suggests that the capitals were introduced mid-way through the building campaigns and were likely the products of the cathedral’s masons rather than part of an original scheme for the cathedral as a whole. Possible sources for the images are considered. The distribution of the capitals in lay and clerical spaces of the cathedral leads to discussion of how the imagery might have been meaningful to diCerent audiences on either side of the choir screen. introduction THE capital sculpture of Wells Cathedral has the dubious honour of being one of the most frequently published but least studied image cycles in English medieval art. The capitals of the nave, transepts, and north porch of the early Gothic church are ornamented with a rich array of figural sculptures ranging from hybrid human-animals, dragons, and Old Testament prophets, to representations of the trades that inhabit stiC-leaf foliage, which were originally highlighted with paint (Figs 1, 2).1 The capitals sit upon a highly sophisticated pier design formed by a central cruciform support with triple shafts at each termination and in the angles, which oCered the possibility for a range of continuous and individual sculpted designs in the capitals above (Fig. -
7 X 11.5 Three Lines.P65
Cambridge University Press 978-0-521-19744-1 - The Jew, the Cathedral, and the Medieval City: Synagoga and Ecclesia in the Thirteenth Century Nina Rowe Index More information S Index Aachen, 152, 162 Ekbert von Andechs-Meran, bishop, 150, 151, Alan of Lille, 216, 225 152–3, 161, 162–3, 164, 165, 175, 185, Albigensian Crusade, 123 187–9, 274n14, 275n25, 276n46, 277n50 Albrecht I, emperor, 226 Otto II von Andechs-Meran, bishop, 152, 188 Albrecht von Käferberg, archbishop of Magdeburg, Poppo von Andechs-Meran, provost and 187 bishop, 150–1, 163, 175, 185, 188, 189, Alexander II, pope, 25 274n14 Alsace, 166, 214, 219, 229–30, 231, 247, 288n111 structure and adornment Altercatio Ecclesiae et Synagogae. See pseudo-Augustine Adamspforte, 146, 155 Amiens angel installed at eastern choir, 160 cathedral of, 99 Bamberg Rider, 2, 10, 147, 148, 155, 156, 160, diocese of, 120 162, 164, 165, 176, 179, 182–3, 187–90, Andechs-Meran family, 152–3, 188 281n111, 281n112 Andlau, imperial castle at, 230 construction history of building, 153, 162–3 Andrew, king of Hungary, 152 Devil blinding Jew, 140, 146, 172, 176, 178 Annales marbacenses, 231 Ecclesia and Synagoga at, 2–6, 10, 15, 39, 40, antiquity, medieval interest in, 5, 9, 52, 55–8, 82–4, 81–4, 140, 147–8, 155–9, 162, 164–5, 169, 98–103, 159–62, 164, 185, 211–12 172, 176, 178, 179–85, 187–8, 189–90, 191, Aphrodisias, Sebasteion at, 42–4 211, 213, 229, 236, 239, 241, 242, 243 Armleder massacres. See Jews, attacks on Fürstenportal, 140–1, 146–7, 150, 153–6, Assizes of Messina, 166 158–9, 162, 163–5, 169–72, -
Building of Christendom Pdf, Epub, Ebook
BUILDING OF CHRISTENDOM PDF, EPUB, EBOOK Warren H. Carroll | 616 pages | 15 Nov 2004 | Christendom Press Books | 9780931888243 | English | Front Royal, United States Building of Christendom PDF Book As the Western Roman Empire disintegrated into feudal kingdoms and principalities , the concept of Christendom changed as the western church became one of five patriarchates of the Pentarchy and the Christians of the Eastern Roman Empire developed. Main articles: History of science in the Renaissance and Renaissance technology. Developments in western philosophy and European events brought change to the notion of the Corpus Christianum. In Protestant churches , where the proclamation of God's Word is of special importance, the visitor's line of view is directed towards the pulpit. Christendom at Wikipedia's sister projects. The Church gradually became a defining institution of the Empire. Main article: Basilica. But thanks to the Church scholars such as Aquinas and Buridan , the West carried on at least the spirit of scientific inquiry which would later lead to Europe's taking the lead in science during the Scientific Revolution using translations of medieval works. Rachel rated it it was amazing May 31, Archived from the original on 2 February This is a story of faith, of failure, and of ultimate salvation. Joseph Scott Amis rated it really liked it Jan 13, CIA world facts. The notion of "Europe" and the " Western World " has been intimately connected with the concept of "Christianity and Christendom"; many even attribute Christianity for being the link that created a unified European identity. Random House Publishing Group. February Andrew Dickson White Eric Jackson rated it it was amazing Oct 08, Harcourt, Brace and Company. -
Tilman Riemenschneider's Monochrome Sculpture
Tilman Riemenschneider’s monochrome sculpture: an examination of its origins. by RUTH MARIE BUTTERY A thesis submitted to The University of Birmingham for the degree of Master of Philosophy Department of History of Art The University of Birmingham September 2009 Abstract This thesis explores the origins of the monochrome works of Tilman Riemenschneider (c.1460-1531) to clarify if this was an intentional finish. It focuses on the sculptor’s Münnerstadt, Rothenberg and Creglingen altarpieces. The discussion which combines new observations with previous scholar’s theories, examines the nature of the monochrome glaze and Riemenschneider’s carving of detailed sculptural surfaces to enhance the monochrome altarpieces; places Riemenschneider’s use of the monochrome medium in its social context, addressing both religious and secular concerns; researches the influence of three-dimensional and two-dimensional media on Riemenschneider’s development of the monochrome aesthetic; and investigates a theory put forward by Michael Baxandall concerning the use of natural sunlight in Riemenschneider’s monochrome altarpieces. The examinations conclude that monochrome was indeed an intentional finish by Riemenschneider, which in my view is strengthened though out this discussion by new comparisons between Riemenschneider and Jan Borreman (a Netherlandish contemporary). Similarities of compositional design, such as spatial arrangements and the use of windows in the back of the corpus demonstrate the likelihood of a connection between them. Acknowledgments I would like to thank the following people for their help; Julien Chapuis, The Metropolitain Museum of Art, New York. Judith Champ, St. Mary’s College, Oscott. Kim Woods, The Open University. The Manager at All Saints Church, Pocklington. -
Painted Wood: History and Conservation
PART FOUR Investigations and Treatment 278 Monochromy, Polychromy, and Authenticity The Cloisters’ Standing Bishop Attributed to Tilman Riemenschneider Michele D. Marincola and Jack Soultanian 1975, Standing Bishop was acquired for The Cloisters collection, the Metropolitan Museum of IArt, New York. This piece—considered at purchase to be a mature work of Tilman Riemenschneider (ca. 1460–1531), a leading German mas- ter of Late Gothic sculpture—was intended to complement early works by the artist already in the collection. The sculpture (Fig. 1) is indisputably in the style of Riemenschneider; furthermore, its provenance (established to before 1907) includes the renowned Munich collection of Julius Böhler.1 The Standing Bishop was accepted as an autograph work by the great Riemenschneider scholar Justus Bier (1956), who was reversing his earlier opinion. It has been compared stylistically to a number of works by Riemenschneider from about 1505–10. In the 1970s, a research project was begun by art historians and conservators in Germany to establish the chronology and authorship of a group of sculptures thought to be early works of Riemenschneider. The Cloisters’ sculptures, including the Standing Bishop, were examined as part of the project, and cross sections were sent to Munich for analysis by Hermann Kühn. This research project resulted in an exhibition of the early work of Riemenschneider in Würzburg in 1981; The Cloisters sent two sculptures from its collection, but the loan of the Standing Bishop was not requested. Certain stylistic anomalies of the figure, as well as several Figure 1 technical peculiarities discussed below, contributed to the increasing suspi- Standing Bishop, attributed to Tilman cion that it was not of the period. -
ST. HENRY CATHOLIC CHURCH 24750 W. Lower Buckeye Rd
ST. HENRY CATHOLIC CHURCH 24750 W. Lower Buckeye Rd. Buckeye, AZ 85326 July 12, 2020 CLERGY SUNDAY MASS SCHEDULE Fr. William J. Kosco, Pastor Saturday Vigil . 5:00pm Fr. Kevin Penkalski, Sábado (Español) . 7:00pm Parochial Vicar Sunday . 8:00am Dcn. Mark Gribowski 10:00am Dcn. Victor León Domingo (Español) . 12:00pm Dcn. Nick Bonaiuto Prayer For a New . (Español) . 6:00pm Parish Home Receptionist Lord, help us in our endeavor to Flor de liz López build a new home. Enlighten us to DAILY MASS see how You are leading us, both SCHEDULE Secretary as a Church and as a family. Nancy Vela Through the intercession of Mon. Tue. Thurs. Fri. 8:30am St. Henry, we ask for guidance and Wednesday . 12:00pm noon inspiration during this journey of faith so that the fruit of our labor may live on for many CONFESSIONS generations. OFFICE HOURS Amen Wednesday 3:00 - 5:00pm Oración Por un Nuevo Hogar Monday - Friday Parroquial ADORATION 9:00am - 12:00pm Señor, ayúdanos en nuestro es- fuerzo de construir un nuevo ho- Wednesday 1:00 - 5:00pm gar. Ilumínanos, para ver como Tú Parish Office: nos guías como Iglesia y como fa- www.sthenrybuckeye.com milia. Por medio de la intercesión de San Enrique, Te pedimos nos Facebook: (623) 386-0175 guíes y nos inspires durante esta jornada de fe, a fin de que el fruto St. Henry Catholic Church E-mail: de nuestra labor perdure para mu- chas generaciones. Buckeye, AZ [email protected] Amen July 12, 2020 Fifteenth Sunday in Ordinary Time Our Patron: St. -
18347 Workshop of Tilman Riemenschneider the Twelve Disciples Germany, Middle Franconia, Abenberg? C
18347 Workshop of Tilman Riemenschneider The Twelve Disciples Germany, Middle Franconia, Abenberg? c. 1510 - 20 Central panel: 33 x 115 cm, Side panels: 30 x 55 cm Provenance By repute from the Marienkapelle in Abenberg, Middle Franconia; Bayerisches Nationalmuseum, Munich (Inv. MA 1797-99); Sold to the Bernheimer Gallery in 1951; Christie's London, 14 December 1999, lot 48. Published Graf, Hugo. Katalog des Bayerischen Nationalmuseums. M. Rieger: Munich, 1896, pp. 72. Weniger, Matthias. Tilman Riemenschneider: Die Werke im Bayerischen Nationalmuseum, Munich, 2017, Fig. 7.16. Description These three masterfully carved panels originally belonged to a predella supporting a monumental altarpiece. Depicting the twelve disciples, the panels are attributed to Tilman Riemenschneider’s workshop or his close circle. They are reputed to come from a church in Abenberg and were housed at the Bavarian National Museum until 1951. The figures of disciples on the long panel are divided into two groups of three. They include Matthias with an axe, Paul with two swords, Peter with the keys, John with a chalice, Thomas with an axe, and James, the son of Alphaeus, with a fuller’s club. The first short panel includes Simon with the saw, Jude with the club, and Andrew with the saltire. The second short panel includes Bartholomew with a knife, Philip with a cross, and St James with the scallop shell on his hat. The figures wear contemporary 16th century dress. The reliefs are set in against a flat background crowned by ornate tracery above. The back of the longer panel supporting the figures appears to have been cut down. -
Exhibition Advisory-3.15.17.Pdf
Image captions on page 6 (Los Angeles—September 19, 2016) The Los Angeles County Museum of Art (LACMA) is pleased to present Renaissance and Reformation: German Art in the Age of Dürer and Cranach. Coinciding with the 500th anniversary of the Reformation, the exhibition brings to Los Angeles some of the greatest achievements of German Renaissance art. As the only U.S. venue of the exhibition, LACMA offers a unique opportunity to view masterpieces of this period, which have rarely been displayed outside of Germany. The period under consideration (1460–1580) was marked by conflicts, civil wars, and complex relationships with neighboring countries, but it also witnessed a flourishing of many states and cities, reflected in the skills of their craftsmen. Additionally, the era was characterized by profound changes in thought, philosophy, science, and religion, spearheaded by Martin Luther’s writings, which in turn transformed the work of many artists of the day such as Albrecht Dürer, Lucas Cranach, Hans Holbein, Mathias Grünwald, Tilman Riemenschneider, and Peter Vischer. These revolutionary ideas and innovations played a transformational role in the development of modern Western societies. Organized with the Staatliche Museen zu Berlin, Staatliche Kunstsammlungen Dresden, and the Bayerische Staatsgemäldesammlungen München, and made possible by the German Foreign Office, the exhibition comprises over 100 objects, including paintings, drawings, sculptures, arms and armor, as well as decorative arts. “Renaissance and Reformation—organized in cooperation with these three German institutions—provides a rare opportunity to view works by artists not typically represented in local collections in Los Angeles,” said Michael Govan, LACMA CEO and Wallis Annenberg Director. -
Management Plan for the UNESCO World Heritage Site “Town of Bamberg”
Management Plan for the UNESCO World Heritage site “Town of Bamberg” 1 PUBLISHING INFORMATION Commissioned by City of Bamberg World Heritage Office Untere Mühlbrücke 5 96047 Bamberg Germany www.welterbe.bamberg.de/en Conceptual Development Bamberg World Heritage Office Patricia Alberth M.Sc. (Editor-in-Chief) Hannah Röhlen M.A. Diana Büttner, Dipl.Ing.(FH), M.A.(Univ.) Hannah Gröner M.A. Process Design and Support michael kloos planning and heritage consultancy Prof. Dr-Ing. Michael Kloos Baharak Seyedashrafi M.A. Philipp Tebart, Dipl.-Ing. Lothringerstrasse 95 52070 Aachen Germany www.michaelkloos.de Visual Space Analysis Peter Eisenlauer, Dipl.-Ing. Architektur & Stadtplanung Tengstrasse 32 80796 Munich Germany www.eisenlauer-muenchen.de Layout _srgmedia Stefan Gareis Translation Rachel Swift © 2019 2 FOREWORD Unique, authentic, deserving of preservation – for 26 years now the Town of Bamberg has been a designated UNESCO World Heritage site. Alongside the Great Wall of China, Machu Picchu and other important sites, it numbers among the over one thousand cultural and natural sites worldwide which have been acknowledged as having an Outstanding Universal Value by UNESCO the cultural organization of the United Nations. In order to improve the communication, decision-making and operational processes in all matters related to our World Heritage, Bamberg City Council resolved in 2014 to commission a new Management Plan for the UNESCO World Heritage site “Town of Bamberg”. This plan is now complete. It is an important planning instrument, vital for the protection, use, maintenance and sustainable development of the Bamberg World Heritage site. The World Heritage Manage- ment Plan is also a requirement of UNESCO. -
Iv G Kili Iz Chimera of Arezzo
G kili iz Chimera of Arezzo iv ABSTRACT Gothic sculpture in the understanding of art was arranged in arrays solemn church next to the main door. The church was decorated with sculptures describing the outer surface of the subjects received the Torah and the Bible. Artists, they have achieved a mastery Perceiving the structure of the body underneath clothes folds gradually. In the 12th century the main task of the sculptor was to try to northern cathedrals. The best examples of 14th century sculpture sculptures were made from precious metals and ivory to private chapels. to avoid the inclination to figure giving the impression stiffness was also achieved in this century. Although the statue after the first listen associated with mortals only began to be described; It passed from one figure to many figures. 13 sculptures tended to look like mortal men after century. Mary, just as a holy woman, he played as a host. British gothic architecture depends on the statue but was given after the 13th century. In Germany, the sculpture was always starting from Bamberg Cathedral weight. German sculpture increasingly more connected to nature, took an independent direction. The most important of Gothic sculpture made in understanding art and alarm Gargoyle Chimera. In this study, it has spread to the branches of which were the subject of understanding and Gothic art, which means that the load times have also been told that in our culture works remaining from the Ottoman period and that period. In the last chapter " Chimera of Arezzo " sculpture is also studied . This statue, which is a people who migrated from Italy has been a major factor in both the Greek and Italian selected to host the Asian culture and craftsmanship. -
Enthüllungen. Restaurierte Kunstwerke Von Riemenschneider
28 Bildwerkund Reliquiar Eine Muttergottes aus der Werkstatt Riemenschneiders Ausdem Münchner Kunsthandel erwarb das Germanische Natio- Die Zuschreibungsfrage nalmuseum 1907 eine Halbfigur der Muttergottes, die bis heutezu den schönstender hier aufbewahrtenmainfränkischen Arbeiten Offenbar warenvor allem mainfränkische Provenienz – damals der Spätgotik zählt (Abb. 1). Der Bestimmungsortder Holzskulp- erklärtesDesiderat auf dem Gebietspätmittelalterlicher Skulptur tur istunbekannt. Angeblichsoll sie an der Fassade eines Privat- in der Sammlung des Museums – und unzweifelhafthohe Qualität hauses in der Nähe vonWürzburg gestanden haben. Ihr ursprüng- des Stücks für den Ankauf ausschlaggebend. Hinsichtlichder licher Platz wardas sicherlichnicht. Wann und wie sie dorthin genauen Zuordnung dagegen bestand vonAnfang an Unsicher- gelangte, istebenso unklar wie der Zeitpunkt der kolportierten heit. Während das StückimAnzeiger des Germanischen National- Übertragung an einen Würzburger Händler namens Schmitt, der museums 1907 nämlichals »Holzskulptur vonTilman Riemen- sie an den dortigen Juristenund Universitätsprofessor Robert schneider« vorgestellt wurde, istdie Notiz im etwa gleichzeitig Piloty vermittelte. Vondaging sie in den Besitz des Pariser Kunst- gedruckten Jahresbericht weniger enthusiastisch. Wiewohl hier sammlersAlphonse Kann über,umschließlich1907inMünchen voneinem »Meisterwerk« gesprochen wird, heißt es einschrän- aufzutauchen. kend, dass das Bildwerk»nachCharakteristik der Formenbe- Die als Halbfigur abgebildete Jungfrau trägt das