DOCSLIB.ORG

Text Utan Kontext: En Granskning Av Kyrkobeskrivningar Utifrån Forskning Om Medeltida Antijudiska Motiv I Svenska Kyrkobyggnader

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Text Utan Kontext: En Granskning Av Kyrkobeskrivningar Utifrån Forskning Om Medeltida Antijudiska Motiv I Svenska Kyrkobyggnader Text utan kontext: en granskning av kyrkobeskrivningar utifrån forskning om medeltida antijudiska motiv i svenska kyrkobyggnader Uppsala Universitet Teologiska institutionen Kyrko- och missionsstudier D2 15 hp HT 2019 Författare: Malin Norrby Handledare: Kajsa Ahlstrand Betygssättande lärare: Ninna Edgardh Examinator: Cecilia Wejryd iii Abstract This study has a threefold aim: to make a theological contextualisation of four medieval anti- Jewish motifs in Christian iconography represented in churches in Sweden and to study how these motifs has been described and contextualised in guidebooks and other material written for the interested public from post-war to recent years. The study also explores the role of heritagisation and musealisation of the church buildings in relation to how the motifs are described in the material. There is also an underlying, constructive aim: to suggest how The Church of Sweden can work with these motifs in theological reflection and historical presentations to the public concerning this part of the cultural heritage. The motifs analysed are The Judensau, Ecclesia and Synagoga, Cain and a motif illustrating a medieval legend about the funeral of the Virgin Mary. They were all painted in Swedish churches in a time when there were no Jewish settlements in the area. The study argues that the iconography can be interpreted as an expression of othering and that the four motifs can all be theologically contextualised by using Jesper Svartvik’s threefold typology of Christian anti-Jewish discourse. The study further shows that very few of the texts in the guidebooks and other books in the material describes the motifs and contextualises them theologically. The study suggests that this can be related to the more than hundred years old heritagisation- and musealisation process in The Church of Sweden which has created a twofold and split role of the church as both manager of the religious mission and of the cultural heritage. It has not been the primary aim of the church to theologically contextualise the cultural heritage. New questions concerning the motifs arise in today’s multicultural and multireligious society. The study suggests that the church can approach the part of the cultural heritage which today is seen as problematic from David Lowenthal’s concept of an informed acceptance and tolerance of the past in order to be able to take responsibility for the future in dialogue with others. Keywords: Church history, Interreligious studies, Jewish-Christian relations, medieval iconography, othering, antisemitism, antijudaism, heritagisation, musealisation, Church of Sweden, Judensau, Ecclesia and Synagoga, Cain, medieval legends Innehåll Abstract ........................................................................................................................................................ iv Författarens tack ........................................................................................................................................ vii Kapitel I: Uppsatsens ramverk ................................................................................................................. 1 1.1 Inledning, syfte och avgränsningar .............................................................................................. 1 1.2 Material .............................................................................................................................................. 3 1.3 Metod ................................................................................................................................................. 6 1.4 Teoretiskt ramverk ........................................................................................................................... 6 1.4.1 Antijudaism eller antisemitism ................................................................................................. 6 1.4.2 Den Andre, andrefiering och identitetsskapande .............................................................. 9 1.4.3 Kristen antijudaism och judarna som kristnas första Andra ......................................... 12 1.4.4 Perspektiv på historiografi och historiebruk i kyrkorummet ........................................ 15 1.5 Forskningsöversikt ........................................................................................................................ 18 Kapitel II: Antijudisk ikonografi och samhällsförändring i det medeltida Västeuropa – en bakgrundsteckning .................................................................................................................................... 22 2.1 Den västeuropeiska bilden av judar och judendom under medeltiden – en historisk översikt ................................................................................................................................................... 22 2.1.2 En minoritet flyttar in ............................................................................................................ 22 2.1.3 1100-talet: samhällelig förändring, teologisk respons och bilden av en minoritet .. 24 2.1.4 En fiendebild konstrueras och grammatiken bryter samman ........................................ 25 2.2 Representationer av judar där inga judar bodde: antijudisk ikonografi i Skandinavien . 26 2.2.1 Antijudiska bilder i Skandinavien ...................................................................................... 26 2.2.2 Hur nådde de antijudiska bilderna Skandinavien? .......................................................... 27 2.2.3 Bildernas teologiska kontext och identitetsskapande funktion i Skandinavien ........ 29 Kapitel IV: Motiven och deras kontext ................................................................................................ 32 4.1 Judesuggan ...................................................................................................................................... 32 4.2 Ecclesia och Synagoga ................................................................................................................. 34 4.3 Kainsgestalten ............................................................................................................................ 36 4.4 Jungfru Marie begravning ............................................................................................................ 39 Kapitel V: Motiven i materialet – en historiografisk läsning ........................................................... 42 5.1 Judesuggan ...................................................................................................................................... 42 5.1.1.Härkeberga kyrka ................................................................................................................... 42 5.1.2 Uppsala domkyrka ................................................................................................................. 43 5.1.3 Sammantagen bild av materialet ......................................................................................... 46 5.2 Ecclesia och Synagoga ................................................................................................................. 47 5.2.1 Spånga kyrka .......................................................................................................................... 47 v 5.2.2 Uppsala domkyrka ................................................................................................................. 50 5.2.3 Sammantagen bild av materialet ......................................................................................... 50 5.3 Kainsgestalten ............................................................................................................................ 51 5.3.1 Vänge kyrka (Uppland) ........................................................................................................ 51 5.3.2 Spånga kyrka .......................................................................................................................... 51 5.2.3 Sammantagen bild av materialet ......................................................................................... 52 5.3 Jungfru Marie Begravning....................................................................................................... 52 5.3.2 Sammantagen bild av materialet ......................................................................................... 53 Kapitel VI: Sammanfattande diskussion .............................................................................................. 54 Källförteckning och litteratur ................................................................................................................. 57 Källmaterial ........................................................................................................................................... 57 Tryckta källor .................................................................................................................................... 57 Otryckta källor .................................................................................................................................. 58 Litteratur ................................................................................................................................................. 58 Bildbilaga .................................................................................................................................................... 62 Judesuggan ............................................................................................................................................
Load more

Recommended publications
  • Albertus Pictor – a Medieval Master Painter and His Pigments
    •• JOURNAL OF SWEDISH ANTIQUARIAN RESEARCH 2018:2 Art. Nord 89-102_Layout 1 2018-05-22 11:28 Sida 89 Albertus Pictor – a Medieval master painter and his pigments By Anders G. Nord, Kate Tronner, Misa Asp and Elin Lundmark Nord, A.G., Tronner, K., Asp, M. & Lundmark, E., 2018. Albertus Pictor – a Medieval master painter and his pigments. Fornvännen 113. Stockholm. The German-born artist Albertus Pictor (†1509) was responsible for the decora- tion of the walls and vaults of about 35 Swedish churches. In terms of the brilliant technique and the overwhelming production volume, his workshop was outstand- ing in Medieval Sweden. This study analyses a total of 291 samples of pigments from nine churches containing murals attributed to the workshop. Some of the results have already been published, but here they are integrated with new data. Isotope measurements of 13 lead pigments have been made. A tenth church with a questionable attribution, Öja on Gotland, has also been investigated with nine samples. One purpose of this study is to find out which pigments Albertus’ workshop preferred. Another aim is to show how chemical data can complement art histori- ans’ judgments concerning the master of a mural. Furthermore, the origins of the pigments are discussed. Our results indicate that Albertus Pictor used a rather lim- ited number of pigments, and that he preferred pigments from his native country, Germany. Anders G. Nord, Kevingeringen 10, SE–182 50 Danderyd [email protected] Kate Tronner, Flädergränd 2, SE–187 73 Täby [email protected] Misa Asp, Konservator Misa Asp AB, Sjöbjörnsvägen 1, SE–117 67 Stockholm [email protected] Elin Lundmark, Tottvägen 1B, SE–169 54 Solna [email protected] Albertus Pictor (“Albrecht the Painter”) was born cate that he was a prominent embroiderer (Gei- around 1440 in Immenhausen near Kassel in cen- jer 1949).
    [Show full text]
  • Good and Bad Prayers, Before Albertus Pictor: Prolegomena to the History of a Late Medieval Image
    Achim Timmermann GOOD AND BAD PRAYERS, BEFORE ALBERTUS PICTOR: PROLEGOMENA TO THE HISTORY OF A LATE MEDIEVAL IMAGE “Lay not up to yourselves treasures on earth: where the rust, and moth consume, and where thieves break through and steal. But lay up to yourselves treasures in heaven: where neither the rust nor moth doth consume, and where thieves do not break through, nor steal. For where thy treasure is, there is thy heart also… No man can serve two masters. For either he will hate the one, and love the other: or he will sustain the one, and despise the other. You cannot serve God and mammon.” Matthew 6:19–21, 241 The visual allegory of the Good and the Bad Prayer is one of the rarest – and one of the most intriguing – pictorial creations of the later Middle Ages. In most of the forty or so known examples, a pious, poor man and a distracted, rich man, both in attitudes of prayer, face one another on either side of the suffering Christ, shown either crucified or as the Man of Sorrows. A key feature of the image are the bundles of thought- or prayer-lines that indicate and link both men to the respective objects of their innermost ruminations – the wounds of Christ in the case of the pi- ous individual, and an inventory of worldly possessions, often displayed DOI: http://dx.doi.org/10.12697/BJAH.2013.5.07 1 Douay-Rheims translation of the Vulgate passage: Nolite thesaurizare vobis thesauros in terra: ubi aerugo, et tinea demolitur: et ubi fures effodiunt, et furantur.
    [Show full text]
  • German and Flemish in the Härad Altarpiece : a Provincial Swedish Work with Far-Reaching Connections Earl, Carol Fornvännen 2008(103):2, S
    German and Flemish in the Härad altarpiece : a provincial Swedish work with far-reaching connections Earl, Carol Fornvännen 2008(103):2, s. [89]-101 : ill. http://kulturarvsdata.se/raa/fornvannen/html/2008_089 Ingår i: samla.raa.se German and Flemish in the Härad Altar piece: a Provincial Swedish Work with Far-reaching Connections By Carol Earl Earl, C., 2008. German and Flemish in the Härad altarpiece: a Provincial Swedish Work with Far-reaching Connections. Fornvännen 103. Stockholm. The provincial altarpiece above the main altar in the parish church of Härad in Södermanland shows diverse influences upon its authors. A close examination of this Late Medieval Passion piece gives us opportunity to compare the impact of German and Flemish works of art in Sweden upon its craftsmen. This transitional altarpiece combines characteristics typical of both German and Flemish retables. Other influences such as the historical development of skilled workers in Sweden, the physical situation of the church in the proximity of Strängnäs Cathedral, its supposed patron saints and the involvement of the commissioner of the work are taken into consideration, as well as the artistic ability of the craftsmen themselves. Finally an analytical approach to provincial works is proposed using the parallel case of the Ljusdal and Oviken altarpieces. Carol Earl, Drève de Linkebeek 8, BE-1640 Rhode-St-Genèse, Belgium [email protected] Härad parish's little Romanesque church, situat - approach to stylistic analysis of local works of ed in a sparsely populated region in the Swedish art such as the above. province of Södermanland, houses an extraordi - The parish of Härad is located on the road nary accumulation of Medieval art.
    [Show full text]
  • Cinema Scandinavia June 2014 60 Death Playing Chess with a Knight
    Death Playing Chess with a Knight 60 Cinema Scandinavia June 2014 medieval art in the seventh seal This year the Bergman centre’s annual ‘Bergman Week’ will be exploring the theme ‘Mind-mapping: The Seventh Seal’, where the historical and iconic themes of the film will be explored. It seems only suitable, then, to look at one of the major historical and iconic im- ageries of The Seventh Seal. There is no doubt that The Seventh Seal is filled with remarkable images: the vision of the virgin, pilgrim flagellants, the supper of wild strawberries and milk, the burning of the witch, the dance of death, death itself, the chess game.The figure of Death playing chess with a knight has been the image that has defined the film, and since then it has been parodied, copied, a source of inspiration and one of the defining images of Ingmar Bergman. But where did this iconic image come from, and to what extent is it representative of the mindset of people during the Middle Ages? Painting has long been an inspiration to Bergman. In its early stages, The Seventh Seal was called ‘Painting on Wood’, and was a one-act play directed on a na- tional radio broadcast. It was the first of three very successful productions, and is the story of an un- named knight returning from a crusade to the Holy Land. Once back, he and his squire meet a girl who tells them the plague is ravaging the countryside. The medieval Sweden portrayed in this movie includes creative errors.
    [Show full text]
  • Medeltidsmästarnas Färgval
    Rapport från Riksantikvarieämbetet Medeltidsmästarnas färgval Ett forskningsprojekt finansierat av Kungl. Vitterhets, Historie- och Antikvitets- akademien Medeltidsmästarnas färgval 2 Författare Anders G. Nord och Kate Tronner, Riksantikvarieämbetet Projektdeltagare 1:e laboratorieingenjör Kate Tronner (projektledare), Riksantikvarieämbetet Docent i kemi Anders G. Nord, tidigare vid Riksantikvarieämbetet Docent i konstvetenskap Lennart Karlsson, tidigare anställd vid Statens Historiska Museum Målerikonservator Misa Asp, Konservator Misa Asp Bildantikvarie Lars Kennerstedt, Riksantikvarieämbetet Avdelningsdirektör Leif Gren, Riksantikvarieämbetet Chefskonservator Karin Björling Olausson, Nordiska Museet © 2010 Riksantikvarieämbetet Box 1114 621 22 Visby www.raa.se [email protected] Omslagsbilden visar detaljer av muralmålningar från kyrkorna i Täby, Härkeberga, Garde och Anga. Foto av Anders G. Nord. Bildarrangemang av Marcin Kopka, RAÄ/Ia. Medeltidsmästarnas färgval 3 Innehåll 1. SAMMANFATTNING ................................................................................................... 5 2. ABSTRACT .....................................................................................................................7 3. BAKGRUND, SYFTE, UPPLÄGGNING..................................................................... 9 BAKGRUND......................................................................................................................... 9 SYFTE OCH MÅL MED PROJEKTET ......................................................................................
    [Show full text]
  • Svenska Kyrkans Kulturarv - Forskningsöversikt 2009-2014
    INSTITUTIONEN FÖR KULTURVÅRD Svenska kyrkans kulturarv - Forskningsöversikt 2009-2014 Erika Persson, Eva Löfgren & Ola Wetterberg INSTITUTIONEN FÖR KULTURVÅRD Svenska kyrkans kulturarv - Forskningsöversikt 2009-2014 Erika Persson, Eva Löfgren & Ola Wetterberg © ERIKA PERSSON, EVA LÖFGREN & OLA WETTERBERG 2014 ISBN: 978-91-88101-00-6 ISSN: 1101-3303 Tillgänglig på internet via Göteborgs universitets publikationer GUPEA, http://hdl.handle.net/2077/37772 samt via Institutionen för kulturvård, Göteborgs universitet http://conservation.gu.se Arbetet har tillkommit i samarbete med Svenska kyrkans forskningsavdelning, Uppsala. Omslag: Kinne Vedums kyrka, Götene pastorat, våren 2014. Foto Eva Löfgren Innehåll INLEDNING 4 Avgränsningar och begrepp 4 FORSKNING OM DET KYRKLIGA KULTURARVET 2009 - 2014 6 Institutioner för konstvetenskap 6 Institutioner för kulturvård 8 Andra institutioner för studier av kultur och samhälle 14 Institutioner för historia 15 Institutioner för arkeologi 17 Institutioner för teologi och religionsvetenskap 19 Arkitekturskolor 22 Institutioner för teknik och miljö 23 Övriga forskningsaktörer 24 Antologier, konferenspublikationer och samproduktioner 25 SLUTSATSER 31 Aktiva forskningsmiljöer 31 Kulturarvssyn och forskningsmotiv 31 Reflektioner 33 REFERENSER 35 BILAGA. Tabell över forskningsprojekt 50 INSTITUTIONEN FÖR KULTURVÅRD. TIDIGARE UTGÅVOR I URVAL 54 Inledning Följande forskningsöversikt har genomförts vid Institutionen för kulturvård, Göteborgs universitet, och är en del av forskningsprojektet ”Gamla kyrkor – nya värden. Bruk och förvaltning av kyrkor i ett förändrat samhälle” som finansieras av Riksantikvarieämbetet och Svenska kyrkan (se Institutionen för kulturvård). Arbetet har utförts i samverkan med Svenska kyrkans forskningsenhet, som också har stått för en del av finansieringen. Rapporten färdigställdes inför konferensen ”Kyrkligt kulturarv som minne och möjlighet” (Kyrkokansliet, Uppsala 1-2 oktober 2014) och kompletterades efter synpunkter som framkom vid konferensen.
    [Show full text]
  • Swedish Church Art from the Introduction of the Reformation in 1527 Until the Synod in Uppsala 1593
    Inga Lena Ångström Grandien SWEDISH CHURCH ART FROM THE INTRODUCTION OF THE REFORMATION IN 1527 UNTIL THE SYNOD IN UPPSALA 1593 INTRODUCTION The 16th century in Swedish art history is traditionally called the Renaissance period of Sweden, sometimes also the Vasa-Renaissance, but as a matter of fact one can hardly speak of a Renaissance for the visual arts in Sweden in that time, rather as a period of decline; the rea- son was Gustav Vasa’s introduction of the Reformation at the Riksdag in Västerås in 1527 which brought with it an abrupt cessation of almost all activities in the area of art in the realm, especially in the area of sa- cral art which comprised most if not to say all of the preceding period’s art-production. The story of how Gustav Vasa became King in 1523 is well known and does not need to be retold here. During the first four years of his reign the life of the Church continued relatively undisturbed, although friction with the Pope over the latter’s interference in Swedish ecclesi- astical affairs had led to the discontinuance of any official connection between Sweden and the papacy already in 1523. The decisions taken at the Riksdag in Västerås signified a definite change for the worse for the Church. The monarch was now given the right to confiscate prop- erty donated to the Church, including the suppression of monasteries.1 DOI: http://dx.doi.org/10.12697/BJAH.2015.9.04 1 For the part of Stockholm, Gustav Vasa decided that most of the churches within and around “the Town between the Bridges” (today the Old Town of Stockholm) would be pulled down, this because the Danes had used the churches in their defence of Stockholm against Gustav Vasa’s army.
    [Show full text]
  • Främlingsbilder Om Judar Och Judendom I Medeltida Danskt Och Svenskt Kalkmåleri
    Främlingsbilder Om judar och judendom i medeltida danskt och svenskt kalkmåleri Viktoria Munck af Rosenschöld Handledare: Mats Roslund Inst. för arkeologi och antikens historia ARK 404, 2007 Lunds universitet Abstract This thesis deals with the Jewish motifs of the medieval mural paintings in Denmark and Sweden; the presences of the motifs are of interest considering that no Jews were allowed entry into Scandinavia at the time. The purpose of the thesis is to study the European influences in the medieval depiction of Jews and Judaism in the Danish and Swedish churches and the purpose for the production of the paintings. To this end, the Danish and Swedish mural paintings – as well as the medieval texts and motifs of Jews and Judaism that were used as source material – are studied with respect to the attitudes conveyed. The Danish and Swedish mural paintings are unevenly distributed both within the groups of motifs as wells as its chronological and geographical spread. The purpose of producing the anti-Semitic paintings was foremost to create an external enemy for Christianity to unite against. Evidence is presented that shows how European paintings and craftsmen have influenced the Danish and Swedish mural paintings in an anti-Semitic direction. Sökord: Kalkmåleri, ikonografi, judendom, kristendom, antisemitism, Josef, Judas, Kain, medeltida konst Tack till Mats Roslund, Barbro Sundnér, Cecilia Hildeman Sjölin, Erland Holmér, Maria Levin Per och lille Ossian Innehållsförteckning Inledning Syfte och problemformulering s.1 Metod och teori
    [Show full text]
  • Ligger Albertus Pictor Bakom Hedemora Kyrkas Överkalkade Målningar? Nordin, Jonas M
    Ligger Albertus Pictor bakom Hedemora kyrkas överkalkade målningar? Nordin, Jonas M. Fornvännen 2005(100):4, s. [273]-280 : ill. http://kulturarvsdata.se/raa/fornvannen/html/2005_273 Ingår i: samla.raa.se Ligger Albertus Pictor bakom Hedemora kyrkas överkalkade målningar? Av Jonas Monié Nordin Monié Nordin, J. 2005. Ligger Albertus Piclor bakom Hedemora kyrkas över­ kalkade målningar? (Did Albertus Pictor painl lhe murals in Hedemora chur­ ch?) Fornvännen 100, Slockholm. In lhe late 191b century, Late Medieval murals were found in the brick and gra­ nite church of Hedemora, southern Dalecarlia, middle Sweden. Before lhe walls were re-painted, lhe murals, which appear to have been in a very poor condi­ tion, were drawn by museum draughlsman Olof Sörling. His drawings are kepl in the Antiquarian Topographical Archives in Stockholm, and show motifs from the printed Biblia Pauperum. Certain scenes had in fact been copied 0111 ol ihe Biblia Pauperum, such as Gideon and the fleece. The Hedemora murals have never been attributed lo any particular artist or workshop and the drawings have never received any scholar­ ly attention. Because of obvious similarities between Ihe Hedemora murals and ihose signed by or attributed to a late medieval painter, known as Albert the Pearlslitcher or Albertus Pictor, churches such as Härnevi in Uppland, 1 argue that he was the one who decorated Hedemora church as well. This work pro­ bably took place around the same time as Albertus painted the churches of Sala, Dingtuna and Västerås in the diocese of Västerås. Jonas Monk Nordin, Arkeologiska institutionen, Stockholms universitet, SE-tod iji Slockholm [email protected] Albertus Pictor eller Albert målare-den kanske medeltid och nyare tid.
    [Show full text]
  • Samtida Mode Eller Antisemitism? Demonisering Och Rasistiska Tendenser I Medeltidens Bildkonst
    Samtida mode eller antisemitism? Demonisering och rasistiska tendenser i medeltidens bildkonst Herman Bengtsson Title Contemporary Fashion or Anti-Semitism? Demonization and Racism in Medieval Art Abstract In the art and the literature of the Middle Ages, fashion was often used as a means of mor- alizing about society. An important literary source within this particular context is Sebastian Brant’s Das Narrenschiff (1494). Here the late 15th century male fashion is described as “The Jewish style”. A woodcut illustrating the passage shows a young man with a short jacket, tight hose and an extrava- gant hairdo. Brant seems to have meant that this fashion was invented by the Jews in order to cor- rupt European society, an opinion that appears to have been rather widespread in Germany, as well as in other countries influenced by its culture. This paper examines representations of prophets and other Old Testament characters in late mediaeval mural paintings in Swedish churches. Many of these are dressed in fashionable clothes that are sometimes rather extreme. This may be considered a reference to the “Jewish style” mentioned by Brant. The main purpose seems to have been to ridi- cule the Jews and to present them as demonic corruptors of Christian Europe. In some cases the an- ti-Semitic theme is further emphasized by various degrading symbols associated with the Jewry, like sows, owls, jesters and demonic creatures with horns. Keywords Anti-Semitism, Demonization, Middle Ages, Male fashion, Mural painting Author Ph. D. in Art History, Associate Professor, History of Art, Uppsala, Sweden Email [email protected] Iconographisk Post Nordisk tidskrift för bildtolkning • Nordic Review of Iconography Nr 3/4, 2016, pp.
    [Show full text]
  • Medieval Art in the Seventh Seal Cinema Scandinavia Issue 3 June 2014 Emma Robinson
    Medieval Art in the Seventh Seal Cinema Scandinavia Issue 3 June 2014 Emma Robinson CINEMA SCANDINAVIA Issue 3 June 2014 ! ! ! ! MEDIEVAL ART IN THE SEVENTH SEAL !Emma Robinson ! ! ! ! This year the Bergman centre’s annual ‘Bergman Week’ will be exploring the theme ‘Mind-mapping: The Seventh Seal’, where the historical and iconic themes of the film will be explored. It seems only suitable, then, to look at one of the major historical and iconic imageries of The Seventh Seal. There is no doubt that The Seventh Seal is filled with remarkable images: the vision of the virgin, pilgrim flagellants, the supper of wild strawberries and milk, the burning of the witch, the dance of death, death itself, the chess game.The figure of Death playing chess with a knight has been the image that has defined the film, and since then it has been parodied, copied, a source of inspiration and one of the defining images of Ingmar Bergman. But where did this iconic image come from, and to what extent is it representative of the !mindset of people during the Middle Ages? Painting has long been an inspiration to Bergman. In its early stages, The Seventh Seal was called ‘Painting on Wood’, and was a one-act play directed on a national radio broadcast. It was the first of three very successful productions, and is the story of an unnamed knight returning from a crusade to the Holy Land. Once back, he and his squire meet a girl who tells them the plague is ravaging the countryside. The medieval Sweden portrayed in this movie includes creative errors.
    [Show full text]
  • Medieval-Inspired Knits PROOF PROOF Medieval-Inspired Knits: Stunning Brocade and Swirling Vine Patterns with Embellished Borders
    PROOF Medieval-Inspired Knits PROOF PROOF Medieval-Inspired Knits: Stunning Brocade and Swirling Vine Patterns with Embellished Borders Anna-Karin Lundberg Translation by Carol Huebscher Rhoades PROOF Acknowledgements extend a big thank-you to everyone who helped make this book possible. Thank you to all the kind and very helpful church wardens who allowed us I into the churches so we could look and be astonished as well as take photo- graphs. Thank you to the photo models: Veronika, Lina, Herman, Erik, Axel and Mattias and the dog, Inga. Thank you to Kenneth for the lovely pictures of the photo models. Thank you to Eva Berg Hallberg and the government property of- fice for allowing us to take photos in the exciting cloister room in the Östra Gym- nasiehuset on Riddarholm in Stockholm. Thank you to Solbritt Benneth and Tina Rodhe at Museum of Medieval Stockholm for loaning us what we needed. Thank you to all the committed and encouraging people for support and advice: family, friends, neighbors, and all the friendly souls at the Historic Institute at Stockholm University. Thanks once more to everyone! www.icabokforlag.se ©2012 Anna-Karin Lundberg, Tom Silvennoinen and Ica Book Publish- ers, Forma Books AB Reproduction of the contents of this book, whether in whole or in part, is, according to copyright law, forbidden without permission of the publisher. This restriction includes every form of reproduction includ- ing printing, copying, tape/CD/DVD recording, electronic recording and distribution, etc. Forms Books AB is a sister company of Forma Publishing Group which is certified environmentally friendly per SS-EN ISO 14001.
    [Show full text]