CEU eTD Collection Produced for Transylvania -Local Workshops andForeign Connections. - Studies of -Studies Late Medieval AltarpiecesTransylvania in - PhD dissertation in Medieval in Studies Medieval PhD dissertation Central European University Central European Dissertation Supervisors: Dissertation EMESE SARKADI Budapest, Hungary Budapest, Dr. Marcell Seb Dr. ImreTakács Dr. 2008 by Ę k CEU eTD Collection Budapest, February Budapest, 6, 2008 for an education academic degree. part of the dissertation has been submitted in this form to any other institution of higher of the dissertation infringes on any person’s or institution’s copyright. Ialso declare that no declare that no unidentified and illegitimate use was made of the work of others, and no part relies only on such external information as properly credited in notes and bibliography. I based my and my on work, is own research exclusively dissertation present the that herewith I, the undersigned I, the Emese Sarkadi , candidatefor the PhD degree in Medieval Studies declare ______signature CEU eTD Collection PLACE 253 NAME CONCORDANCE ...... 222 BIBLIOGRAPHY...... 159 ANALYZED IN ...... THE THESIS) OF WINGEDALTAR-PIECESALTARS (TRANSYLVANIAN ANDFRAGMENTS CATALOGUE CONCLUSIONS AND 149 FUTURE TASKS...... THE 111SIXTEENTH CENTURY...... A THE OF IN MASTER DEVELOPMENT TRANSYLVANIAN CIBINENSIS. PICTOR VINCENCIUS. FOLLOWERS OF THEVIENNESE CENTURY.THE ATTHE END FIFTEENTH ALTARPIECES OF THE TRANSYLVANIAN HISTORICAL BACKGROUND AND ART HISTORICAL PRELIMINARIES...... 19 THE HISTORY OF INTEREST IN TRANSYLVANIAN 6 ALTARPIECES...... 4 FOREWORD...... TABLE OF CONTENTS G C O T V T T P S T T T T I E CENTURIES T R P NTRODUCING THE PROBLEM THE NTRODUCING REVIOUS RESEARCH ON RESEARCH REVIOUS UMMARY REVIOUS SCHOLARSHIP REVIOUS HE ALTAR FROM HE ALTAR HE HE HE WALL FROM PANELS HE HE HE VIDENCE FROM THE OBJECTS VIDENCE FROMTHE HE HISTORICAL AND SOCIAL SITUATION IN THE REGION BETWEEN THE FOURTEENTH ANDSIXTEENTH FOURTEENTH THE ANDHE SOCIAL HISTORICAL REGIONBETWEEN IN SITUATION THE ESTORATIONS ONCLUSION ENERAL OBSERVATIONS ON OBSERVATIONS ENERAL THER WORKS ASSOCIATED ASSOCIATED WITH THE THER WORKS INCENCIUS ASAWALL M S M B EIDEN IRTHÄLM ALTARPIECE IRTHÄLM ESCHEN EDIASCH - . , PAINTINGS IN PAINTINGS WITH SPECIAL REFERENCE TO MASTERS TO REFERENCE SPECIAL WITH T /T . RANSYLVANIA T ATERLOCH ALTARPIECE ATERLOCH /G . HE WORKSHOP OF HE WORKSHOP R T ROSS ETABLE H HE WORKSHOP OF HE WORKSHOP G ELTAU ROSSPROBSTDORF -S - CHENK ALTARPIECE CHENK PAINTER V ...... 6 ...... S ...... 75 ...... CHÄSSBURG INCENCIUS AND THE HISTORICAL SOURCES ANDTHE HISTORICAL INCENCIUS ...... 133 ...... ’ ...... 48 ...... S SPECIAL ROLE FOR THE FOR ROLE SPECIAL S ...... 52 ...... T . RASYLVANIAN WORKSHOP CONNECTIONS WORKSHOP RASYLVANIAN P RELIMINARIES OF THE LOCAL MASS ...... 130 ...... V INCENCIUS G SCHOTTENMEISTER ISELA ...... 117 ...... V ...... 97 ...... 87 ...... INCENCIUS R ...... 125 ...... ICHTER IN ICHTER . S TYLE AND CERTITUDE TYLE HISTORICAL - , GUILDS AND ALTARPIECES AND GUILDS WORKSHOP AND ITS INFLUENCE ITS AND WORKSHOP S CHOTTEN K RONSTADT I RNYVNA...... 48 IN TRANSYLVANIA ...... - FOLLOWERS - PRODUCTION ...... 15 ...... 111 ...... 149 ...... 107 ...... 19 ...... – AN OVERVIEW AN ...... 146 ...... 141 ...... 37 ...... CEU eTD Collection retables wereopenedandclosed duringperiods different of the liturgical year.the the which to according rule the generalize and simplify considerably expressions these Work a’ day side (or I stayed with the two most well-known expressions of “Feast-day-side” (or question, the solution lies in several case studies, a topic beyond the scope of this thesis. Thus, as yet butclearlyopen general tothis nonot exists Probably, question. resolved answer an still is church in the role original in their place, original in their functioned exactly retables framework of a PhD thesis. This work will certainly keep me occupied for the next few years. maysculptures that have belongedonce retables to understandablyfit not did within the inventarizing,of thorough processing the andanalyzing of all 98altarpieces,the fragments or longby dissertation work waspreceded a Although discussedinthis the writingof the study. thepieces of descriptions andobjective data before gathered never contains thesis the activity as well influences detectableinat of Acatalogue stylistic endthe the this period. of workshop of in terms period inthis work and lives craftsmen’s of example characteristic Hermannstadt ( from through onespecial sixteenth iscentury workshop presented winged production altar Transylvanian theheyday era.Finally, of inencompass to this wasselected order period the characterize exclusively almost stylistically which King Matthias of time from the retables foreignstanding A of influence, ismarkedunder strong still 1470s-1480s. by group the although altarpieces, of winged Transylvanian period and coherent considerable The first the art of the following decades and also consequently for the two main chapters of this thesis. examples and the writtenfewfor inTransylvania. The beginnings preserved production altar image very of or onthe data on this period’sand fifteenth the early of centuries) wingedTransylvanian altarpieces is aimed atproviding an retables (fourteenth theearly period of characterization A brief largertopic. of overview the selected represent important here many a it toraiseissues. provide studiescases presented only The possible proved preliminaries of problems thatthis thesis can only mean beginningthe of decades oflong work. many interesting and still andraises so a wide research unresolved territory, andfar-reaching such in medieval Transylvania represents dissertation well.Thetopicwinged altarpieces of as isfeels never when is it The is the for really author this donewhich a work ready case Foreword In researchintothe winged altarpieces question the how theof movable wings of the A number of A number of be couldquestions others answered, couldbein resolvedand tentatively Sibiu, Nagyszeben Werktagseite ). The ). ) on these altars, in spite of the fact that I am that I factaware that in of the spite altars, these ) on oeuvre 4 of of Master Vincentius offers a feasible and Festtagseite ) and ) CEU eTD Collection Lutheran Church of Sibiu, especially to Dr. Wolfram G. Theilemann G. Wolfram Dr. to especially Sibiu, of Church Lutheran Library of Archives and from Miercurea Ciuc the the andthe respectively Bishopric the of Museum Székely the Cluj, of Museum Historical the and Museum Art the Museum, permissions givenandmuch to thank patience, Ihave collegues from Brukenthal the I technical supports owe thanks toMártaGuttmann from understanding,Sibiu. For bibliographical help I have to thank Thomas Thomas thank to have I help bibliographical Archives and Library of Blackthe in Church Bra NussbächerRoller,Gernot Prof. Cr and Dr.Maria Dr. Suckale, Prof. Dr. András Kovács, Prof. Dr. Ern research. For numerouspaved myway with his comments and methodological suggestions during the years of this useful discussionsSz Miriam and Végh János Dr. Prof. with collaboration in andaltarpieces winged Transylvanian advice I should alsoAlapprogram financingto latter the through (OTKA), (the dedicated a project of thank Prof. inBosch Gundelsheim Siebenbürgen Stiftung, the Kutatási Institut and the Országos Dr. Robert Geisteswissenschaftliches Zentrum undGeschichte Kultur Ostmitteleuropas Lepizig, the Further aid myinvestigations to in came form the of scholarships offered bythe departmental supervisor byAliceChoyke, and who did the English proofreading of text. the Iulia). In bibliography,the following the Thus,speak than (rather of I Alba butof Hermannstadt Sibiu) than Gyulafehérvár (rather in Ages. locality in culture Middle given the the characteristic the respectively nationality, inhabitants’ majority the on based appropriate where variant German or Hungarian the use to chosen therefore have I locality. century sixteenth or fifteenth a of speaking when itRomanian names.would However, incorrect official tousethe behistorically name, actual today have and locations of names.These place official correct consistent use Transylvanian by professorsstipends and travel accordedgrants butalso through knowledgethe and help practical given in the Medieval institutionsStudies are used in their official versions. of Names aswell. language-versions Department, two other the Ihave given dissertation the of text in the isintroduced name locality or town aTransylvanian each time and thesecomplexities within especiallyorient thereader help also should thesis of end the at the concordance Aplace-name book. in the given locality the of byname-form the cases other in all Dr.but possible, where localities, the Marcell Seb Ę cs. I owe special thanks to my external supervisor Dr. Imre Takács, who has continuously Dr.Imre who Takács, my supervisor cs. Iowespecial to external thanks A complicated task that proved almost impossible to resolve satisfactorily involved the involved satisfactorily resolve to impossible almost proved that task A complicated Help wasoffered inmywork, bytheCentral European University,not only through Chicago StyleManual 5 ù indilariu. For innumerable and immediate and innumerable For indilariu. Ę Marosi, Dr. Evelin Wetter, Dr. Stefan ú ov ov and forhis and continuous swift ă ciun. For his support givenin ciun. Forhis the , I used the English forms of and Dr. Gudrun and Dr. Liane Ę k, my CEU eTD Collection (and not only Hungarian) literature concerning altarpieces in upper- and western inHungary upper-andwestern altarpieces literature concerning (and notonly Hungarian) in Hungarian the interest increasing been an has While there necessary. isalso conclusions Continuous publishing helpfulof detailed studies wouldthat bein more formulating general objects. surviving the of facilitate anoverview to exists corpus scholarly in No research. gap agreat represent altarpieces winged been fulfilled.Transylvanian not buthasstill literature scholarship Previous in an interestsubject. forthe with anyone dissertation, which will – I hope – be of use for researchers dealing with the topic as his).well as dissertation. (Most of the photographs of the altarpieces from Transylvania presented here, are tothis considerblely have contributed for photography andhis passion an architect as in ashis as knowledge my special well topic interest His havecontinous finished. not been him wouldmy Without certainly for this work doubts. daily he audience wasasympathetic me, with difficulties everyday my through struggled has Sarkadi, Márton husband, My study. from thenecessary encouragment veryme the assured always have who beginning understanding, with work lasting when I chose the not very well-financedlibrary-duties. ofmy cases toneglect official, art history which have mythey treated year last the research during has which in led probably several as a course of monthsassured also living for last Iam my grateful of thewith duringwriting. patience the generous help,butalso for “Genthon the István”-stipend Ireceivedfrom them. Thisstipend in Museum not only FineArts forand Budapest, of of their leadership Library the the I am grateful to Dr. Györgyi Poszler and Dr. János Kalmár. I also have to thank tocollegues of reading work, forthis frightening part of adviceand of months a considerable writing, and purposes my of For work. their specialhelp andencouragmentgiven in most last, the for the material,and infra-redreflectographies offeredhis rich photographs documentation he also and years these throughout him from much so learned have I dissertation. this of preparation inthe role playedaspecial has Ferenc Mihály and resorator conservator The Ittu. The history of interest inTransylvanian altarpieces There is a task that has been formulated a very long averyin thathasformulated There isa historical timebeen task ago art the A heavy butdearburden is thus taken my shoulders off with completion the of this long- my treated have who parents, my family: my to thanks owe I all above However, 6 CEU eTD Collection 0Ħ 5 4 Siebenbürgisch-Deutsches Wochenblatt siebenbürgische Landeskunde 46; Wilhelm Wenrich, “Künstlernamen aus siebenbürgisch-sächsischerVergangenheit.” Friedrich Teutsch. “Die Bilder und Altäre evangelisch-sächsischen Kirchen.” Korrespondenzblatt 19 (1896), 45- 6 Altar.” Heldsdörfer “Der Reichart, 3 2 Hungary) by Robert Suckale or Ji Endr or Gábor Urbach Zsuzsa Mojzer, 1 he revisedand compiled inhis basic from overview 1916. that of studies these results less, the is,more or It of Transylvanians. andthe culture in theart interests wide of Roth’s aspect only one reflects as well, inHungarian sometimes I although series of articles on Transylvanian mainlyaltarpieces publishedin German before World War as amateurs well. interested andseveral clerics historians, Saxon by mainly time, that to up published information the all up summed Roth in public the accessible Western Europe. to sliceart of century)the Transylvanian a waspublishedmadein it nineteenth Sincethe the book centuries. beginning (atthe Strasburg, to fifteenth the from altarpieces Székely also partly and Saxon the both of development the the connections delineated by him can be debated his statements (on “large (on the of byhim be his group can delineated connections debated statements the most of that fact the Inspite of groups. bystylistic butarticulated chronologically presented Transylvanian“real” “Clussenbruch” alone wereconsidered countries. of Martin from and George distant artistswere not, he thought, the work of local masters, but of itinerant artists objects comingart Local Kingdom. Hungarian by Medieval to the crossing the routes commercial region and cultural Roth. The the along influence evolving trends, their andartistic Western Eastern ablendof was simply main sequence region, artistic whichaccordingand to shouldbe cannot Transylvania not as understood an autonomous of the objects discussed by Roth are his attention. topic escape the on literature of Hungarian manifestations early the altarpieces publishedcraftsmen to and referring to books and account charters sources, in written available in collection-volumesstudiesdescriptions, short offering an overviewmostchurch-antiquities, on of data the at the end of the nineteenth century. Neither did rely Roth’s into generalopuswritten 1916. on Victor decades, last by asshown inthe (Transdanubia) published a series and detailed of overview-studies Aconsiderable portionof workthe was published in 1913 in Hungarian, in: GyulaForster ed. ”Magyarország He refers to all the well known works of Kornél Divald, Balázs Orbán, Arnold Ipolyi or Ferenc Pulszky. Roth 1916, 1. 1916, Roth Johannes to here: refered are few aexamples period early of this contributions the all here list to trying Without Victor Roth, See studies by Gyöngyi Török, Terézia Kerny, János Eisler, János Végh, Györgyi Poszler, Iván Gerát, Miklós emlékei”(Monuments of Hungary),Vol.3, (Budapest: Fränklin 1913), 117-180. 1 researchers interested in sculpture researchers stillneed painting interested orwood panel Transylvanian Siebenbürgische Altäre 6 was much debated in the literature since he suggested that Transylvanian art thatTransylvanian sincehein suggested the wasmuchdebated literature . 22(1889), 42-78; Ludwig Reissenberger, “Bericht überkirchliche Altertümer”, Ĝ i Fajt. Korrespondenzblatt für Siebenbürgische Landeskunde , (Strasburg:, Heintz & Mündel, 1916). Ę dy and also latest works on altarpieces of the Zips region (Upper region Zips the of onaltarpieces works latest also dy and . 6(1873), 102. 3 He gathered together all the earlier altarpiece- 7 2 This classic work is concerned with 5 Roth’s fundamental statement, Archiv des Vereins für des Vereins Archiv 20 (1897)1-6; 17-22, 4 Roth’s CEU eTD Collection ( the number but numberthe alsoin quality the behind of Transylvanian thosefound retables remained paintings. Muchofherinformation was based on publicationsthe of Roth.Victor Not only identified certain prints of Dürer and Beham that were used in the compositions of these Archeológiai Értesít 10 Hermannstadt: Deutscher Kunstverlag, 1934.) graphic patterns. articleTransylvanianmuch inher altarpieces quoted Hungarianpanel old on painting andits borders of MedievalKunstverlaghaspopularize Berlin, againaimed to the culture of regionthe the outside Hungary. Deutscher the of publication early an Editin Transylvania, art German on volume Hoffmann overview Their has Reitzenstein. von Alexander and Müller also Theodor like specialists provided well-known of contribution short comments on certain provincialism. solution The is obviously in acombination of twofactors.the assimple research inearlier interpreted usually local character, asisthe way in same the inincontrovertible Transylvania is influences Western various Thepresenceof literature. the in answered been not still have that questions all are them whopainted masters the of studies as well theirimport eventual were altarpieces as theorigin the and produced, Transylvanian represented by local painters, local local schools.” bylocal painters, represented sixteenth the isand their century nottobe forelse. style is anything Theridge taken at beginningform the of of school “Thea closed group Transylvanian the artifacts specialist. of those to opposite Saxon the conclusionswere inmanyrespects although hecame that to organizations. of altarpieces image andworkshop Transylvanian on print general longthe puttheir decades forhave many Vincentius”) of Master the“retables or of altarpieces” “Birthälm group the 9 valószín craftsmen could have found their living here.” living their found have could craftsmen itinerant less it foreign is Transylvania, that reached towns even probable, or Upper Hungary 8 nyomda, 1932), 16. fest 7 altarpieces” grouped around the St. Martin’s retable from Martin’s aroundthe St. from ( altarpieces” retable grouped Schässburg ViktorRoth-Theodor Müller-Alexander vonReitzenstein, „Haközpontibb a fekvés Helyi félreismerhetetlen. és stílusuk alkotnak csoportot zárt elején század aXVI. termékei iskola „Azerdélyi Jimbor, Sommerburg EditHoffmann, “Jegyzetek magyar arégi táblaképfestészethez.” (Notes on theold Hungarian Panel Painting) Ę k, helyiiskolák alkotják a gerincet”. István Genthon, Ħ Victor Roth has once more published his opinion Roth Victor on topic,the collegial with has more hisopinion published once the In his book fromIn his book 1932, István Genthon used much publishedof data the byRoth tlenebb,hogy vándorlegényekkülföldi alkalmazást nyertek volna.” Ibidem 17. Ę 10 50 (1937): 1-31. She has, however, merely touched the altars from Székelyzsombor from altars the touched merely however, has, She Ħ ), Radeln ( városokból igen nem került m Roade ú , Radeln) 7 Later he said: “If no artist from the more central 8 8 Ħ Régi Magyar Fest The exact location of the workshops where vész aFelvidékre vagy Erdélybe, még Deutsche Kunst in Siebenbürgen and Csíkmenaság ( ĘPĦ vészet Sighi . (Vác: Pestvidéki Arm ú , (Berlin- ăú oara, Segesvár eni ). She also ), 9 CEU eTD Collection PĦ 16 sculpture’s history 1450)until (Budapest:Budapesti Királyi MagyarPázmány PéterTudományegyetem, 1932.) középkori magyar faszobrászat történetének vázlata 1450-ig Roth-Müller-Reitzenstein from 1934 and to his ownoverview published some years earlier: Antal Kampis,behozatalra több bizonyító példát istalálunk.” Kampis 1940, 77.Forconcrete examples he refers to bookthe of külföldiszármazása vagy alkotójának külföldivolta kétségtelenül bebizonyosodnék, addig Erdélybenközvetlen Balogh has above all followed the presence of Italian and German Renaissance elements in elements Renaissance German and Italian of presence the followed all above has Balogh 15 14 Magyarországon 13 incorrectly to 1520.around it dated and movement art Székely of alate-blooming out came altarpiece the that considered he 1470s, the of 12 30-31. flowery-Renaissance delineation ofthe notion ( of Transylvanian her for Known in Transylvania. spot the on material of collecting journeys, personal with deficiency above-mentioned the rectify to tried also has but work, her in literature earlier about Transylvanian art as they can findin the books of Roth”. books of TransylvanianViktor about canfindinthe artasthey of Balázs Orbánhave forgotten, sothatresearchers been asmuch from Budapest only know phenomenon in period,this whichhas moreremained less or until true today. “The teachings Jolán Transylvanianartworks. investigate haspersonally very Balogh correctly a recognized to historians for Hungarian art more much it complicated Warbecame World I, after Romania demonstrated in demonstrated Upper Hungary”. be altarpieces of the theforeign origin or masters foreign of cases canthepresence rarest several examples Transylvanian of were probably altarpieces while imports that onlyin the was inspired by survivinginUpper Hungary”. Roth’s to those publications.and the “reserved provincialism” of the local art, the “lower quality of these objectsIn compared contrast“peculiarities” emphasizes works, the region’s the art of characteristics discussing general the to Genthon, he suggested that “there were 11 culture” in analysisthe of Antal Kampis in compiled 1940. ( from Csíksomlyó dating retable of the century sixteenth late, the including researchers other of interpretations mistaken the followed Csíkmenaság between the including theconnection stylistic relationships important he certain recognized altarpiece and the one from Székelyzsombor. In other cases however, he Upper Hungary according to Jen to according Hungary Upper „Orbán Balázs tanításait régen elfeledték, a budapesti kutatók csak annyit tartottak számon az erdélyi az számon tartottak annyit csak kutatók budapesti a elfeledték, régen tanításait Balázs „Orbán „míg a Felvidék emlékei közt Ibidem. mind keleten, színvonal”. alacsonyabb mind nyugatonviszonyított a legritkábban„A Szepességhez fordul el vidékiesség”, „tartózkodó arculat”, „sajátos „A gótikus, vele a nyugati m painting Franconian to stylistically related were panels the that fact ofthe wasaware he that fact ofthe spite In Jen vészetr Ę Rados, Magyar Oltárok. (Hungarian Altarpieces) (Budapest:Királyi Magyar Egyetemi Nyomda, 1938) As the result of historical circumstances related to Transylvania’s annexation to annexation Transylvania’s to related circumstances historical of result the As Transylvania figures as “the most eastern frontier of frontiermost figures Western all and eastern as“theof Transylvania Gothic- of Ę l, amennyitRoth Viktor könyveibenmegtalálhattak.” Balogh 1943,43. . (Medievalwooden sculpture in Hungary) (Budapest:Officina, 1940) 77. Ħ veltség legkeletibb végvára”. Antal Kampis, Ę 15 Rados. In his overview volume on Hungarian altarpieces Hungarian on volume In his overview Rados. 14 ù umuleu As regards the concrete data from Transylvania, he from data Transylvania, theconcrete Asregards 9 ). 12 . (Outline of the MedievalHungarian wooden 13 The introduction of the book, the of introduction The Középkori faszobrászat erdélyi virágos reneszánsz virágos erdélyi 16 Ę Balogh not only used olyandarab, amelynek A 11 ), CEU eTD Collection saints’ figures under the repainting which have actually been revealed in the meantime. the in revealed been actually have which repainting the under figures saints’ Gothic of late presence the foresaw already Radocsay Paul. Saint and Peter ofSaint representations century nineteenth through period this in overpainted were altarpiece of the panels stable two the that beremarked, to useless reproduction inknownout of the twenty-eight images that may onbe seen Radocsay it) 183.1955. It has használhatatlan reprodukciója látott napvilágot” (the panels from Birthälm are still unpublished – only one Segesd 17 ( back andbase hisinterpretations Roth’s ideas.on little was known about the altarpiece of Birtälm in the 1950s. Radocsay was obliged to look Very Radocsay. to unknown still were common-places, almost today considered connections, well-known certain that researchers modern for surprising is absolutely it time, same the image, predellacentral the in of andthewings above-mentioned altarpiece the 1980s.At the best quality late panel Transylvanian Gothicpaintings of the period when they cleaned the light of one brought to the andher Richter Gisela just assistants ashehadsuggested. school, Danube of the influence the showing compositions late Gothic covered indeed altarpiece way the eighteenth see forthe example live to not he did panels.Unfortunately, onthe later decades out carried centuryeyedbe during remarks havebeen true shown to therestorations and cleaningthe work repaint his clear- Aseries of collections. andphotos heldinBudapest objects literature, on earlier of mainly based research butwas personal on-the-spot compiled without his survey was that fact outlinedconnections byhimhave been beshown to mistaken in fewonly cases,inspite of the in inpublished Medieval the stylistic- 1955 onpanel paintings observations, Hungary. His workshop, the work of the same master as the sixteenth century retable from ( Schaas from retable century sixteenth as the master same work of the the workshop, and functioning oflocal workshops and in masters Transylvania. she published important collection an whichof data, finally clearly demonstrates existencethe Along her with analysis careful superstructure. image onalowand predella alunette-form in acentral “Transylvanian presenting type”, by reflected a type calledthe Genthon retable, of local of Italian art on imported works objects, wasaclearinfluence of hand,there other northern-apse of the Gyulafehérvár (Alba Iulia, Weissenburg/Karlsburg) cathedral). On the in the wall-paintings the (for example by masters out someItalian wascarried that work suggested Balogh local foreign masterscraftsmen, or were question the the of whether regards objects century fifteenth and and fourteenth of discussion the the excluded naturally stylistic-has she Renaissance, and workshop-relationships totheTransylvanian completely her being retables.Heroverview dedicated the of analysis between these earlier works of art. As Biertan, Berethalom „a berethalomi táblák máig publikálatlanok – huszonnyolc képmez – huszonnyolc publikálatlanok máig táblák berethalomi „a ). He still had absolutely no idea of the connections of the central part of the Birthälm the of part central the of connections the of idea no absolutely had still He ). The most literature up-to-date may be found in the ) altarpiecehad been in supposedlyproduced largethe Schässburg Jeremias pictor 10 17 Thus, he has stated that the Birthälm the that stated has he Thus, on panels of the on Hermannstadt the Ę jéb Ę l mindössze egy jelenet egy mindössze l corpus of Dénes Radocsay, Dénes of ù ae ú , CEU eTD Collection Institutului deStudii Clasice din Cluj”, (The iconof Lord’sthe Mother inthe museum of classical the studies classical studies institute of Cluj) 21 Wissenschaften, 1958) 20 probably very author The 180. refers tothe panels 1955 todayheld in the BrukenthalRadocsay Museum under inventory lands.) numbers 1985 and 1986. foreign in traveled never who master, local of a works the are Both level. provincial a low represent Hermannstadt in museum ofthe collection the in origin unknown színvonalán áll. Mindkett 19 Kunst- und Denkmalpflege. 27(1963): 109 -121. and laterstudies whichwill be discussed inthe following. 18 Virgil V Virgil schools. thetwo between region, of Székely the from that differentiated bevery clearly could towns Saxon the of heritage in spite by which have noted been already Radocsayconsidered that authors. sculptural the previous of the factHisbased islarge, analysis clearly geographically two the definedof on groups sculptures, he was today. forgotten have beenalmost including that pieces arediscussed inhis sculptures review, aware that in discussed andthe one stillsame chapter, a fairly numberlarge of Transylvanian wooden there were considerableTransylvanian onlyby altar-production was represented retablethe of Csíkmenaság. stylistic 1958 book by Mária Aggházy on a similartopic. However, inAggházy’s overview, entire the overlapsby the preceded tothe woodensculptures ofMedieval Radocsay, Hungary, was dedicated unknown, unnoticedin and laterunidentified research. The other basic workof Dénes have parallel Thus, these long remained even description pieces ashort image. or published of Museum for Brukenthal the example) attention and also a number of panels or sculptures (such as two altar-wings There ishis surviving naturally escaped aconsiderable numberof that pieces misunderstood. in the collections adoptedwas published he data hand” “second mostly The pieces. the of most examine personally fromablehe wasnot to fact that bythe determined is generally work Radocsay’s Unfortunately, Roth, of retable. the parts century sixteenth and fifteenth the between differentiate able not to Kampispublication. or Krasser’s Harald since been hasdiscussed all, often that at something Schottenmaster Jolánmention Viennesehe influencealtarpiece to while traditions didnot artistic the of the Balogh and in many cases was incomplete or Transylvania and Western Hungary so-called andWestern (the Hungary Transylvania from medieval art objects destiny of the because unfortunate of ideathe that Radocsay’s Virgil V Mária Aggházy, ”a nagyszebeni múzeumnak két ismeretlen helyr ismeretlen két múzeumnak nagyszebeni ”a für Zeitschrift Österreichische Schottenmeisters“. des Nachfolge siebenbürgischen “Zur Krasser, Harald Romanian research on the topic has long been characterized only by the works of works the by only characterized been long has topic the on research Romanian ӽWӽú ăWăú 18 ianu, “Colec ianu. His short articles short ianu. His Not having even seen reproductions or photos of having hewas altarpiece seen orphotos Birthälm the reproductions even Not Alte Holzfiguren in Ungarn Ę helyi ssz Ġ iile de art Boabe de grâu Ħ ă kebb hazája határain túl nem jutó, erdélyi mester alkotása.” (Two wings of de la Institutul de studii clasice din Cluj”. (The art collections of the 21 were followed in 1959 by a large review opus dedicated largeby opus review infolloweda 1959 were . (Budapest: Verlag derUngarischen Akademie der 4 (1933): 1-17. 19 that have already been mentioned but pass without pass but mentioned been already have that Ę l származó oltárszárnya a gyenge provincializmus a gyenge oltárszárnya származó l 11 Dunántúl) Idem, “Icoana Maicii Domnului in muzeul in Domnului Maicii “Icoana Idem, these two regions could be 20 Despite CEU eTD Collection Vierteljahresblätter Übereinstimmungenentdeckt. Zur Frage der Entstehung der MediascherAlartafeln.” Anton Schroll & Co Verlag, 1973). On the same topic for the same years see also: Herman Fabini, „Auffallende (1979) nr.2/ 12 ian. 1979, 6. 25 Archiv des Vereins für Siebenbürgische Landeskunde. 13(1976): 96 –108. (1963): 109 -121. Idem, siebenbürgischen Nachfolge desSchottenmeisters Datierung der Birthälmer Altartafeln 23 24 22 Na institute Cluj) orwhatmasters these of persons closer hasappearedon the information remained No open. while statements, questions formulated fundamental decades havemainly earlierthe repeated Krasser were andFolberth’s published. works of In spite this, the publications in lastfewthe in since is historical acommonplace inartliterature Schottenmaster almost Transylvania of followers the of works areoutstanding altarpieces Birthälm the Mediasch and the that in Viennese master Central has becomewidelyEurope acceptedinyears. thelast Theidea SchottenmasterTransylvanian on panel painting. The wide spread influence of leading this influences, -and its most characteristic and most feasible example, the impact of the Viennese western concrete of presence the Transylvanian altarpieces: to related interesting questions first examination inof art Transylvanian 1930s the increased inboth Romanian and inSaxon periodicals during the 1970s and 80s.his After very has wood-sculptures and panel-paintings altarpieces, on andrestoration-accounts research- Roth, butpartly on basisthe revised his of personal experience. Thenumberstudies, of sculptures. His interpretations were also mainly based on the information adopted from Victor to Transylvanian discussedaltarpieces surviving the divided objects by panel and paintings specialiststudy. more Western for the generalities, apopularizing volume a this appears public work than long historical and geographicalintroduction and an analysis becomeswhich lostin the book’s in dueto influence However, same of retable. Schottenmaster the this Viennese ( Austrian duringtheperiodicals seventies. on high altar Viennese of the pagesofand monastery the of Scotts the various Transylvanian former the and altarpiece the Birthälm between onthe relationship observations determinative Walachiacountries andMoldavia). Transylvania, (meaning Romanian in three the period of the feudalist art the theage,to of spirit the according to Media Otto Folberth, Otto Harald Krasser, Harald Krasser, V Ġ ional ӽWӽú ianu 1959 ă ú , 1936), 3-8. , Medgyes Volum omagial pentru fra Gotik in Siebenbürgen.Der Meister des Mediascher Altars und seine Zeit Deutsche Kunst in Siebenbürgen Untersuchungen zur Mittelalterlichen Tafelmalerei inSiebenbürgen. ZurHerkunft und . H2. (1972): 116-121. 25 ) altarpiece was published in the same period. In it the author also sees the Folberth’s monograph however called attention on one of the most the of one on attention called however monograph Folberth’s Die Birthälmer Altartafeln und die siebenbürgische Nachfolge des Schottenmeisters Dietmar Priebisch, „Der Mediascher Meister, ein Epigone.” ein Meister, Mediascher „Der Priebisch, Dietmar . Forschungen zurVolks- und Landeskunde 14/2. (1971): 9– 24. Idem, Ġ ii Alexandru . Österreichische Zeitschrift fürKunst- und Denkmalpflege. 27 . Siebenbürgische Vierteljahrsschrift.Bd. 58 (1935) 24 ú Otto Folberth’s monograph on the Mediasch the on monograph Folberth’s Otto 12 i Ion I. Lapedatu 23 22 , Harald Krasser published his , (Bucharest: M.O. Imprimeria The pages of the book dedicated book of The pages the Karpathen Rudschau Südostdeutsche . (Wien-München: . 12 . Zur CEU eTD Collection 253-268. nationale Diskurs Born, Alena Janatková Adam and S. Labuda siebenbürgische oder ungarische Drahtemail. ZurAusbildung eines kunsthistoriographischen Topos.” Robert – Geschichte Länder der Böhmischen Krone und ihre Nachbarn zur Zeit derJagiellonenkönige (1471 – 1526).Kunst – Kultur 29 Wort und Welt, 1992 (Kulturdenkmäler Siebenbürgens. Bd.1)) 28 Brukenthal, Boian.” de la altarului ale locale “Aspecte Haldner, Anamaria Otmar Richter, “Eine Kunsthistorische Entdeckung.“ Kunsthistorische “Eine Richter, Otmar Flügelaltar vonHeldsdorf.“ Altar.“ Braller “Der 27 centuries secolul XV-XVI secolul Landeskunde Badru eines siebenbürgischen Flügelaltars”, siebenbürgischen eines Istoria Artei Istoria altarpieces and thus also the number of local publications greatly increased. local greatly numberof publications the also altarpieces and thus Lutheran church was founded inKronstadt ( Romanian Monuments’ Office in restorationthe period, that financedworkshop by Saxon the 26 Wetter. ofEvelin writings inthe severely – criticized bittoo alittle – perhaps hasbeen literature of earlier character nationalistic strong undoubtedly The altarpieces. Transylvanian to related fundamental historians arthelp to despite itspopularizing character. be of to andcontinues topic the decades on last the of overview-contribution important ismost workshop the Kronstadt in the restored altarpieces on twenty-two data collected Richter. of Otmar work the due to offered, were retables on the way the restoration Machat in itpublished byChristoph sparseinformation rather contained 1992. Unfortunately, was carried Gisela workshop,run the by volume conservator Richterhasbeensummarizedin the a out while important descriptions and analysis on the Jagellonian Jagellonian many inTransylvania, period but her articles of upon certain also touch of aspects observations. Kertesz-Badru Andrei Guy byViorica or Marica contributions with altarpieces piqued Transylvanian concerning little is known about the commissioners way, of the altarpieces.same the In otherf. each to or school Viennese the to connection their of was nature the “Weite Wege Siebenbürgischen Silbers und seine historiographische Rezeption.” Evelin Wetter ed., Wetter Evelin Rezeption.” historiographische seine und Silbers Siebenbürgischen Wege “Weite Gisela and Otmar Richter, Erhard Antoni: “Freigelegte Gemälde am Gross-schenker Altar.“ Gross-schenker am Gemälde “Freigelegte Antoni: Erhard Viorica Guy Marica,:”Altarul de la Jimbor” (The altarpiece from Székelyzsombor) from altarpiece (The Jimbor” de la Guy Marica,:”Altarul Viorica ú , “Der Altar von Grossprobstdorf, ein Werk der Europäischen Spätgotik.“ Europäischen der Werk ein Grossprobstdorf, von Altar “Der , 29 for questions in The lasthave fewart historical literature a welcome seen years interest In parallel with the Saxon publications, the interest of Romanian researchers was also was researchers Romanian of interest the publications, Saxon the with parallel In ) Studii The main interest of historian hasin of of been Themaininterest art thethis goldsmithingthe works 18 (1975), Sibiu. 157-166. . Seria Art , (Ostfildern: Ian Thorbecke Verlag, Thorbecke Ian , (Ostfildern: 23/2 (1980), 59.-71; Idem, “Noi contribu 26 .” ( ú , (Berlin: HumboltUniversität, 2004 (Humboldt-schriften zur kunst- und bildgeschichte 1), S. i comunic It is also evident that after 1971 at the initiative of Vasile Dr New contributions to the knowledge of Transylvanian panel painting in the15 Kirchliche Blätter ă plastic ă Jahrbuch 1978 Siebenbürgisch-Sächsischer Hauskalender ú ri 2. Galeria de Art Siebenbürgische Flügelaltäre containing detailed descriptions and containing detaileddescriptions ofimportant aseries ă . 18/.2. (1971), 203-222. ; Idem,“Dürer Werke als Vorbilder für dieGemälde Revue Roumaine d'histoire etde l'art 10/1976, 6, Otto Nutz, ”DerBraller Altar“ eds., ă . (Sibiu: Muzeul Na 2004 (Studia Jagellonica Lipsiensia 2), S. 49-65.; ”Das sog. Die ostmitteleuropäischen Kunsthistoriographien und der Bra Neuer Weg 13 Ġ ii la cunoa ú . Ed.by Machat.Christoph (Thaur bei Innsbruck: ov, Brassó ov, Studii 12 Mai 1979, 3-4., Otmar Richter, “Der ú terea picturii de panou Transilv Kirchliche Blätter ú Ġ i comunic ional Brukenthal, 1979), 163-171. ) and the interest in Transylvanian interest the and ) 28 , 8(1971): 13-24. Andei Kertesz- The book, which contains which book, The ă ri. Istorie-arheologie. Muzeul Forschungen zur Volks- und Kirchliche Bläter Studii 8/1977, 7. . München, 1977, 33-41, ú 27 i Cercet ӽ The activity of gu Ġ Otmar Richter: th chief of the ă and 16thz nene dinnene 2/1977, 5, ă ri de Die CEU eTD Collection 2003),123-138 “Art donors and patrons in Transylvanian Medievalpainting), MA Thesis Babe 33 MagisterArtium. Universität Augsburg, 2005. Uwe Hientz, Augsburg: of University atthe Hientz Uweby defended was of Mühlbach retable onthe MA thesis Another 32 , Biertan” at Reformationsgeschichte Chruch of the Polyptych ofthe Iconography The Transylvania: Reformation Exchange, 1400-1700 Religious Experience in Transylvanian Saxon Communities” social meaning. (1400-1750 ed., Paiva José Pedro Altarpieces”, Polyptych Transylvanian Transsilvaniae Ars (The altarpiece from Tobsdorf in context of eucharistic devotion in Transilvania in the 15 inthe Transilvania in devotion of eucharistic context in Tobsdorf from altarpiece (The case studies on individual altarpieces. onindividual case studies published has and paintings panel Transylvanian on representations donor the to thesis MA view. This young researcher dedicated his youngBA tothe from view. altarpiece thesis dedicated Mühlbach, researcher This publications of Ciprian Firea view the Transylvanianfrom altarpieces historical an art of point artistic trends inartistic trends Medieval the and Kingdom Hungarian of Central Europe. includeconnections, tofinally beable within Transylvanian framework art to cultural of the many However, moretounderstand will inbe necessary casestudies broader order field. in newthe evaluations formulation of tothe considerably have contributed experience, foreignbutalso historians art on topicthis andtheirpublications basedon personal local only thepartof not interest on The few last tobe decades. the revised over have started interesting comments on the iconography of interestingiconography on pieces. comments survivingthe of the made also has she view of point a theological From history. ecclesiastic Transylvanian in contributionshave role concerningpublished studiesmadeimportant the of retables Her Reformation. the of view of point the from paintings panel in Transylvanian interest 31 109-126. Herausforderung eds., Lambrecht Keren Bahlcke, Joachim Pfarrkirchen”, sächsischer siebenbürgisch- Retabelausstattungen vorreformatorischer Bekenntniswert zum ”Überlegungen Wetter, Meßgewänderinnachreformatorischer Nutzung” Vorreformatorische Paramentenschatz. Kronstädter “Der Fajt, Knejfl Jana and Wetter Evelin see: paraments 2004 (Siebenbürgisches Archiv 37), S. 19-57. For the later use of pre-Reformation church furnishings and in Ungarn und Siebenbürgen.Politik, Religion und Kunst im 16. Jahrhundert Altarbildwerke – Vasa sacra/Abendmahlsgerät – Paramente.” UlrichA. Wien and Krista Zacheds., 30 panel painting or wood-sculpture. panel or painting Ciprian Firea, “Altarul poliptic din Sebe Evelin Wetter, ”Das vorreformatorische Erbe in der Ausstattung siebenbürgisch-sächsischer Pfarrkirchen A.B. Pfarrkirchen siebenbürgisch-sächsischer Ausstattung inder Erbe vorreformatorische ”Das Wetter, Evelin Ciprian Firea, “Imagini de ctitori si donatori inpictura medievala din Transilvania", (Representations of Maria Cr ăú i patronaj artistic în Transilvania Medieval Old, oft’ repeated interpretations of Transylvanian repeatedinterpretations Old, of panel painting oft’ Transylvanian and wood-sculpture ă ciun, “Polipticul de la Dupu Der Wurzel Jesse Altar in Mühlbach, Siebenbürgen . . Winfried Eberhart zum 65. Geburtstag , 12-13, (2002-2003), 139-158. Idem, ”Eucharistic Devotionin the Iconography of , (Cambridge,University Press,underpublication); Idem, ”Iconoclasm and Theology in , 95 (2004), 61-97. ). (Coimbra: Palimage Editores, 2002,) 209-230; Idem, “Rural Altarpieces and 30 ú încontextul devo ú Even more than Evelin Wetter, Maria Cr Maria Wetter, Evelin than more Even ” (The ” (The poliptychfrom Sebe 33 ă Acta Historiae Artium - Polipticul din Sibiu”, 14 . (Leipzig: LepizigerUniversitätsverlag GMBH,2006), Ġ iunii euharisticeiunii din Transilvania (sec.XV-XVI)”, Religious Ceremonials and Images.Power and European Religious Differentiation and Cultural . Schriftliche Arbeit zur Erlangung des Grades des Erlangung zur Arbeit . Schriftliche Konfessionelle Pluralität als ú ), Babe), 45(2004), 257-315 andalso Evelin ú Ars Transsilvaniae Ars -BolyaiUniversity Cluj, 2003, Idem, , (Köln-Weimar-Wien: Böhlau, ú -BolyaiUniversity Cluj, 2002. 31 The research and th Archiv für and 16 ӽ , 12-13(2002- ciun has shown has ciun th centuries) Humanismus 32 his CEU eTD Collection ( altarpiece the inBogeschdorf in from restored Fine Arts Gerisch Academy the of Vienna, local by ledcraftsmen,Eduard two comprising a team years century nineteenth last the of the In pieces. onthesework precious invited to being were already “restorers” foreign period placetook atthe very end of nineteenth beginningandthe of twentieth the century. Inthis place, the naturally period’s notionsfollowingaccording of to restoration. A restoration trend took medieval altarpieces incomplete and frayed already the of restoration wave of serious a that century itwas in that show eighteenth the to here be mentioned examples could of other and the predella of andwere infrom predella the largethe of altar overpainted 1701. Hermannstadt ( like from Schorsten just those century, altarpiece from ( from Braller altarpiece the of panels The Crucifixion. the depicting canvas a with century in theeighteenth replaced lost relief from the central shrine of the altarpiece from Schweischer ( der Vergoldungder durch Josef Vogel,Kunsttischler inSchässburg u.Gustav Spreitzer, Vergolder inMediasch.” Bilder erneuert durch Eduard Gerisch, Kustos an der Akadeimie der bildenden Künste in Wien, das SchnitzwerkStiftung derseligen ElisabethaBernerth geb. Gökel,begründeten Altarfonde indenJahren 1896-1899. Die 37 Renovatum per Thomam Schemelium“ altarpiece retable disclosesthe that was toTobsdorf transferred in and restored 1720. glued over the old ones. The eighteenthshrine with a new panel and an end foliage, whilethe panels were covered centurywith new paintings inscriptionfashionable. on the Tobsdorf ( makeand more larger in to themappear frame occasion order on this baroque received a Muzsna Tatárlaka 36 Johan Wellther domal[diensis]. P.P. Pastor H.L. Anno 1720 35 34 retable of Seiden ( Seiden of retable isin well-known transformations the century. eighteenth onretables andrepairs the that It signs ofsuch of factors be with care, -evenifcombined necessity can consideredthe – wood-sculptures mirror the interest, the appreciation shown for these pieces early on. The first respectivelyConservation work, Transylvanianof restoration altarpieces,paintings and panel Restorations. workshop The ofGiselaRichterin Kronstadt %ă According to the inscription which disappeared in twentieththe century during the restoration: ” ” thesis. of this chapter corresponding Seethe Information contained by the inscription on the back side of the altarpiece: „Restauriert aus dem, durch eine Hanc aram inveteratam propriis sumptibus comparavit etrenovariovravit et huic ecclesiaepiamente dicavit gaciu, Szászbogács ) was transferred to Gross-schenk ( Gross-schenk to was transferred ) ) in the eighteenth century. Similarly, the altarpiece from Meschen ( 34 In Taterloch a certain master Michael Hartmann even decorated empty the even decorated master Michael Hartmann a certain InTaterloch Jidvei, Zsidve Jidvei, ). 37 Bruiu, Brulya In 1903, when the retable from from ( Magyarfenes the retable In 1903, when ) was sold to the community of Taterloch ( ) were completely overpainted during the eighteenth the during completely overpainted ) were ù oro Cincu, Nagysink ú 15 tin, Sorostély ” ) in ) period. same the Both retables ). The panels of ). The panels of feast-day the side Fi ú er, Sövénység er, Dupu 36 Vlaha 1701 A number Tatârlaua, ú , Táblás Mo 35 ) was ) was The ú na, ) CEU eTD Collection 43 42 Szenterzsébet) 41 III./II. 530.Muzeul de Istorie al Transilvaniei. Az Erdélyi Múzeum Egyesület leltárkönyve (Inventory book of Society the of Transylvanian Museum) Vol. 40 39 Germany, Schwaben SachsenundBanater der Siebenbürger Hilfskomitee assured by assured the mainly were thework for instruments and chemicals materials, Thenecessary a workshop. such geared sustaining and enlightenedfunctioning of the towards werenot 1970s and 1980s neighborhood of inin house immediate the decades inKronstadt, aprivate ca.two continued over works the so-called BlackBishopKlein.Albert suchto D. The thea workshop organization of suggested in 1971.He Church. The communist era, the circumstances of the 38 Lutheran church was, as already mentioned above, founded on founded mentionedLutheran initiative of on above, the was, asalready church Vasile Dr Saxon the of workshop restoration The Kronstadt. in Richter, Gisela of workshop the in place restoration campaign and thus also the most important one in the history of these objects centralized systematic, first The centuries. took the throughout altarpieces Transylvanian methods and principles of restoration, continuously changing be all followed –can on clearly The the restoration, detailed the of word work. meaning of restoration descriptions the and with photographs documented in wereonly cases most the unusual works however, these These datesareusually in documented of inventory the books institutions.the Unfortunately twentieth restorations duringhave under 1950sandthe since 1960s. several century gone museums and during of whichreached collections the fragments The altarpiece retables panels. the on overpaintings from during cleanedTaterloch, whichHansHermann theabove-mentioned Baroque altarpiece the of bythe1914renewed restoration alsotestified communities,the something of eyes the in value their regain to seem paintings medieval the that period in this is It panels. largeBeer up intervention that of touched predellathe madebefore andthe surfaces show the in Gyulafehérvár Bishopric the of Museum the to home original its from transferred Beer was invited from the Museum of Fine Arts in Budapest to restore inBeer wasinvitedfrom torestore retable. Museum the Fine Arts the Budapest of ( Székelyudvarhely of parish the from in church Székelyzsombor ofthe parish altarpiece former the bought Klausenburg) Napoca, andpanels cleaned wererestored inVienna. Along with Era Nussbächer who was trained inparallel in the restoration of textiles. Hans Hermann, “Eine Entdeckung”. “Eine Hermann, Hans ViktorRoth, “A székelyzsombori és szenterzsébeti oltárok of Kolozsvár: Museum History the in preserved books inventory the in entry corresponding the to According Roth1916, 30. Presently held in the Biblioteca Na 43 Gisela Richter kept up continuous correspondence with colleagues from with colleagues up continuous correspondence kept Gisela Richter Erdélyi Múzeum Gustav Adolf Werk Kassel Gustav Adolf 17 (1910) 9-21. 42 Ġ ional Die Karpathen ă aRomâniei – Filiala Batthyaneum, in Alba Iulia. Odorheiu Secuiesc Odorheiu 7 (1914) 638. 39 , the , 16 The Museum of Fine Arts in Kolozsvár (Cluj in Kolozsvár Arts Fine of TheMuseum .” Diakonische Werk inStuttgart (Altarpieces from Székelyzsombor and Székelyzsombor from (Altarpieces ) in) 1909. . After a . coursein training 40 On this occasion József occasion On this and the 41 Photos 38 , the , ӽ gu Ġ CEU eTD Collection 46 another part of it reached, with the rest of the spiritual inheritance of the RichterBegegnungszentrum"Friedrich couple, Teutsch" der Evangelischen Christoph A.B.Kirche Rumänienin Zentralarchiv), – Machat.while churches. Catholic 45 in or museums in held objects all excluding pieces, these to refers only also Machat, 44 last decades, lost the over supposedly andwas documentation of the photographed apart all were thatnot well documented through Inspiteworks the equally photographs. ofthe fact the under drawings being clearly observable under the worn layer of paint. of layer worn the under observable clearly being drawings under the white, sothatcertain good-quality imagesdetailed can almost be used likeinfrared shots, with inblack and majority are The photographs of great the restored. being before documented observed on these photographs. Thus, put out eyes, scratched faces and, broken noses were all be also can Reformation place the took during actions that of overheated the Many traces analysis. stylistic for importance special a has documentation the Thus, intervention. the over during throughadetailed restoration work comparison of paintingsthe before andafter follow in of a panel to enable perfectly painted details had been which painted researchers or also notes These traced. easily be can appearance, original altarpiece’s the of reconstruction shrinethe vaulting and articulation, important thus information which can help in a theoretical restoration Impressionswork. of now missing original,the in sculptures shrines,the traces of the during up covered later whichwere eye,naked or the with be observed cases cannot place. took very early overpaints of disappearance suchasthe detectwhen interventions, debatable to naturally possible also overpaintings. The phases of the cleaning procedure were quite well documented. Thus, it was A large usually number cleaned of of nineteenth century were Baroque panels later, or their them. on interventions the to and altarpieces the to referring information images valuable, contain previously very-very never and utilized sporadically only published ( locality being bythesingle panelsfrom of Székely the represented Csíkszentimre exception were workshop understandably preservedinthose and aroundSaxon, Lutheran churches, the her to came Thepieces which andherassistants. Richter decades by Gisela two these wooden over furnishings,also butdoors or wererestored epitaphs other panels, sculptures including fragments of number a and retables preserved completely almost Twenty-two are nowadays. often criticized led that period toresults the of principles restoration inmany casesbutmaterials also lack the the local corresponding of the circumstances, However, specialists. (foreign) several with discussed always were decisions and questions Germany, asmaterial preserved in church-archivesthe in Kronstadt testifies. Problematic Sîntimbru See the chapter dealing with the sixteenth century modifications on the Birthälm retable. Birthälm the on modifications century sixteenth the with dealing chapter Seethe Thus, the book by Gisela and Otmar Richter (already referred to above), published with the help of Christoph A considerable part of the documentation is kept in the Archives of the Lutheran Church in Sibiu (Kultur- und (Kultur- Sibiu in Church Lutheran the of Archives the in kept is documentation the of part considerable A ) which were restored here as well. 46 The photos present details of the retables which in many in which retables the of details present photos The 17 44 Fortunately, the works werecontinuously works Fortunately, the 45 the CEU eTD Collection monitoring of objects’ the conditionbe sustained.to systematic and continuous allow should specialists, Hungarian) and German (mainly University helpoffered byforeign of as well as theoccasional Hermannstadt conservators the young of contributions the years, and few last the over process restoration or conservation Mihály, considering condition the present objects.Theof activities ofspecialiststhe thanks likeFerenc tois urgent pieces certain of condition the on based ofimportance an of order of restoration whom a considerableinstitutions,mainly but by SaxonLutheranthe Church. Theformulation a general of politics interest of priestthe orthe community and the occasional financingby various offered number grade of placeto the take conform interventions that of the most aswell,nowadays when of the wouldbe restoration interest for the objects founding of acentral of workshop these altarpiecesGermany) importance ideais into of wingedaltars.of the The history Transylvanian great of have couple emigration of the for after have Richter the aperiod functioned even to (which seems gone circumstancesthrough of the objects, the transport- work the carriedand out by theinterventions restorers these of during the Kronstadt used methods workshop debatable often the of spite In a 18 CEU eTD Collection as reflected in the very well defined regions of Transylvania in these centuries. The large The in centuries. Transylvania these of regions well defined inthevery as reflected proportionate with numberthe of ones originallynot onlyproduced, in timealso but in space, fourteenth and fifteenth century Transylvania. The numberof preserved retables is supposedly from thealtarpieces of number small tothe contributed have also may out ones worn earlier, replaced century sixteenth and fifteenth late from the artworks that fact, the However, date. to an importantproportion produced that andsculptures havebeenpreserved that panels the of years those asmaller compared number to retables of also produced originally altarpieces, number byasmall of characterized periods,preserved vaguely nowadays probable thatthose is it most However, centuries. the throughout and changes events cultural ecclesiastical, and to try and extent the to which determine pieces historical, altar havefallenthese victim to Transylvania century –sixteenth fifteenth in chapels and churches ornamenting altarpieces original numberwouldbe the totry andTransylvania reconstruct of themselves. useless It by of altarpieces guidelinesofferedthe the here andemphasis follow will presented overview historical the Thus, historicalbackground. commissionsandtheir on the concrete data of number small because of very the features on these emphasis place agreater to necessary backgroundit came from.other parts to Compared of in Europe, itbe Transylvania would its history, changingnumberthe in of altarpieces inregions of certain Transylvania and of periods certain approximately in in the period same parts of other Kingdom.the and The specific character obviouslythey show the influence of artistic,time same spiritualthe At and cultural region. the in trends with thatfactors were currant these of changes the and conditions intellectual depends and commercial coeval economic, works whichreflect group of art acompact representing on the development. continuous country’s the of part organic possibilities an been always unite of development territorial aseparate in wasunquestionably Transylvania Historical case the Transylvania. of the Medieval Hungarianand in is importance less regional of obligatory research when unit,doing and almost reasonable Kingdom. claims However, its art and cultureof has the particular andaltarpieces. guilds tomasters, reference special with centuries, The historicalandsocial situationinthe region between thefourteenthandsixteenth social Historical background andart historical preliminaries. As usual, the winged retablesinTransylvania faithful mirrorsof arealso situation,this The general identification of territory the as a geographical,historical and/orcultural 19 CEU eTD Collection the Székelys. the In1473,King foot. of institutionalizedon thethreesocial while Matthias estates therestwent horseback frontierfulfill The military Székelys went on guardingduty.andtheir wealthier of their properties. The social status of the Székelys was reflected in the way they were able to intheextent by differences automatically being generated division fifteenth the the century, Székely Székely the regions, administrative of seven the basin of Háromszék ( Kinghas Andrew moved themfrom II of region the Mühlbach later the ( After 1224,when frontiers here. of defence the boundaries assuring eastern Transylvania, of Székelysthe (theiris origin still formeddisputed), the population along the southern and tribe of Hungarian nobility. The of typical the werealso military service, personal undertake to freedom obligation personal and the Székely society, which features characterized of weight nobilitythe hindered and moreseriously was easily controlled. inhadhe control being the region. almost The absolute political king, the of the deputy governed the counties asthough Transylvanian voivodethey asinglecountry.comprised The Maecenas Könyvkiadó,1999),(2nd revised ed.),72. settling of the Székelys) Elemér 47 counties which usually took placecounties which inusually took ( Torda over by their of fourteenth the century onwards, theindividual longercounties no heldmeetings presided mainly by populated Hungarians, andeach led bya period. medieval late in this of noblethe land counties, the Székelys the that of and of Saxonsthe comprised Transylvania territory the regions, characteristic The above-mentioned three regions. in these Protestantism of actions by excessive the being explained usually disappearance their counties, noble Catholic beliefs. It is quite peculiar their mainly preserved who Székelys, ofthe region that the to in a very date contrast at early almost nothing is known about the altarpieces territory this ideas in fact Saxonlands of that of the Reformation conquered the spite the the of the in in werepreserved this thesis discussed wood-sculptures panelsand retables, majority of the See: György Györffy, ”A székelyek eredete és településük története”. (The origins and the history of the history the and origins (The története”. éstelepülésük eredete székelyek ”A Györffy, György See: The Székely social order came closest to the nobility’s way of life, as the two major The seven noble made upa counties considerable part of Transylvania. They were ispán 47 comes ( Thehighest, most the privileged by rank wasrepresented the comes but rather it was the voivode who called united assemblies of the seven the of assemblies united called who voivode the was it rather but ). The population). Trei Scaune, DreiStühle Mályusz ed., Erdély és Népei began to bebegan socially to beginningthe only divided at of 20 sedes ) , theyorganizedin themselves territory the ) Turda, Thorenburg . (Transylvania. and its peoples) (Budapest: comes or seats, under the leadership of the ( ispán ). However, from the middle ). Thus, the voivodes the Thus, ). Sebe ú , Szászsebes primores , the , ) to CEU eTD Collection characterized by andcharacterized by wars growing acontinuously Turkish threat. peasant they set upan for ofmutual whichalliance aid, wasaspecialthere need in this period, are described in a clearly formulated way, mirroring their equal legal status. In this document Saxons and the freeSzékelys nobility, the (mainly Hungarian) the estates, privileged three the TransylvanianIt wasfor estates. firstthe time 1437union inthe Kápolnaof ( differenciation got started, leading with time to the formation of the three privileged homogeneous unity privilegedthe of Saxon nation. Saxon and a similar Székely society was formed and a social process of fifteenth century the notion of the “ the of notion the century fifteenth “ During King the time thethird of large Saxon Sigismund the Kronstadt, around region geographically separated from from the separated geographically bis zumEnde des 16. Jahrhunderts.“ Aus Urkunden und Chroniken, Vol. 1,(Bucharest: Kriterion, 1981), 11-18. administrative organization see also: Gernot Nussbächer, “Verwaltungseinrichtungen derSiebenbürger Sachsen Stiftungder Ostdeutscher Kulturrat. Vol. 8 (München: Langen Müller, 1998.). On the history of the 1878 Kronstadt edition) and Gustav Gündisch, Siebenbürger Sachsen für das sächsische Volk 49 (Marosvásárhely: Mentor, 2002), and György Györffy 1999) (See onthe topic: SándorPál-Antal, Székely 48 rank by the by rank horsesfighting (Hungarian: nextcomprised on those called The seat. the of population by the elected onwards) century the by run were seats in seven other of: with ” the form together century the mid-fifteenth from the mentioned region, usually a separate both point ecclesiastical from the and administrative the from were Stühle”, ”zwei so-called the Schelk, and Mediasch of seats aroundregions grouped eighththe mainone, the Theseat of Hermannstadt. neighbouring two Andreanum. Saxons,thus The unified, lived in seven seats ( bis“Broos Draas” them wasgiven to by KingAndrew IIin famousthe documentcalled the from region whole place the when took Saxons the of organization morea stable However, Géza II, who permitted them to settle in the region of what was later to be Hermannstadt. a special role of Burzenland For a basic text on the history of the Saxons see Georg Daniel and Friedrich Teutsch, Friedrich and Daniel seeGeorg Saxons the of history onthe text basic a For The two seats formed a unit because they shared a common administration. Until 1420, their ruler was the was ruler their 1420, Until administration. acommon shared they because aunit formed twoseats The Sachsengraf comes The Saxons started The Saxonsto inhabit started certain areas of KingTransylvania during reign the of pedites. , a reminder of the fact that a part of the Székelys moved from this region to this new new homeland. this to region this from moved Székelys ofthe apart that fact of the , areminder ” also was given the same rights and privileges. Beginning at the end of endthe the of andprivileges.Beginning at the samerights ” alsowas given iudex . The District of Bistritz ( iudex regius, iudex for whole the province( Székely önkormányzat-történet sedes Universitas Saxonum Universitas first named by the king and later (from fifteenth late (from the later by kingand named first the , Vols. 1-4. (Köln-Weimar-Wien: Böhlau, 1984 Reprint of the Siebenbürgen und die Siebenbürger Sachsen 49 , had from 1366 the same rights as the seven seats. Thus, duetothepolitics ofKing Andrew a II, Bistri 21 Ġ a, Beszterce a, Provinzialkönigsrichter lóf die sieben unddiezwei Stühle . (The history of local Székely government) Ę ” was institutionalized, meaning the k ) by the iudex regius sedes ), the so called “ ), the seven administrative seven the ), primipili of of Hermannstadt had Geschichte der ). It was later also It ). . Studienbuchreihe , andthelowest Nösner Land &ă pâlna ”. 48 ) that The ”, CEU eTD Collection Marosvásárhely. certain functioned mighthaveto suggestthat in workshops thelively environment of town is herein which naturally couldpanels It thisperiod. and haveproduced sculptures tempting workshops masters and the about or settlements in these practiced crafts the about known nothing practically is there century, sixteenth the until up localities Székely these of history Mary. Virgin the to dedicated church, the of altar the mentioned already Pope the 1400 In century. fifteenth the of beginning - fourteenth the of end the at built been have must friary the of church The here. settled Franciscans the that thetown lifeof spiritual and cultural economic, active fairly inthetown. operating tobyalargenumberguilds of contributed Mure ( Marosvásárhely especially, them of one favoured centuries sixteenth and fifteenth the in certain localities, while lifeof development the privileges these bythe the of given rulers a brought that Kingwas Sigismund town-policy the of It geographic positions. economic and intheir precisely lay importance Their formed. markets conditions, economic and geographic opidi Cicculi Trassilvaniae diocesis 53 52 stratum. merchant “professional” of a development territories discussed the of rest the in as 51 bishopric the at work for applyied features economic and relationships personal same the workshops, same The production. artistic Transylvanian overall to connected closely clearly were bishopric ofthe environs inthe commissions art The analysis. short inthis to referred historical Transylvania, certain aspects regarding this most important ecclesiastic and cultural center will also be 50 as sources written and thus differed from the rest of the Saxon regions, belonging to Gyulafehérvár. to belonging from Saxon regions, the restof the and differed thus which becomingon Archbishopricdependentthe was directly seats), inEsztergom the seven in by 1192 settled byKing Hermannstadt, Géza IIandlater territory the around Saxons in provostship (founded Hermannstatt the of exception the with forTransylvania, all center of the speaking ecclesiastically was which bishopric, Transylvanian so-called the Gyulafehérvár, were of medium size and never received the medium sizeandneverreceived were of situation was not on the same level. of view equaltotheHungarian nobility and the Saxon burghers, their general economic This was also reflected by their localities. ” It should also be taken into consideration that their mainly military way of life seriously hindered the early to belong not did and neighboured – only Várad – later of Bihar bishopric the of Bihar, region Although Gy ut altare maius fundatum in honore beate Mariae virginis situm in ecclesia domus fratrum minorum in foro Ę ú rffy rffy 1999; See also: SándorPál Antal 2002 and the literature mentioned by him. , Neumarkt The ecclesiastic situation by The ecclesiastic situation of was mainly characterized of Transylvania bishopric the In spite of the fact, that the Székelys were one of the three estates, from the legal point 53 Due to the fact that only very sporadic written sources make reference to the to reference make sources written very sporadic only factthat Duetothe ). Due to continuous royal support this locality attained a lively town-life, oppida, developed on those places, where, as a result of favorableas aresultof places, where, the developed those on …” Entz 1996,74, 379. 22 civitas regius civitas privilege 52 It is in relation with the , but were referred to in to were referred but 51 50 Their towns Their Târgu CEU eTD Collection considered as belonging to this group, although the provenience of the fragments in Kiskalota is not known. not is Kiskalota in fragments of the provenience the although group, this to belonging as considered wooden sculptures, the Virgin with Child from Tordatúr ( Tordatúr from Child with Virgin the sculptures, wooden retable preserved in the Orthodox church of Kiskalota ( of Kiskalota church Orthodox the in preserved retable 57 Transylvaniancultural history) 3. (Kolozsvár: Entz Géza M Kályhacsempék Csík-, Gyergyó- és Kászonszékb 56 Székelyzsomboras imported works while the remaindershe considered products from the same large workshop. such considerations such The paintings orsculptures preserved onlyvery in sporadically this territory notallowdo any lands. Saxon the consider to theextentof andin close the andexchangemasters relationship with workshops researchers alsopermit will Such studies be hardly will possible. a of workshop localization -even exact local the when masters were there whether clarify willhopefully pieces 55 century. sixteenth the background andcultural economic social, necessary possessed the They significance. therefore for the production of pieces of art. region.,Royal inthe crafts likeother sources as primary for consideration are available that pieces preserved towns isitsuch indeedonly Székely the territory, to referring lackdocuments general of written the ( probably played a role in this clustering,Csík. Although influence in the circle and of Franciscanfriary of the Somlyó attractions an exact explanation still needs to be in the seatof clustered found. arealmost exclusively sculptures and altarpieces preserved panels, Due to foundingthe of Franciscanthe monastery in betweenCsíksomlyó, erected 1444-1448. fifteenth and at the beginning of the sixteenth century. Nothing is known of the role in crafts and trade of the of trade ( and Csíkszereda crafts area, of in the center role present of the known is Nothing century. sixteenth ofthe beginning the at and fifteenth 54 in theSzékely preserved altarpieces on research doing when consideration into single would workshop be stylistically problematic. thisa region. However, thorough look at artworks these reveals thatgrouping them a around in lands arepreserved from Székely altarpieces most the that fact on the heropinion based Csík ( in other Székely in other have ismight here. worked might Nor masters anythingother who known haveabout worked The retable from Magyarfenes ( Magyarfenes from retable The See the latest exemplary research on the stove-tiles of Csík-, Gyergyó- and Kászon- seat. Mónika Kémenes, Mónika seat. Kászon- and Gyergyó- ofCsík-, stove-tiles onthe research exemplary latest Seethe Jolán Balogh only considered the panel from Csíkszentdomokos ( Csíkszentdomokos from panel the considered only Balogh Jolán Balogh 1943, 124. Csíksomlyó must have beensome of kind a regional center in the second ofhalf the Ciuc It is not easier to formulate hypotheses on the medieval altarpieces from counties. from the medieval altarpieces the on formulate hypotheses easieris to It not However nothing concrete is known at the moment about any of the masters who masters any momentthe is about of at the known concrete nothing However 56 Their stylistic analysis can help us further in this problem. An examination of these of examination An problem. in this further us help can analysis stylistic Their ) region, beginning from the middle of the fifteenth century, one closely related to related closely one century, fifteenth the of middle the from beginning region, ) oppida 57 Ħ in spite of the fact that the towns of these counties were of national of were counties these of towns the that fact the of in spite vel . Jolán Balogh argued for the existence of a local workshop in the Ę déstörténeti Alapítvány, 2005) Erdélyi M Vlaha Miercurea Ciuc ), kept in the Batthyaneum-library inGyulafehérvár, the fragments of a Ę l , (Stove tiles from Csík-, Gyergyó- and Kászon-seat) 23 &ăOăĠ ), which only grew into an Tureni ele 55 ) and one of the earliest preserved Transylvanian preserved earliest ofthe one ) and It is It indeed peculiar andshouldbe taken ), in the cathedral in Gyulafehérvár can be Sîndominic Ħ vel Ę déstörténeti Források (Sources of ) and the retable from retable the ) and oppidum civites regii in the second half of half second the in ) such as sedes 54 She that CEU eTD Collection 63 way. other any orin sculptures panels, with decorated were they if estimate to possible not it is Thus, character. their to refer never unfortunately 62 1995. M origin by referring to their father Nicolaus, a painter in Kolozsvár. apainter father their Nicolaus, to by origin referring ( of a king base inscription inon the in of one sculptures Várad of 1371 the bronze the only starting to organize. One of the rare mentions of a painter from these years may be found sources are mainly silent concerning namesthe mastersof in this early period and guilds were Written nothing of artisticmasters. isthese milieu that preserved most of the thus strange to this dedication, nothing more is known about them. about is known more nothing dedication, this to in addition However, Christi. andCorpus All St. Catherine,Saints to in dedicated church, the in place mentionedfourteenth 1414threealtarstook century end the arealready and the of at Kolozsvár of church parish in onsignificantKolozsvár. work existedthe Building timethis at mentions of already existing altars alsosupportthe idea thatahighly urban developed culture Kolozsvár building master’s in mentions historical construction data, and names their works, of at the end of the fourteenth - beginning of the fifteenth century and written PICTORIS. DE. COLOSWAR. (as quoted by Ern NICOLAI. MAGISTRI. PER. MARTINUM.FILOS. ET. GEORGIUM. IMAGINES. SANCTORUM. XXIX. VENERABILIS. DNS. PATER. DEMETRIUS. EPPUS. VARADIENSIS. FECIT. FIERI. HAS. 61 60 (Buda: Szabad Királyi Kolozsvár Város közössége, 1870.)Vol. 1, here especially: 348. dedicated to St. Dominic. toSt. dedicated thealtar touching madewhile his called Nicolaus confession witnessesthe carpenter acertain friary Dominican the comesin from Kolozsvár wasissued1397 when a charter Among there. 59 German. 58 deClussenberch Georgius et Martinus started on their artist paths with fourteenth century masters of international fame, the brothers altar dedicated to the Virgin (!), an altar of St. John the Baptist and one dedicated to St. to dedicated one and Baptist the John St. altar of an (!), Virgin the to dedicated altar high mentioned –the are altars In 1291 three avery has date. early Gyulafehérvár of cathedral in the altars the on data first The altarpieces. these of decoration and type the on information provide These not of with again of us indocuments period. the arementioned altars number large a although them on data historical no is There preserved. been have Várad, and Kolozsvár, Oradea, Grosswardein Entz 1996, 82.; „…corpus altaris sancti Dominici…manibus ipsorum tangentes Jakab 1870 Vol.1, 154-156. Entz 1996, 82.Written references of altars documentsin from these years A.D. MCCCLXXI. SERENISSIMO. PRINCIPE. REGNANTE. DNO. LODOVICO. REGE.REGNANTE. HUNGARIAE. DNO.LODOVICO. PRINCIPE. SERENISSIMO. MCCCLXXI. A.D. Compare their signiture on theSaint George statue in Prague On the history of Kolozsvár in these years see: Elek Jakab, Elek see: years in these Kolozsvár of history Onthe Kolozsvárhad amixed populationduring the Middle Ages comprising roughly Hungarianhalf and half Ħ None of the altarpieces from the cathedrals of the two episcopal Gyulafehérvár episcopal towns, two the of cathedrals from the of altarpieces None the vészettörténeti Füzetek 23.), 93. 58 which received considerable from privileges Kingin the this period ) created byMartinusGeorgius.inscription et) created This outtheirpoints 63 , 60 Ę orsome decadeslater Marosi, 24 Kép ésHasonmás Kolozsvár Története 62 The earliest data on the building of . (Budapest: Akadémiai Kiadó, Thomas deColoswar ” (The history ofKolozsvár). history (The Entz 1996., 342. 61 In spite of few the Inspite of 59 were . It is CEU eTD Collection Medieval Studies at CEU period see period florenos solvere debeat pinxit…pro una tabula inqua picta sit imago assumptionis beate Mariae virginis cum imagini…dictos centum 67 186-187. and Vol. III. 41-43, 132. See also: Radocsay.Táblaképek 145.;Balogh. Erdélyi Reneszánsz 139, 286. from its foundation to presentthe day) (Nagyvárad: Váradi püspökség, 1883,Reprint Nagyvárad, 2000.) Vol.1., 66 impossible to follow in these documents how many of these altars stood at the same time in the cathedral. 65 1958), 131, 201. 64 main population of For effective reason,this more-or-less, Transylvanian protection.burghers the comprised these Saxon towns. its Nation and under framework of Saxon the political within the mostwas clearly spectacular One of the major incentivesbehind in the leadingtowns Saxon other the two Urbanin regions. development Transylvania for the growth of these Peter. environs of Bistritz ( altarpieces from third,geographicallythe quite distant regionby inhabitedSaxons, the inof so-calledthe There is environs Burzenland, the ofBrassó. nothing preservedof the the territory of the seven seats as wellin as the two Saxon in churches seats in addition survived to the separatehave and region century sixteenth the from date fragments their or altarpieces panels,sculptures and complete altarpieces and also written preserved documents. the of Most of in terms the preservedboth material richest the offer that lands Saxon the is clearly it burghers. However, situation of improvingthe the material dueto Transylvania,mainly over not been carried out and would surely enrich our knowledge considerably at this point. documents mentioning panels masters, sculptures, or eventually specific commissions has still into research a systematic with together altarpieces to connected sources written medieval late always mentioned, are that afew are sources there factthat the In spite of andtheirmasters works. commissions, specific mention documents andother town-accounts tax-registers, testaments, number of a considerable increased also sources written of number the when century sixteenth the centuries. two next the over seven only by increased number Their documents. written on the based in 1374 Várad of bishop’sthe cathedral altars innumber total of cathedral. thirty-two the a on information is there century sixteenth the of quarter first the in until onwards century Like the oftenmentioned 1485 testament of István Erdélyi: ” Vince Bunyitai, Vince Entz 1958, 131.See the catalogue of documents the referring to altars onpage 201-209. It is unfortunately Géza Entz, Géza 64 The number of altarpieces in the parish churches increased greatly in this period all inthis period increased greatly churches in the parish altarpieces The number of in and fifteenth the of end the at towns Transylvanian most in changed situation The The number of data referring to altars increased from the second half of half fourteenth second the increased from the of altars referring to Thenumberdata of Mária Lupescu Makó: ” A gyulafehérvári székesegyház. A váradi püspökség története alapítástóla jelenkorig 67 .” (Entz 1996, 344-345.) For acareful social analysis of Transylvanian testaments of the the matter is far from being sufficiently studied. An analysis aimed at Vol 7. (Budapest: CEU,2001), 161-186, as wellas her forthcoming dissertation. Bistri Ġ a, Beszterce Item lego …” Gifts for the Soul in Late Medieval Transylvania.” Medieval Late in the Soul for Gifts …” (The Cathedral of Gyulafehérvár) (Budapest: Akadémiai Kiadó, Akadémiai (Budapest: ofGyulafehérvár) Cathedral (The ), in spite of the fact that this town in no way lagged way no in town this that fact the of in spite ), 25 65 Forty-five altars were already standing in standing already were altars Forty-five 66 Thomae pictori qui tabulam in claustro Koloswar . (The history of the Várad bishopric Várad the of history (The . Annual of CEU eTD Collection 72 Buchgesellschft,1967) German towns see: Hans Huth, Hans see: towns German Verlag – Arbeitskreis für Siebenbürgische Landeskunde Heidelberg, 2003], 64-70. For guild documents of Hermannstadt, 71 124. tizennegyedik század története 70 the turn of the fifteenth and sixteenth centuries 69 Middle Ages 68 century fifteenth nine during wereorganized for18crafts the markets. guilds InSchässburg, goods the on obviously,just aselsewhere formed in craftpeopleEurope, bythose whocould bestsell their doalready figure In masters guilds in first the were sporadically Transylvania documents. sources do not mention a guild of painters or sculptors in any of the towns, even if single guilds as well as in guild-documents from German towns. German from in guild-documents as well as guilds Transylvanian of regulations in later found be will which rules basic the of most contains Hungarian Kingdom survived from this region. entire guilds from referring the to first data very The boom. economic of this great advantage Hermannstadt Kingdom andHungarian Kronstadt, through Bistritz. of the fifteenth Balkanscentury. played an important role in the development of these localities. Balkans. Thus, active with continuous Romanian trade the and two the voivodates the The majority1368. of town, while had alreadygainedcontrol overPolish the Bistritz in through route Moldavia spices the through passing route trade international the over rights same the received fromHermannstadt the Black tradesmen whowereKronstadt, of then able toresell in goods Wallachia.the In1378, the to broadcloth, merchandise, sought-after most Sea their sell to Walachia to way their on region Kronstadtgranted reached astaple which right, obliged theincoming Polish and merchants German townsthe was a lively trade. King Louis’s economic policy alsofostered Saxon trade. In 1369, he the end of the fifteenth century the percentage of craftspeople had reached 50% in of end 50% hadthe craftspeople percentage reached of the fifteenth century the the period: the The mentionsdocument 19guilds and25crafts and tofour important refers Saxontowns of regulation from 1376. to inthis muchreferred Saxons requestof the atthe establish guilds the Transylvania in the mid-fourteenth century, butKing first Louis abolishedre- them,to only Nussbächer, Gernot “Das Schässburger Gewärbe im 15. Jahrhundert.” Nussbächer 1981, 104-107. The regulation published most recently by Monica Vlaicu, ed., Vlaicu, by Monica recently most published regulation The Most of researchers consider the charter from 1307 of the furriers from Kassa a fake. See Iván Bertényi, For the problem of Levantine trade see the works of Zsigmond Pál Pach, Béla Köpeczi ed., 68 In parallel the Saxon towns also exported their own goods to Walachia and the Transylvanian Levantine commerce developed considerably from from decade second the considerably commercedeveloped Transylvanian Levantine , (Budapest: Akadmémiai Kiadó, 1975), or Idem, Hermannstadt, Schässburg, Mühlbach and Broos ( andBroos Mühlbach Schässburg, Hermannstadt, Vol. 2, 72 History of Transylvania andin 12 By Kronstadt. 1480, 70crafts existedinso Hermannstadt thatby Handel und Gewerbe in Hermannstadt und in den Sieben Stühlen . (The history of fourteenth the century) (Budapest:Pannonica Kiadó,2000), 123- Künstler und Werkstatt der Spätgotik . (Budapest:. Akadámiai Kiadó, 1994.), 233. . (Budapest: Akadémiai Kiadó, 1980) 26 70 The first must guilds have in appeared The Transylvanian Route of Levantine Trade at Quellen zur Geschichte der Stadt , (Darmstadt: Wissenschaftliche 71 However, these very first written first thesevery However, Or Levantine trade and Hungary in the ăú tie, Szászváros tie, 69 Saxon handicrafts took handicrafts Saxon . [Hermannstadt: hora ). It already A CEU eTD Collection oeuvre 79 principal masters of the guild. 78 Siebenbürgische Landeskunde Heidelberg, 1999], 139-141. Quellen zur Geschichte der Stadt Kronstadt 77 triumphal arch in the ”Bergkirche” of Schässburg mentions acertain mentions ofSchässburg ”Bergkirche” the in arch triumphal also aspire to the most important administrative roles in a given locality: the much quoted inscriptionincreasing above number of the guilds, half of the town-councils would be formed from guild-leaders. Craftsmencould perfectly that correspondsa feature to regulations regulations, guild later in of motif guilds known arecurring was This from German town-council. the in territories. rights their Thus,represented after a while, with an 74 bis 1526“ Archiv, 38(1912): 443-451. Hermannstadt in Zunftwesen Aelteres Zunftwesens. des Geschichte zur “Beitrag Rösler, Rudolf also and 1955 Magyarországon 76 75 territories. speaking in German towns in several found be can examples similar also corresponds to charters of other, earlier guilds. However, the concrete identification of a identification of theconcrete However, guilds. earlier of other, charters to corresponds also known to in foreignthose Initsbasicpoints towns. corresponds also regulation regulation the Hermannstadt. mentionsglassworkers, from regulations thatthe wereadopted in correspondingthe guild document, whichinincludes sculptors the also the commonjoiners with guild painters, and Hermannstadtfrom 1520 andinjust Kronstadt afew years in later, 1523. mentioning of joiners’ common the andpainters’, glassworkers’ guild isin known the altar’s patronof saint.name the on took organization later their cases of number a In altar. own their maintained care for, were obliged whichhavecrafts butalso to those not ayetalso did have guild could they which churches town the of in one altar own their had have might that guilds only not it iswas smiths. - concerned –asfar furriers, However bakers production or altar weavers, and painters were among these. Their products were naturally never as necessary as that of the gatherednumber for in notand along of obviously which crafts sculptors guilds time,were a were there 1400.Still, around fameand quality international was of already Hermannstadt from goldsmiths the of work The circles. ecclesiastic as well as in secular market the on for mentioned firstthe were guilds. Theirobviously products buteasy sell,expensive looked to 73 today firstmentioned artists considered are goldsmiths. the more in importance andmore running aswell. of the towns the Klausenburg). Hermannstadtand in and comprised(aswellasin athirdof Kronstadt population the Bistritz For examples For see:Huth 1967, 73-76. The matterwill be further referred to in chapter the dedicated to the This document mentions the name of Veit Stoss the younger, son of the Nuremberg master, as one of the See: Vlaicu2003, 264-267. For the Kronstadt regulation see:Gernot Nussbächer andElisabetaMarin, eds., The common guild regulation from 1376 already prescribed that each guild had to elect two leaders who leaders two elect to had guild each that prescribed already 1376 from regulation guild common The Sz A goldsmith is already mentioned in Schässburg from 1393. See: Urkundenbuch Vol. 3., Nr. 1282, 48. For the development of several crafts see: crafts of several development the For Ħ cs 1955, 116. of Master Vincencius Cibiniensis. of Vincencius Master . (Towns and crafts fifteenthin century Hungary),(Budapest: MTA Történettudományi Intézet, 73 78 The number of the craftsmen grew continuously and gradually gained Thenumber grewcontinuouslyandgradually they craftsmen the of The existance of a common guild of these crafts is not a local oddity since 76 The first guild regulations – and at the same time the first the time same the at – and regulations guild first The . Vol. 9.1420-1580. [Kronstadt: aldus Verlag – Arbeitskreis für Jen Ę Sz Ħ cs, 27 Városok és kézm és Városok Valentinus pictor 75 Ħ vesség a tizenötödik századi atizenötödik vesség They were also present among present also were They 74 Among those craftsmen , as a town mayor. 77 Thelatter 79 The CEU eTD Collection Unternehmer aus Franken Cranachs.” Jugendzeit inder Malerei Bamberger “Zur Hörsch. Marcus see: Bamberg 83 1880, 252); 1540 – Jacobus Chyk lignifaber doors makes for thebath-house in Kronstadt. Balogh 1943, 159. 1880, 237); 1497 – ” 1497 – „ pictori exposuitdominus villicus, utpinxit fornacem in praetorio …flor 0. den20 stabam pro labore in nova domo scheyben in numero 128 ….flor 1. den 56 or of a flag. as execution of coats-of-arms, of a door, the painting onastove, of a couple of window panes such although variable, minor, works exclusively arenamed–these arecommissions almost Evenin whenthe out. cases have they carried work the on cases isthereinformation rarest inthe Only they weredue. payments sum of the the and painters names these list the of 82 Landeskunde, 1880), 40-97. Siebenbürgens aus SächsischenArchiven. Vol.1.(Hermannstadt: Ausschuss des Vereins für Siebenbürgische Rechnungen aus dem Archivder Stadt Hermannstadt und der Sächsischen Nation. Jahrenden 1478-79 und Verzeichnisse überaus dieKosten der ThorhutwachenSteuerregister aus den Jahren 1478-80.” ”Hermannstädter document. ofthis basis onthe name same the with masters several between differentiate to difficult is It of craftsmen. number alarger to correspond perhaps may names seven The painters. 81 eynn yngefast Twsch noch der Czwir unndLeng,das ander ein Spilpret vnnd dybegert ind y vorgenannte Bruderschaft, dersol auchthun eon Webeyssung. Das erst Stück solseynn ander Mol sol er machen eyn Stück Glas eynner Elenn hoch von Glascheiben. […] Item wer eynn Tyschler ist er molenn eynn Maria Pild eyner Elenn hoch vnnd das sol er molen mit Lasur vnd mit pnalirtem Gold.Zum 80 in need painters exclusively commissions. specific the Being of usually continuous as work, panelshave werefinalized as“confection”, could beenin retables cases produced certain mentioned above.. likethat smaller work even in the Saxontownsinsured by production the daysof Most altarpieces. filled were with in documents. these common becomes increasingly often painters of mention The sixteenth. the of beginning in the number in increasing continuously last decadesof fifteenth this fact, beginningalready the three the support with and century organizinga into themselves brotherhood guild. The or tax registers andbooks also account of capable finally were they century sixteenth the of quarter first in the that fact the by shown playing-board. made of panes” ( glaze ( a transparent with theVirgin Mary,painted animage of firstproduce a painter had master, to attain of thetitle to In order point. this guild, upon touch from points Hermannstadt the word-by-wordwhich the and adopted from from regulationsKronstadt, those Hermannstadt didisfigure The feature in late but masterwork in a not regulations earlier guild-charters. Forsimilar types of small commissions as part of the continuous work in the Katzheimer workshop in A few randomly chosen examples include: 1503 –” 1503 include: examples chosen Afewrandomly A tax-register from between1478-1480 from Hermannstadt makes mentionof sevendifferent names of ” Ittem eynn Moler sol thun seynner Mesterschafft eyn Beweisung noch vnser Gewohnheit. Das erst Stwck sol Lasur Magistro Valentino pictori pro laborevexillorum in novo aedificioseu domo florens 82 ) and with polished gold and second he “should paint a piece of window-glass This fact also suggests that the living of the masters and workshops was not was andworkshops masters the of living the that suggests also fact This 80 The growing number of notonly isnumber belonging this The guild of craftsmen the to growing Valentino pictori arma civitatis super domum novum depicta florenus 1 Glasscheiben . (Augsburg: Haus derBayerischen Geschichte, 1994), 98. ). A joinerbehad able producean to ). to anda unpainted table 83 Even when small wooden sculptures or single Item Bartholomeo pictori ex parteunius fenestrae ad 28 81 ” Vlaicu 2003,264-267. Unfortunately, these sources Unfortunately,only sources these ” In, Rechnungen384. 1880, “ ” Rechnungen 1880, 357. ; Quellen zur Geschichte Lucas Cranach. Ein Maler- .” (Rechnungen 1.”(Rechnungen Item CEU eTD Collection 89 7. 1969), Oldenbourg, 16. Jahrhundert. 88 87 from Nuremberg who established himself in Kronstadt may be found in the documents. See: Gündisch 1998, 49) 86 Österreich wall paintings in the castle of Runkelstein. See: Artur Rosenauer ed., togetherwith Michael Pacher fora time. In 1508, he was commissioned by Emperor Maximilian to ”restore” the 85 Birthälm. The matter will be referred to in the chapters that follow. towerof the Schässburg church, as well as the imitated panels on the wall of the chapeldone by in(mainly) the fortification panel painters of see the fresco by Master Vincencius Cibiniensis,Hermannstadt, a orpainter to had execute the both wallpanela a and glass-paintingpaintings as a masterwork. Forwall paintings in the 1492 (Balogh 1943, 142, note 56).As shown above,according a to regulation of common the guild in 84 show from that inHermannstadt neededaccount-books The continuously Transylvania. were that goods the among and well-known was towns, German western the and Nuremberg smithsthe in from Hermannstadt 1462-84, itcan be seen thatthe cloth comingfrom after inKingdom mostthe sought of andin From a guilds-book Hungarian the Transylvania. Hermannstadt. in Sibenbürgen”. Hermanstat “von der Chraus Merten a certain him to to owed Nurembergthe der Quetrer merchantEberhartfrom ofaburgher transfered thedebts Vienna from and dates mutual 1412, when Transylvania between on Nuremberg relations commercial Transylvania. clearly toanon-going points along trade Vienna runningfrom theroute Nuremberg to onto especially. presence the formerof burghersinHermannstadt Nuremberg indicates clearly and information this andhistorical This Vienna supports observation. data relations with the of style alsospeaksto Transylvania. preservedretables The the Nuremberg intellectual stratum important– were both factors in commissioningthe of in piecesart due tothestudies ofmany –thus students abroad Transylvanian wasagrowingthere craft. same the belonged to techniques since the working on panel mighteasily have commissions accepted for wall glassor paintings as well Middle Ages – in Italy as well as the German-speaking regions. PacherMichael Altdorfer, like painters orwell-known among Filippinoexamples similar of number considerable Lippi, as well as among no-name masters from all over Europe in the Gündisch 1998, 47. Ub Vol. 3, 557. burgher single of a mention century, sixteenth ofthe half first the In rarer. much are Kronstadt to Relations For an interesting type of commission see the case of Max Reichlich, who settled in Salzburg and worked and Salzburg in settled who Reichlich, ofMax case see the commission of type interesting an For The painter Lucas in Kolozsmonostor ( Kolozsmonostor in Lucas painter The Ute Monika Schwob Monika Ute Of NurembergOf goods the merchants could finecloth offer, variousand textiles were It isIt personal the obvious that and built business relations up through commerce and , Vol. 3. 88 Buchreihe derSüdostdeutschen Historischen Komission, no. 22 (Munich: Verlag R. 89 In Ludwig wasmember 1466, acertain Norrimperger of in council town the Spätmittelalter und Renaissance , Kulturelle Beziehungen zwischen Nürnberg und den Deutschen im Südosten im 14.bis Clujm ăQăú (Munich: Prestel, 2003), 453. tur 29 , today part of Cluj) painted both apanel and a window in 84 This is not a surprising feature, therearea surprising a Thisisnot Geschichte der Bildenden Kunst in Kunst Bildenden der Geschichte 85 86 The very Thevery data first 87 Theact CEU eTD Collection and and different regions of Hungarian the Kingdom including Transylvania.See: Schwob 14.1969, 97 96 charters. (See: Gündisch1944, 47-48) of Mayer Firm Nuremberg the of representative relative of the above-mentioned merchant Georg Mayer, who also figures as figures also who Mayer, Georg merchant above-mentioned ofthe relative mining in Transylvania 1471 figures ininwhere he the tax-register 1480, 1484,1485. inA Hermannstadt“Erzgebirge” Ludwig traveled aswell. certain Stromer to connection played an prominant role in the political and economic life of the region for decades. Mayer arrives in Hermannstadt from Breslau ( Breslau from Hermannstadt in arrives Mayer comes in1500, widow the of Hans Nuremberger is mentioned in1515 and in the same yearNürnberger goldsmith the Hermann Peter A certain inTransylvania. burghers ofNuremberg presence to the referring data other judgehe andbeginningKronstadt of wasalreadymayor in1542 of Hermannstadt. in council the Schirmer,he in marriedof Hermannstadt, Margareta 1529 daughter town the Hermannstadt und Sachsengraf”, und Hermannstadt 95 94 97. councilissued a document concerning a debtof 3300 florins value as relief fromthis pledge.See: Kubinyi 1964, 93 Spätmittelalter” 92 91 90 sometime beforeas amerchantTransylvania 1526. to roleimportantmost inTransylvania. Hestudied University atthe of Vienna alreadycame and Another son, Paul as from King.pledge ofKronstadt, the border of the Transylvania) “zwanzigstel”(aat tax Haller,so-called the of half father) their from gift a died (probably brothers his with intogether Hermannstadt Eufemia familyHeis patrician from haveHecht. Hermannstadt, alsoknownto owned – in 1530. However, leadershipthe of Hallerby his Firmin the marriedBuda father, the of important daughter an Peter Haller also have decided connections withHans, the eldestplayed whowaslater son, Transylvania. given the 1481 he already had commercial contacts with 1481 he hadalready contacts Transylvania. commercial By there. functions political had also but in Buda merchant important an only not became and first initwhoof himself established the region century, Haller fourteenth the wasRuprecht half first the in trade Hungarian the of in records up show already merchants Nuremberg that importantfamily Nurembergmost in was Hallerthe family. Transylvania In of spite fact the Koberger, playedin agreatrole trade. this 1500. Flemish German and west cloth was displacedby aroundgradually Nuremberggoods the The firm brought its goods to the southeast European markets through their representatives living in Poland in living representatives their through markets European southeast the to goods its brought firm The Rechnungen 1880 67., 101., 103,109. Also referred to by Schwob 1969, 22. On the life and activity of PeterHaller see especially Georg Gündisch, “Peter Haller. Bürgermeistervon Schwob 1969, 12. On the 24thof April 1516, Hans Schirmer, mayorof Hermannstadt, the judge in the townand the whole András Kubinyi,“Die Nürnberger Haller imOfen. Ein Beitrag zur Geschichte des Südosthandels im Ibidem 17. Ibidem 17. 90 Families like the Hallers, the Mayers or a decided cloth-merchant, Wolfgang a decidedor cloth-merchant, Mayers the likethe Hallers, Families Nuremberg trade was not limited to textiles. Contractors reachedthe Transylvanian limited Contractors totextiles. wasnot Nuremberg trade Mitteilungen des Vereins für Geschichte der Stadt Nürnberg Deutsche Forschung in Südosten Wroclav 91 The most often mentioned and probably also the also probably and mentioned often most The 30 ), where he had studied. He is supposed to have beena 97 ,Georg Mayerlived His – inHermannstadt. 94 3(1944): 43-102. He alsolists a ofnumber In 1528, he was already a member of 92 52(1963-64): 91. notarius Three of sonslater Threeof hisfive in a series of guild 95 96 He A 93 CEU eTD Collection (Budapest:MTA Történettudományi Intézet,1988), 81. Ages), Társadalom és M és Társadalom Ages), Mályusz útinapló among the miners. See: Lajos Tardy ed., trans., János Dernschwam 102 101 (Budapest: Teleki László Alapítvány,2002), 36. harangjai ésbronz keresztel with Transylvania routes andrunning those between Transylvania and Cracowwill also probable that the mines’ exploitation very it makes This was Fugger-Thurzó. continuous Firm the with ties infamily thethrough sixteenthconnected both were century. Thurzó Zsigmond See: Elek Benk 100 study. separate a deserves which complex, in death) his following only other documents (unfortunately in the townof Schässburg. encountered The also matter is who of the Veit Stoss, Stoss sons in Johannes Transylvania doubt, is muchwithout more was, son 1875. Quellenschriften für Kunstgeschichte und Kunsttechnik des Mittelalters und der Renaissance.Vol. 10) The Anmerkungen daselbst aus dem Jahre 1547. Nebst derFortsetzung des Andreas Gulden nach den Handschriften und mit 99 against fight the for Söldner, the Turks.Martin burgher Nuremberg the from Mayer Georg Hermannstadt, of representative demanding a payment of 1000 Gulden ,the price of powderother and goods related to artillery,bought by the 98 name occurs in documents related to the trade inarms trade tothe related in documents name occurs still unrevealed commercial relations of Upper Hungary, through Kassa ( Hungary, of relations through Upper still unrevealed commercial in The period. trends of the and artistic inthespread haveplayedacertain also cultural role most descriptionsthe important of from regions period. these the deceased son deceased son hadlived in who Schässburg. in Veit toproceed Nuremberg his Stoss, inof sculptor, his of name the matter testamentthe moreinteresting from pointthe of view of thesis.He this was by commissioned famous the mines throughout thesixteenthmines century. throughout from Bihar bishopricthe these of Váradandvery county exploited probably continuously from Rézbánya ( mines leasedthe Thurzós the century, sixteenth the beginning of obvious that the topic should be interestof from the point of view of art history as well.At the notis soin Transylvania latter well the of presence The concern. researched Thurzó-Fugger the by century sixteenth as that of Kingdom by limitedthe it, intheHungarian was strongly related to already and trade inthe the Nurembergers, but based on the few known data it is Dés ( their Transylvaniasurvey representative to in1528order to mines saltthe there(in Torda, Upper Hungary was usedin that Hermannstadt. Thurzó from Besztercebánya for copper boughtin Buda. Thus, very likely itwas from copper On the 10th of December 1526, the Council of Nuremberg sent a demand to the town of Hermannstadt town the to ademand sent ofNuremberg Council the 1526, of December 10th Onthe Des Johann Neudörfer Schreib- und Rechenmeisters zu Nürnberg Nachrichten von Künstlern und Werkleuten Benk It was Bishop Domokos Kálmáncsehi, who rented the mine. His two accolates, Bishop György Szatmári and He also notes that all five salt chambers were exclusively Hungarian There were no German-speakers even German-speakers no were There Hungarian exclusively were chambers salt five all that notes He also Dej . (Transylvania,. Besztercebánya and Turkish diary),(Budapest: Európa, 1984), referred to by Elemér Ę , The routes marked by commerce and personal relations acquired through trade must markedtrade acquiredthrough The routes by relations and personal commerce 2002, 37. Az erdélyi magyar társadalom a középkorban ), Kolozs ( herausgegebenvonDr. G.W.K. Lochner Stadtarchivar Nürnberg. zu (Wien: Wilhelm Braumüller, Cojocna Ħ vel Ę Ę medencéi déstörténeti Tanulmányok sorozat, (Studies of social- and cultural history) no. 2 no. history) cultural and of social- (Studies sorozat, Tanulmányok déstörténeti ), Szék ( , (Bronze bells and baptismal fonts of Transylvania in the Middle Ages) Sic ) and Salzburg) and ( 100 In 1507 the payed mayor of Hermannstadt János 99 The role of in Nurembergmerchants the mining 31 . (Hungarian society of Transylvania in the Middle the in of Transylvania society . (Hungarian 101 The Fuggers sent Hans Dernschwam as Hans Dernschwam sent TheFuggers 98 , Erdély, Besztercebánya, törökországi Besztercebánya, Erdély, , as well as with another matter much Vízakna 102 )). His report remains one of Košice, Kaschau Košice, Ę , Erdély középkori %ăLĠ a) in ), CEU eTD Collection 103 example sonsareagood Stoss an impact on the art of Transylvania. The already mentioned documents referring to the Veit must Thisfact havehad also homes, correspondence. their upregular traveling and keeping been demonstrated thethat merchants livinginwith Transylvania keptin contact continuous to believe that reasons good are there since direction this hints in Koberger he name Wolfgang the of merchant, was a relative of the famous Nuremberg printer, Anton Koberger. It has 106 Schottenaltar, earlier worked inthe of Hans Pleydenwurff’s Nuremberg workshop. 105 1912) Max discussion: basic a Loßnitzer. workshop.For Cracow of the environment the in up grew also probably very and Cracow commercial and artistic relations withPoland. Johann Stoss was supposedly duringborn his father’s stay in 104 study. Transylvanians wanting to was favored by that itPrague of was theUniversity decades first century.fourteenth In these from increased the being.continuously numbersinto Their theseart brought pieces of that Transylvanian is art, theintellectual stratum inwas this period.their It claims erudition and on styles artistic of Viennese influences numerous the for explanation the and altarpieces commissionsother of church-furnishing. and of have retable aseries behind been to life of town, in the roles the andpolitic economic formerfrom inhaving burghers and Hermannstadt important Nuremberg, settled taking on imagineis It that to easy and woodcuts. – especially engravings andpieces of art artists toTransylvaniaboth through their because goods commercial way they transported the of merchants may also havecontributed mediatingto this processof artistic trends Viennese nevereventually home returning butbecominginfluential very abroad. artists originating from Nuremberg Transylvania went to in tolearn order theirthere, craft painters that exampleassumed Siebenbürgerthe research hasalso through of Hans Recent Nuremberg.towards elementspointing throughout stylistic Transylvania with sculptures Ages. Middle late the of libraries Hermannstadt Nuremberg,printed in books south German the being found mosttown in often the on cultural impact life.A in and artistic isbooks between trade Transylvania documented and to artistic styles. The widevariety of connections with Nuremberg outlined abovehad a clear respect with mediation their andwith craftsmen movement of the to makereference hopefully FriedrichMüller, “Die Inkunabeln der HermannstädterKapellenbibliothek.” Tonk 1979, 43. Suckale 2004, author The claims that Hans Siebenbürger, a/the leading master in the Vienna workshop of the Adetailed study dedicated to the Veit Stoss sons in Transylvania should also add considerable information on Another feature that should be considered when looking for the commissioners of looking commissioners the for feature should when that beconsidered Another Veit Stoß. Die Herkunft seiner Kunst, seine Werke und sein Leben 104 106 although there are a number of preserved panels and Already in the second half of the fifteenth century, fifteenth the of half second the in Already 32 103 In spite of his having been a cloth- . (Leipzig: Verlag Julius Zeisler, Archiv 14(1877): 295, 489. 105 Nuremberg CEU eTD Collection 113 112 during the Middle Ages). Tonk 1979, 137. Kronstadt in 1444prescribed thatits priests should have a 111 high-altarpiece from Selmecbánya) (Budapest:MNG, 1997), 9-30. commissioners probably is very it Thus, centuries. fifteenth-sixteenth the during intellectuals members of mendicantthe also orders produced outstandingindividuals among Transylvanian erudite theologians. foreign studied preminent atthe universities, while at town-parishes wereexclusively priests parishes large, in privileged the priests partof parish the better the century fifteenth endof the living.the By a complete have ensured would larger that ones these was naturally two of work each day while the larger ones hour or dependant the smallercourse onlyneededan on of ones size the altar-foundation: the would have taken up all their time and church. thewhole energy. of administration the for the care It increasing hisknowledgeeven in parallel with his than work who parish the priest, hadto learning and for have hadmore time would parish tothe priest he wassubservient that fact in spite of foundedthe parish thealtarist, andthemselves altarists even altars; priests often The incomes both of could possibly thematerialensure study possibility Educated to abroad. intellectuals. A number of such examples are also known. also are examples such of A number intellectuals. chapters itforeign grew, was universities not only highthe membersbishops clergy, or of the formation of lay-intellectuality began much later. As the number of people who had studied at Mestervizitációképe és egykori Selmecbányai f 109 at university,however it isclear that those having done so priorityhad at an election. See:Tonk 1979, 127,130. 108 107 even or 110 146sqq középkori Magyarországon highly stratum people,of back whocameeducated as toTransylvania especially which effectThislater.be good usedto andcontacts was makecould acquaintances true formostlyspent in year to the abroad but universities, order atthese never any received degree the sons receivedthat the largestnumber students. of Transylvanian of merchant –as ones closest - geographically itthe however,Viennaof andCracow University was the families. However, there was also an important Tonk 1979, 138. Tonk 1979, 137. The priests of these privileged parishes had authority equal with that of the archdeacons. The deaconate of deaconate The archdeacons. ofthe that with equal authority had parishes privileged of these priests The For the duties and benefits of the life of the altarist in the period studied have see:to Elemérchapter Mályusz, of a members or bishops for a presciption been have would it that be stated, cannot It Ibid. 44-50. Miklós Mojzer,”A fest 108 doctor who were specially educated, but also the parish priests and even thealtarists and even priests also parish but the educated, specially whowere in one or more fields. The erudite were basically ecclesiastical men and the 112 Ę This did not mean however, that priests in smaller villages were not . (Churchsociety in Middle Ages Hungary) (Budapest:Akadémiai Kiadó, 1971) hagyatéka, ahogyan mi látjuk”. (The Bequest of the Artist: as we see it today) MS Ę oltára. (The Visitation image of MasterMS and his former 33 studium generale 110 The free time of the altarist was of 107 113 A great number of the students In addition to secular priests, (a notion also used in universities in used also notion (a baccalaureus Egyházi társadalom a , magister 111 had 109 . CEU eTD Collection 1903), 504-505. 117 1979), 136. Gründung der evangelischen Kirchen inSiebenbürgen abgetan worden sind, unterAufwendung grössterKosten wieder aufgerichtet werden.” Karl Reinert, 116 8980) II. no. (Inv. Vajdahunyad. of Friary 115 Fransiscan the from come have to known is museum Kolozsvár of the collection the Mary in Virgin the representing panel The monasteries. from came they that excluded 114 preserved altarpieces have almost exclusively been found in parishes. found been exclusively almost have altarpieces preserved of art pieces can also be sought among them. For this reason alone it is quite interesting that Pfarr in Cronstadt erwählet worden” in erwählet Pfarr Cronstadt Aprilis zum Johannesmit Mann Wahldergelehrtundgottesfürchtig Honterus Herr gemeiner den in Kirchen, Altar derPfarrkirch worden.Dito grosse abgebrochen 22. Tag auch der Hieronimus Ostermayer “Item writes: sein mitWillen der Obrigkeit die Bilderaus den organist of The in been havethedescriptions Kronstadt. churches preserved emptying concerning of the Black Churchdrawing in near Kronstadt, and thatthe clerk of the council in Bistritz,the Christan Pomarius. He affirms that the TurkishTurks danger was and would at were beingfirst clearedof all painted andsculpted images is consideredthe tobe 1543reportthe by killsame those time whoduring 1520s.Theearliest the Transylvanian written about theclaimsoruce churches the that veneratechronicaler images. both students studying andmerchants abroad who returned with literature mostthe up-to-date of the town, Bullinger Transylvania mediation the Karlstadt, of personalitiesother reached through and Luther butalso only not ideasof asearly as1542.The service inKronstadt Lutheran church heldisJohannes first the factthat Honterus 1530s.It preserved from awell-known the hasbeen 1520s,nothing tothe dated numberlarge aresuch of altarpieces there a fact that would be worth a separate study.be aseparate would worth atopic that andthird iconography of second decades, the of altarpieces the preserved the on felt be already can trends Lutheran of impact first The a halt. to boom this bring obviously not continue very much longer as the first incoming ideas of the Reformation would production hadonly active atthe beginning period itsmost of century sixteenth the and would from andlocal that obvious,from both sources of number the preserved pieces written altar- Itis importing through commercialcommissions sculptures and of panels orthat routes. inviting is masters for practiceNothing known the certain concrete about of foreign are this known for –in as inGerman –or time territories. haveTransylvania been preserved „Erlaubt also keineswegs, dass jene Götzenbilder dort, wo sie unter dieser vorübergehenden Gottesgeissel vorübergehenden dieser unter wo sie dort, Götzenbilder jene dass keineswegs, also „Erlaubt See the studies lately published by Maria Cr be cannot it Thus, provenience. of unknown are today museums in held sculptures and of panels Anumber Chroniken und Tagebücher, Unfortunately no contracts for commissions, no schemes schemes no( for commissions, nocontracts Unfortunately Quellen zurGeschichte der StadtBrassó Vol.4., (Brassó: Heinrich Zeidner, 115 It can also not have been by chance that, in spite of the of in spite that, chance by been have not also can It 117 ă ciun on the matter. The parish church of Hermannstadt seems to have . Studia Transilvanica, no. 5 (Köln-Weimar: Böhlau, 5 (Köln-Weimar: no. Transilvanica, . Studia 34 Visierung 114 ) for altarpieces ) 116 Reports and Die CEU eTD Collection the the church in 1689. components of the high altar in the Kronstadt church. Thus, it may have partially fallenvictim to the large fire fragments ofin which may be found today Blackin the ChurchKronstadt, in could originally beenhave 123 Siebenbürgen eds., Zach Krista and A. Wien Ulrich Kirchen.” siebenbürgisch-sächsische (Hermannstadt: n.e., 1883), 6;both noted by Evelin Wetter: ”Dasvorreformatorische Erbe in derAusstattung Reformationsjahrhundert. Teutsch, Daniel Georg in evangelischen Landeskirche in Siebenbürgen 122 eiecte Laurentiisacramentarii intromissi in ecclesiam metropolitanam Albensem…tabulealtarium sequenti sabbatho 121 ex utroque claustro Coloswariensi et eiecte combuste sunt 1556 120 Vols.1-2,(Budapest: Akadémiai Kiadó, 1990), 85. 119 maintained forthat thefact were greatmajority –or the explanation the retables of preserved preserved in church, wereremoved.altarpieces whilesecondary the Schweiz gestarum” Quoted after Erich Roth 118 be retained. should paintings that of churchSynod history images referring1557 suggested Bibleorto with tothe Hermannstadt the in while church, high altar the maintain atleast the earlyto ordered on werealready Saxonparishes The territory. inmainly counties’ the werecharachteristic actions sculptures andsculptures paintingsground, werethrown broken to and burnt. andaltarpieces, cathedral the from clergy Catholic the chased out The Protestants Zsigmond. from Gyulafehérvár by Giovanandrea Gromo, the Italian officer of the Guards of Prince János burnt. were saints the of images the all Dominican friars andFranciscan from Their and town. the library goods were damaged and notarius inKolozsmonostorof reports of Convent the had population 1556, the the chased taken when in 1544house be givenback.should Caspar HeltFranciscan (Heltai nunnery Gáspár)Atinestablished endof 1530s. the burghers the of already occupied the1541, the house the although became at this parishpointmainly among the Saxon inhabitants of Kolozsvárthe that the LutheranpriestNational ideas already became howeverofAssembly the town.spread was still notAs Matthias in of Ramser 1544. in parishthe priest, the words onlyorderingthe through that the the Saxonfollowed Luther’s ideas refering to keepinglands, paintings in the church as artworks, as can be seen but also in the counties. It was naturally See Wetter2004, 28. and also 24-26. referring to the assumption thatthe so-called altarfrom Marienburg, See the 1547 church-orderfor allSaxons in Transylvania by Georg Daniel Teutsch, Referred to by GézaEntz 1958, 131; 205. Similarly fromreports „ Zsigmond Jakó, „Imagines vero, tanquamopus artisse per neminem offendus, permisimus, aut tanquam mnemosinon rerum Monachi ex utroque claustro Coloswariensi expulsi sunt in 1556 .” Ibidem. . Vols 1-2. (Köln-Graz: Böhlau, (Köln-Graz: 1-2. Vols . Thus, written data as well as the number of preserved pieces show that these vehement these that show pieces preserved of aswellthenumber data Thus, written . (Köln-Weimar-Wien: Böhlau, 2004), 28. A kolozsmonostori konvent jegyz 122 Synodalverhandlungen der Evang. Landeskirche A.B.in Siebenbürgen im Other sources point to the fact that in most cases the high altar was Urkundenbuch der Evangelischen Landeskirche A.B.Siebenbürgen. in Vol. 2. , Die Reformation in Siebenbürgen. Ihr Verhältnis zu Wittenberg und der 119 The Reformation resulted in more serious measures being measures inmore The serious Reformation resulted 1962, 1964), Vol.here 1.160. , Vol 1. (Hermannstadt: 120 Similarly overheated actions are reported in 1565 reported are actions overheated Similarly Ę könyvei 35 (Protocols of the Convent of Kolozsmonostor) Convent the of (Protocols .” Quoted afterJakó 1990, 88. frater .” „ n.e, Imagines sanctorum et omnia sculptilia 1862), 66; The 1557 Act of the Synod of the Act 1557 The 66; 1862), L Humanismus in Ungarn und Ę rinc Dési in 1564: ” 118 121 The Protestant doctrines Protestant The 123 Urkundenbuch der This is usualthe Sabbato p. CEU eTD Collection century incentury upon been have touched dissertation. this of sixteenth the quarter first fouteenth the and late the between produced only altarpieces and number of the retables. markedin type, style the asignificant change but endaltarpiece-production Transylvanian of Thus, the time-limithad until beenmaintained last years –in the village churches.Reformation notmean did the of our inquiries stops at this point, so that 36 CEU eTD Collection Sigismunds von Luxemburg 1387 - 1437 “Altarretabel zur Zeit Sigismunds vonLuxembourg”, szászsebesei evangélikus templom középkori építéstörténete 597) as does V An overview of Hungarian art in the Middle Ages dates it to the middle of fifteenththe century (Marosi 1987, 125 Akadémiai Kiadó, 1984), 47-51. 124 century. differentfrom different themiddleauthors periods,to 1400to fifteenth around of the literature confusing.dating wasmost inthe Alsóbajom the inner decorating isThe reliefs preserved. altarpiece-fragment Transylvanian earliest from the when side of theDemetrius finishedand also their bronze figures of kings in Várad. wings Bishop from commission their received brothers Kolozsvári the when period same in the and less the central more-or- in wasfinished is Mühlbach,decoration which program sculptural church the of the part important contemporary mostarchitectural region’s the sameAtthe probably Georgius. time, of the retable and Martinus by brothers, by statuary Kolozsvári literature bronze inthe the characterized from Bonnesdorfbeing. into came chapters following inthe interpreted altarpieces the which ( in a notion context toget pastartistic the isof inorder matter unavoidable the presentation of wall is obviouslyplacepainting. This for notthe sucha complex However,analysis. ashort and stone sculpture decoration of andarchitectural age: the architecture relationshipthe to be possible –in evenlater period this more –primarily than definingthrough their to their smallnumberandsporadic understanding character, interpretingand them will only Due context. into wider andartistic Transylvanian their sculptures paintings areplaced panel individual be an wouldpieces overview necessary in fewpreservedwood- which the Transylvanianthe winged altarpiecesis sufficent still not while after study the of the the foureenth and first half of the fifteenth century.An analsyis of these preliminary studies of by of art the represented level andstyle an imagethe of can reconstruct help that of pieces art areafew there preserved panel andaltarpiece-production, painting- Transylvanian sculpture-, an overview. local – ofthe the mass-production objects.Preliminaries Evidence from Kampis dates the retable to 1390-1420,(Kampis 1940,20-21); Radocsay to 1410-1430 (Radocsay 1967, 49), Varga, Lívia see: century fourteenth of the quarter third tothe sculptures Mühlbach of the dating the For Transylvanian sculpture inTransylvanian sculpture fourteenth secondhalf the the isof century usually In spite of the small number of written sources related to the early period of 125 The confusion is due to the fact that the retable was continously treated asaunity. treated was continously retable the factthat the to is due Theconfusion ) have not been taken into consideration from this point of view until now as their as now until view of point this from consideration into taken been not have ) ăWăú ianu . (V ăWăú ianu 1959, 788). The latest work on the retable comes fromGyöngyi Török, . Exhib. Cat. Szépm Sigismundus Rex etImperator :Kunst und Kultur zur Zeit (Figs. II.1-2) (Figs. 37 . M Ħ vészetiMúzeum, Budapest - Musée National Ħ vészettörténeti Füzetek, no. 16, (Budapest: 16, no. Füzetek, vészettörténeti The altarpiece has been dated by beendated has The altarpiece 124 This is also the period the is also This Boian, A CEU eTD Collection preserved. 128 127 Historie ochAntikvitets Akademien, 2005). Jahrhunderts :schwedische Altarausstattungen in ihrem europäischen Kontext. Deutscher Verlag für Kunstwissenschaft, 2002); Peter Tängeberg, Bonnesdorf retable, who created an entirely new structural unit. newstructural an created entirely who retable, Bonnesdorf the of master the by later years hundred reused were origin unknown of reliefs These shephards BerlinPreussischer Kulturbesitz, 2001.); Norbert Wolf, Mathias Weniger eds., 126 around 1400. d’histoire et d’art, Luxembourg. (Mainz: Zabern, 2006), 547-550, here especially She 549. dates the retable to of the saints decorating the outer wing-sides. organic fifteenth motifscentury - these concept; recur in andonthedresses backgrounds the The figures of the woman saints represented hanginggreenery stencil-patterns,behind idea the Virginthe andtheirgolden support of the on wall with the details a red parapet covered like the behind theAnnunciation, tapestry, or clearly datefrom the fifteenth century as do the paintings panel on the outer side of central the wings. the Even above preserved foliage-fragment the reliefs, the of background in the of in thescene the (especially figurs, face the anddraperies, in their of types arrangement hair-style the the perspective the of arrangement and forms The kings. three the of figures the to connected arrangement an had originally image the that indicates relief Bonnesdorf the on position his while mother, position.standing in a However,is represented infant the where in Virgins, most enthroned of type cases, common very he stands naturally the to belongs retable Bonnesdorf the on relief central The on territories. German-speaking other the left leg of the Virgin, facingfourteenth century.his It is especially characteristic of the Rhenan firsthalf of the from “Sitzmadonnen”the so-called to the be related can type representation region but also spread through composition of the Adoration of the Magi, on two of the flanking panels. The Virgin- well. Madonnaas individual can imagebe understood as clearly its in belonging the with parallel to arrangement original the in position central a had have which belonged, reliefs the itis but obvious thatthe figure of Virginthe and Childshould the to century retable type the fourteenth the of on information Wehavenocertain reliefs. earlier itadaptconsideringhad particular, tothese musthave to that without century altarpieces, retablethe from beBonnesdorf inshould included not a typological analysis of fifteenth of wasconceived.Thus, fifteenthin altarpiece century entirestructure the thelate when the been have mightreused feast-day-side the decorating reliefs the that was neverIt considered Similar foliage decorated all the scenes. ofthe panelssequence of incorrect the the feast-day-side, explains also reliefs ofthe but only rearrangement a fragment late This of the central panel has been Forup-to-date literature on retable-typesof fourteenththe century see: Hartmut Krohm, Klaus Krüger, ) all suggest adating in yearsthe following immediately themiddle of century.the Entstehung und Frühgeschichte desFlügelaltarschreins Twelve yearoldJesus inthetemple 38 Deutsche Schnitzretabel des 14. Jahrhunderts Retabel undAltarschreine des14. 127 126 . (Berlin: Staatliche Museen zu Museen Staatliche . (Berlin: The pattern brocade golden (Stockholm : Kungl. Vitterheits or the or (Fig. II.3) Annunciation tothe The enthroned The . (Berlin: 128 CEU eTD Collection the Virgin and child from Csíkszenttamás to be Virgin aworkby the from to Csíkszenttamás and child samemaster. the 1430.Radocsay although sculpture, finsihedaround the considered wasprobably figure the damagedsculpture, bytermites andmakesand badly chipped itdate weathered, to difficult surfacethe of Thepoor style. thebeautiful of characteristics – typical arms the beneath folds displays a rich inbowl-foldsdrapery arranged infront of figurethe andinbunches of tubular art ofart oldTransylvania) in Cluj, 2005. M Erdély Régi ”A conference at the date to research her presented already has who Körber Ágnes 131 devotional individual as images. church a decorated or altarpiece larger a of part been also have may They unknown. 130 identified as Ursula on theBonnesdorf altarpiece. B(271) usually Saint orthe Apollonia, as model Schongauer same the follows clearly Starck-retable on the Catherine ”Starck-tryptich”, dated to 1480-1490, in the collections of the National Gallery, Washington. The figure of 129 probably a Madonna figure although infantthe has been lost. the Székelykept in two style, soft the marks of bearthe four figureswhich There are sculptures. wooden region and two inshortly after the Bonnesdorf reliefs,inthe the third quarter of the fourteenth century. Saxona time to they that date figures suggest two the of characteristics example. The Tordatúr region. acouple years than adate of later the alsosuggests onahigherlevel and perhaps solutions The femaleVirgin’s mantle is muchof quality.better Generally, figure Hermannstadt the displays similar saint isfold-work quite similarin spite of the abundant factthat the drapery Hermannstadtthe of in Csíkmenaság Even the each other. to very similar are mantle and dress their of arrangement the infant, the was ( from moved cathedral villageof the the to Tordatúr figures Gyulafehérvár. (Fig. II.6) art. Oneis astatue of Virginthe foundand Childin Franciscan the church of Hermannstadt, later. decades andtheir reuse reasons) esthetic or for economic (whether appreciation their retable-fragments, earlier of afterlife as the altarpiece at Birthälmthe time of willMatthias be almostCorvinus. from half altarpieces andamong Transylvanian to1470-1480 place the the retable entire structure a century later, a the date andclearly very engravings Schongauer’s of influence the display “workday-side” the good example of the A thorough analysis of the Virgin-figures of the fourteenth and early fifteenth century is being prepared by prepared being is century fifteenth early and fourteenth ofthe Virgin-figures the of analysis Athorough is function original Their cm. 185 measures figure Tordatúr the cm high, 195 is Virgin Hermannstadt The A very close analogy to these woman saints can be found on the outer side of the wings of the so-called 130 The years around 1400 are not well The years and byTransylvanian panel 1400arenot paintings around represented Two other wooden sculptures enrich our notions of fourteenth century notionsfourteenth enrich of century our Transylvanian wooden Two other sculptures have very similar compositions. The position and gestures of both the Virgin and Virgin the both of gestures and position The compositions. similar very have and the other is a similar representation presently standing in the Cathedral of Cathedral inthe standing presently representation is asimilar and other the (Fig. II.7) The former is of unknown origin, while the latter was recently was latter the while origin, unknown is of former The 129 (Figs. II.4-5) 39 Thus, the altarpiece from Bonnesdorf is, just Tureni (Fig. II.8) ). Theunusuallytwo large The sculpture clearly The sculpture 131 Ħ vészete” (The vészete” (Fig. II.9) CEU eTD Collection like the like goldsmith’s works of the highest quality also need to be taken intoconsideration. Pieces of art Riomfalva one takes if be ofinterest, might village incertain churches Alsodecorations period. fuller imageof the a look at toa obviouslycontribute from Kronstadt, of BlackChurch like so-called the sculptures the the high churches, mainly parish of decorations Architectural genres. quality of artistic context broader the tympan-relief in them byplacing is possible only pieces intrepretation these of the outthat pointed already been itis has of why statuesof sculpture these Virgin.the This Transylvania only through in the church style. Thus, figuremost the probably dates to around 1430. of Reichesdorfabove-mentioned the of period high in the as wavy so not arms the beneath folds tubular the and abundant so not is drapery the However, style. beautiful the for typical ( fold-arrangement, 133 132 from. dates same heldfrom Madonna thatthe period presently Michelsberg, intheBrukenthalMuseum, almost missing. completly The figure probably from isdates 1430’s.It the presumably the is in usual of fact Virgin-figure of that the S-curve the spite style, the beautiful the indicating as well as the position of the infant almost slipping out of his mother’s hands are all features style. beautiful the of characteristics certain displays also Hermannstadt of parish Catholic Roman inRichter their reviewvolumeTransylvanian on winged altarpieces. Thefigure,keptin the 1440-1450. mantle of a datingbetween behind theher suggest figureand especially arrangement the concept general The intervention. later a been have may there that suggest even places certain in drapery the of edges hard sharp, The Virgin. Csíkmenaság the on observable folds the of in style terms its itsof but patterning isexecution very remainsbelowdifferent and level the II.10) greatly. handlingthe but of differs drapery the Virgins similar, indeedquite two are Csíkszenttamás virgin“restoration”. beforereveals the modern It head the that types of the shows the photo An figure.archive thelatter covers that modern polichromy layer of thickthe establish to pieces very due to ispresently of difficult comparison two Unfortunately,the the Muzeul Brukanthal, Inv. No. S174/ 4581 Muzeul Brukenthal, Inv. S no. 311. The way the Csíkszenttamás figure was worked is only slightly reminicient of the soft (Fig. II.11) It would obviously be completely misleading to characterize beIt would to themisleading beautiful completely obviously style A Virgin and a child of unknown origin was first published by Gisela and Otmar Pièta ) withits roots in Parlerian art. A group of stone sculptures and perhaps also certain (Fig. II.12) , 132 the The bowl-folds in front of the figure and the tubular ones beneath the arms the beneath ones tubular the and figure the of front in bowl-folds The Mater Dolorosa It displays traces of the original polichromy and the above-mentioned the and polichromy original the of traces displays It , 133 the Crucifixion of the Austrian Petrus Lantregen in Lantregen Petrus Austrian the of Crucifixion the 40 Richi (Fig. ú , CEU eTD Collection body of Christ, the Corpus Christi. Corpus the Christ, of body the inner side of the wings, -depicting events related to the death and resurrection, thus the to with scenes of the Passion, continues with the central panel and closes with the four scenes on side faithful. iconographicbeginning program retable, the on outer the The of wings of the emphasize thus and suffering Christ’s on attention viewers the concentrate meant to is of scenery the The barrenness painter. imageby the central the on background, omitted wasobviously in this restof elements the natural the display panels the While scene. Crucifixion the of surroundings barren in the lies image central the of strength same tothe related devotional idea. by The image butaccentuated wing-representations the influences. stylistic show that the master of the Tartlau altarpiece had still been “brought up” in the tradition of tradition in the up” “brought been still had altarpiece Tartlau the of master the that show retable the of details Certain Cross. Holy the to church the of dedication the suit perfectly tothe 1440s inliterature usually the dated panelsare The Malmkrog. from retable with the together century fifteenth middle of the by in asrepresenting often the Transylvanian panel been painting referred toliterature the already left traces in panel painting. The altarpiece from from ( Tartlau in leftaltarpiece The already traces panel painting. Almakerék but represented on separate panels. on separate represented but emphasized by the fact is idea that same The the Lamentation Christi”. ”Corpus saying: and Host, the the scene elevates he of when the does priest Entombment the as just are notcongregation, found together as usual, 137 Jahrhundert”, Jahrbuchder KunsthistorischenSammlungen in Wien81 (1985): 7-31. 136 1992, 41-45) (Marosi 1987, 720),Helga Fabritius to around 1440 (Fabritius 2006,135) and,Richter toaround 1450 (Richter (Genthon 1932, 43-44),Radocsay dated it to 1440 (Radocsay 76),Gyöngyi1955, Török toa period after 1440 135 134 paintings like interior complex the programs ofthe churches in Malmkrog( the fifteenth century, masters. foreign period that the indicate wasmostlocal ofmixed by activities probably the and characterized the heydaythis period. period At the region’s,international mainly in of – rank Transylvanian the Hermannstadt claimsthe artistic same time, of the presencethe beutifulof these wooden, stone andstyle, gilt silver exampleswere represented by wall reliquiry cross from Heltau ( Heltau from cross reliquiry and the monstrance the or inHermannstadt Cross Chapelof Holy the Baroque late the The Virgin holds Christ infront of her in the scene of the Lamentation – as if she wanted to present him to the Gyöngyi Török, “Beiträge zur Verbreitung einer niederländischen Dreifaltigkeitsdarstellung im 15. Rothdated panelsthe to the last quarter of fifteenth the century (Roth1916, 26) Genthon to1430-1440 Muzeul Brukanthal, Inv. No.T 30/ 4756 and T 29/ 4749. The retable clearly had a strong devotional character, providedThe clearlyhadby devotional retable mainly astrong character, central the The same feature seems likely in the paintings of age.While decadesof the in first the of seemslikely paintings The samethe feature ), Mediasch or Székelyderzs ( 136 ( Fig. II.14) Cisn ă die, Nagydisznód 137 The central idea and the program of the retable thus Dîrjiu 135 and speak mainly of Austrian and netherlandish and Austrian of mainly speak and 41 ), the outgoing years of the international Gothic international the of years outgoing the ), ) 134 together all impression of an give the the emotional involvement emotional the of the Prejmer, Prázsmár Prejmer, 0ăOă ncrav, ) has CEU eTD Collection only because they date to approximately the same period, or just a few years later than than the a fewyears later just or period, same approximately the to because they date only be taken intoconsideration when discussing the artistic environment of the Tartlau panels,not the chapel of the fortification in ( chapel the Honigberg of fortification the mostintresting complex andmost iconographic Transylvanian programs, the wall paintings in period’s the of one on be observed can well, as elements modern more displaying already likely around 1440. Vienna. earliest Thus,the possible dating of retablethe be would 1430s, thelate but more in 1430s the of half second in the master Albrecht’s the as level developmental same the was stylistically at master this retable who produced particular suggestthat the features these Though, they filteredmore All south were probably Austrian through mediators. Germany or (Fig. II.15) masters. of figures the inarrangement canbe above-mentioned that the oeuvre the of found composition the does as direction facilitating the space, the dividing setobjects by diagonally the of spacedetermined this the indicate themselves compositions, of types new assure already which panels form square the of The altarpiece. of master Tartlau the the alien to not in was by Multscher’s painting, Hans Suabia or of Albrecht-altarpiece the by master the in Austria style represented the that show motifs ascertain aswell perspective the of handling II.13) wasalready painter the mostcontemporary with of trends 1430s.( the the acquainted solutions which clearly make an allusion to the beautiful style, they also reflect the fact delicate andother trees the depiction thatof leaf-by-leaf veils, accurate dresses, transparent head- of womens’ eavey the edges the of draperies, the arrangement soft the figures, fragile the representations of the wing-panels also display a number of elements such as the fine, 139 can be observed asedge decoration or ornamenting the haloson thepanels by Thomas de Coloswar. Even the small punched flower-imitating motifs, on the rombs formed by the diagonal decoration inTartlau – cross as well as the punched ornamental motif on the golden background with diagonal lines crossing each other. 138 Garamszentbenedek ( Garamszentbenedek be found similarly on one of the most famous retables from the 1420s, Thomas de Coloswar’s The central Crucifixion shows a series of elements that have their roots in theseyears and can of 1420s. solutions the technical and the stylistic with acquainted was beautifulstylethe and Török 1985 The position of the Saviour on the cross, the depiction of the wood’s surface, the rocks at the base of the The genereal concept behind the compositions, the representation of space, the of representation the behind thecompositions, concept The genereal The same transitional style, still strongly influenced by the Interantional Gothic, but Gothic, Interantional the by influenced strongly still style, transitional same The The details mentioned by Gyöngyi Török, by Gyöngyi mentioned details The Hronský Be Ė adik, Sankt Benedikt, adik, +ă 42 rmani, Szászhermány 139 today Slovakia) altarpiece. today Slovakia) displayed a netherlandish influence. netherlandish a displayed ). These paintings must 138 While Fig. CEU eTD Collection “Volkreicher Kalvarienberg” type of image show of type Kalvarienberg” “Volkreicher the period. shouldthat necesserily be takenintoconsideration when of discussing panel the paintings of The composition, the detailed drawing, the overall character of the so-called Schmidt, 1967). about localabout altar-production in period.this knowledge toour contribute canclearly work the Understanding panel painting technique. Tartlau Nicolaus,to son of Simon. shown in a document of the fromorder. 1400. In it permission special the the placewithout take could cemetery-consecration or altarpiece-, noand pope orders the Cictercianslocalities not only had topay a tax to the order, but additionally stated that no building works, to give the parish of Honigberg. in of wall-paintingsthe tothecommission perhaps contributed allowed actively or they same period in Tartlauthe at thealtarpiece of inthecommission role a particular played also order the that imagined be It caneasily in Kerz. thatalsooperated workshop building churches – that of Honigberg and that of Tartlau share characteristics of the Cictercian 145 Brukenthal, 2007. 29-32. Dâmboiu, Iulia Mesea eds., Evanghelic mural “Pictura Firea Ciprian topic: the on literature recent most The Honigberg. from 144 140. 1979, See: Tonk commissions. the preceding years the in exactly be of interest that Michael, abbot of Kerz, was also enrolled at the University Viennaof Vienna University in1432, in thatin period.other words She does not count with any possible role of the Cistercians. However, it may 143 142 141 Stekovics, 2006) ( the date 1445. date the with inscription an has church, parish Hermannstadt the of chancel the of wall northern the ( Kerz of monastery Cictersian the complete previous literature as well: Helga Fabritius, 140 King BélaIV,donated Tartlau, Marienburg Honigberg, ( altarpiece, Sînpetru, Barcaszentpéter ElisabethRoth, Thewall painting has been mentioned by HelgaFabritius as an analogy the fordating of wall-paintingsthe Helga Fabritius only suggested the local parish priest, Antonius, in the role Entzof 1996, 142 patronsince he studied at the Entz 1996, 107; Ub. I.68 Latest and most complex analysis of the wall-paintings from Honigberg, noting and commenting on the One by work Johannes de largeRosenau, a wall painting depicting the Crucifixion on ă dinSibiu“ (The wall paintings with Crucifixion the inthe Lutheranchurch of Sibiu).Daniela 140 143 buthistoricalbecausealso localities. animportant links datum two the In 1240, 141 144 The Cistercians held the same rights in the fourteenth century as as well century in fourteenth rights the same held the The Cistercians Der Volkreiche Kalvarienberg in Literatur und Bildkunst des Spätmittelalters (Fig. II.16) Convergences. European Landmarks in Transylvanian Arts ) to the Cistercian order. The donation also ordained that these that ordained also donation The order. Cistercian the to ) It is thus not much later than the Tartlau retable, and a painting and retable, Tartlau the than later much not is thus It 142 Câr The right was probably exercised until the dissolution of dissolution the until exercised probably was right The Ġ a, Kerc a, Die Honigberger Kapelle 43 ) by King Matthias. It is well-known that both 145 that the painter was experienced in the in experienced was painter the that Feldioara, Földvár . (Dössel: Verlag Janos Verlag . (Dössel: ă Crucificarea din Biserica din Crucificarea . Sibiu: Palatul . Sibiu: ) andPetersberg . (Berlin: CEU eTD Collection paintings, with very similar face types, spacial arrangements and details such as the special the as andsuch details arrangements face types, spacial very similar with paintings, works of contemporary the isindeedinmind, Tirolese school Malmkrog relatedtothe closely an attributed to Austrian masterbelonging a to Salzburg butalso workshop, keeping the Nativity representation of the Zettl-Langer collection from from Sopron. collection Zettl-Langer of the Nativity representation Tartlau. from retable the to period comparedlater in asomewhat produced clearly retable was II.18) has already mentioned been for Tartlau1430s. asbeingthe retable forthe specific of the panels present a wingsides. compositions The outer andthe inner the on solution differently handled backgrounds are for the organization of the diagonal space – similar to what 150 widow) based onthe death of supposedthe donor, Michael Apafi before date1469 (the of wife’s mentionhis first asa 720-721; Urbach1996, 95-109, 149 LCI. Vol. 2. 276-283 and Vol. 4. 333-338. See: Virgin. of the Resurrection the as back beit identified must scene brought the Thus, just have be reanimated. can but Virgin the Heavens, so that the to soul her take not do angels three the while position, prone her from image,our Mary is sitting in her sarcophagus. Christ, approaching from the clouds has just lifted his mother Christ at the moment of herdeath, when, based on pictorial traditions, she lies onof an her infant,bed with a usualclosed feature eyes. in Assumption On representations. The soul of the Virginunanimously is, however, called inusually the literaturetaken the by ” 148 Dorothea. represented usually 147 720-721. Endre emlékére táblaképéhez” (Comments on an austrian panel of Zettl-Langerthe collection inSopron). Virgin. the of Death the and Virgin the of Resurrection the Magi, the of Adoration the Birth, the presents ‘Feast-day-side” in the Temple, while the Presentation and the Circumcision Visitation, the side the Annunciation, showsthe outer illogical.is The completely theirnarrative, order of Christ), infancy the Virgin the (respectively to the Lifeof sidesare dedicated wing the panels but of outer in spiteinner and on the Therepresentations ‘Viereraltars’. so-called the of arrangement the recalls of the fact that all the depictons on the panels fit within the same 146 of superposed, narrow narrow panelsof whichrepresent thefoursuperposed, of feet. Flanked enthronedthe by Virgin donors altarpiecethe ather with a pair kneeling the development.image shows Thecentral winged-altar phaseinTransylvanian important very in spite of its nobile patrons. Urbach 1996. 108. I been has above scene the However, identifiable. clearly is Virgin of the Death ofthe depiction The of the instead Margareth, and Barbara Catherine, ofSaint figures the alongside depicted is Agnes Saint Radocsay 1955, 76, Zsuzsa Urbach, ”Megjegyzések asoproni Zettl-Langergy t isusually dated tothe middle of fifteenth the century.Roth 1916,12-24; Radocsay 76;1955, Marosi 1986, However, the remnants of the International Gothic style are less evident here. The The altarpiece from Malmkrog has inThe from altarpiece Malmkrog aprovincialbeen literature the considered work 149 The Malmkrog paintings have been used as an analogy by Zsuzsa Urbach for the for Urbach Zsuzsa by analogy an as used been have paintings Malmkrog The 148 . (Studies in honorof Csatkai)Endre (Sopron: Soproni Múzeum, 1996), 95-109; Marosi 1986, There is no likelihood that the retable was modified later because the later because modified retable was the that likelihood is no There Gogâltan-Sallay 2002, 181-210.–Gogâltan Sallayand simply retable, date the 146 (Fig. II.17) assumptio animae 44 However, its stylistic characteristics embody a embody characteristics stylistic its However, ”, because of the presence of the Virgin’s soul in form Virgines Capitales Ħ jtemény osztrák gótikus 150 The Sopron panel, Sopron The Tanulmányok Csatkai , 147 the retable (Fig. CEU eTD Collection panel, as mentioned above, has close analogies with the Malmkrog paintings. Malmkrog the with analogies close has above, mentioned as panel, This collection. Zettl-Langer ofthe panel on theNativity Pressbrokat the mentioned also has Urbach Zsuzsa that Handbuch der Künstlerische Techniken inwhile Austria it was supposedly Konrad Laib, in 1440sthe who first introduced thetechnique. See: 155 panel, very probably Pressbrokatthe using technique or something very similar. before taken scrape-light in photos made those and However, restoration the Richter. Otmar and of Gisela workshop Kronstadt the in retable of the restoration 154 184. História –MTA Történettudományi Intézete, 1996), chapter no. 6., also discussed by Gogaltan-Sallay 2002, Magyarország világiarchontológiája 1301-1457 technique. the of history in the example early a very also is Malmkrog from altarpiece the use present.on Its at asfarretables asweknow Transylvanian unique among preserved the 153 version of the same text, dated to 20th of January 1446 see Jakó 1990, vol.1,the 325, text ofdoc. the No.testament 552. dated 5th of November1447 in Ub. Vol. 5, 213-215, doc.of No.his grandson 2605. For but annotearlier about that of his son, Ladislaus, who was already dead at the time of the testament. See 152 previously published literature. certain robes on the outer side of the wings. Pressbrokat Cséfalvay Pál ed., tryptichon) Painted Albert.altar: of the Master ofthe influence the under Master (Austrian szárnyasoltár.” years 151 having been called Apa Nicolaus de court, atthe family’s role old the maintaining of intention the with formulated undoubtedly was testament the of point This intestament, hewhich ordains militarythe education of hishis heir, grandson Michael. Nicolaus given thus character retableto the to isvery deApa’s connected 1447 probably military elegant in The German wingedretables territory. many guarding the sides of - “Schreinwächters” so-called the of versions painted are they that impression the give saints stationarynot wingsusual for is knight- Transylvanian altar-typology.are undivided Thetwo Michael and St. Georgeflanking decribed wingpanels the Michael above. St. and 1440s. The“work-day-side” very of retablethe two displays elegant representations of St. very probably hisaquired knowledgein of painting Austria during the late 1430s and early whopainted direction of Themaster panels the from Transylvanian retable this Malmkrog. same the stylistic represents also Albert-altar, the of master oftheViennese influence Transylvanian altarpiece from Esztergom,paintings. The around 1440under painted the in Esztergom Múzeum from Keresztény the panel Virgin” of “Death the the factthe that to –point face-types as the aswell figures of the representation types of hats represented in the painting. Solutions for the perspective and form of The earliest known example of Pressbrokat is encountered on the panels of the so-called Tegernsee-master, so-called of the panels on the encountered is ofPressbrokat example known earliest The the during inpainted were surfaces the and centuries the over lost largely been have applications The On the role of Nicolaus as education the to as orders gave Nicolaus that fact the overlooked has Marosi volume the In 127. 1987, Marosi (Inv. no. 56.492) See: János Végh, “Osztrák fest “Osztrák Végh, János See: 56.492) no. (Inv. . 153 The retable has an extremely elegant, “courtly character” through useof through the character” “courtly extremely elegant, Theretable hasan applications on the vestment of the Virgin on the central panel, but also on also but panel, central the on Virgin the of vestment the on applications Az esztergomi Keresztény Múzeum Keresztény Az esztergomi aulae miles . (Stuttgart: Philip Reclam Jun. Gmbh & co., 2002), Vol. 1, 177. Note and the mentions of his ancenstors as clearly (Secular archontology of Hungary 1301-1457) (Budapest: Ę az Albert-oltár Mesterének hatása alatt: Háromrészes festett Háromrészes alatt: hatása Mesterének Albert-oltár az 154 . (Budapest: Corvina, 1993), 187 (no. 24.) with the show that these patterns were originally applied on the 45 (Fig. II.20) The presence of the Pressbrokat is 151 is closely analogous to the (Fig. II.19) miles aule miles see: Pál Engel, see: The fact that the that fact The for many long many for Reclams 155 152 CEU eTD Collection 159 The panel kept in Kolozsvár depicting the head of the Virgin Mary was obviously cut out and out cut obviously was Mary Virgin the of head the depicting in Kolozsvár kept panel The of Gross-schenk. early the of altarpiece itformed part suppose that once to isreason there stylisticand development date panelthe certain 1460s.Its the knownto butprovenience isnot later a slightly to point perhaps details more complete somewhat the However, representation. has same the predella that Malmkrog in tothe time them place close folds breaking standing between Virginthe andJohn.Thevery defined contours of facesthe and the hard, 158 the will Michael was still a minor. 157 above. mentioned already Testament of the date the on based 1447, around to the retable dated has and panel onthe depicted who is of Michael, grandfather Apafi, Nicolaus itis that considered Urbach Zsuzsa article). oftheir date publication the after defended thesis, PhD her monstrance ina her holding hand, saint, can the that be opinion identified ofthe are who withthose join I SaintMargaret. Claire. called (Note Apafi, of Michael that Gogaltan mother the rather has also modified her opinion in identified with Claire but withSaint Margaret of Hungary. Thus, the woman donorwould be not the wife, but 156 Kolozsvár artmuseum of the (Fig. II.23) in Gross-schenk Vincecius’s Master retable underneath placed predella century: Gothic the in chancel. the wall-paintings with the contemporary retable, earlier an from come have easily could They century. fourteenth the of end the to – suggest wound side of Christ’s character asthe such details and face types drapery, their of form as the altarpiece. the therestof than earlier are obviously superstructure, the finials of of the thetops standing on and cross the of sides the on respectively – under standing Evangelist the John St. and the Virgin crucifiedthe figures Christ, dating superstructure: of the retable. of three the The his marriage with Clara took place. Attention should also be paid to a small addition to the reached the age of maturity legal ageof reached the young Nicolas’around 1450.By havemay already after Michael death, perhaps this date, shortly commissioned been have might altar the suggest considerations stylistic mentioned young by children, The supported ofMichael manwithout as avery above the depiction them and the figure of St. Michael on the heraldic right sidebehind of the altarpiece standing saints demonstrates). patron the like (just Claire wife his and Apafi Michael as identified supported by the representation of the donors on the central panel. The two persons can be See the corresponding catalogue section for the description of the complete Gross-schenk altarpiece. Gross-schenk complete of the description the for section catalogue corresponding Seethe V The only data referring to the age of Michael Apafi is the last will of Nicholaus de Apa (1447). At the time of Gogâltan and Sallay are of a different opinion. Both consider that the patron saint of the woman should not be ăWăú ianu 1959, 779 and also V Two other altarpiece-fragments bear witness to the art and style of the mid-fourteenth andthe of style art the to bear witness altarpiece-fragments other Two The dating based on the already mentioned stylistic connections of the altarpiece is thealtarpiece of connections stylistic mentioned already the on based The dating and a panel from in held and monastery from ofVajdahunyad apanel Franciscan the (Hunedoara) (Figs. 21-22) The three little sculptures, without polychromy, may be dated – dated be may polychromy, without sculptures, little three The ăWăú ianu 1936,3-8. Kept today Museumthe at Kolozsvár, in Inv. no. II.8980 (Fig. II.24) 157 and the altarpiece was probably comissioned right after right comissioned probably was altarpiece the and . 158 46 The first one depicts the Man of Sorrows 159 156 CEU eTD Collection therefore, invited craftsmen very more inviteda important very role. therefore, craftsmen probably played yet in not probably fourteenth and true duringfifteenthmost the of century. period the Inthis Whileperiods. thelocal were masters able tofulfill sixteenth century demands, this was masters and functioning workshops inthoseyears define a general between difference two the largenumberof sixteenth in the century, the flourishing obvious the of altarpieces winged be considered also should education foreign with masters local that show brothers Kolozsvári the of example the Although period. early in the stronger much was masters foreign of involvement the that impression the gives century sixteenth the of beginning the at genre this of situation the to contrast in century fifteenth the of half first and fourteenth- the of end the at altarpieces the of character the and amount the but hypothesis, a such for evidence written no course of is There century. sixteenth the in production local of boom the anticipating root, takes orientatation stylistic different in acompletely which aperiod fifteenth century, of the Schässburg parish churchdemonstrate. Catholic-tower so-called in the chapel Birthälm the of wall the on painted “panels” the as - century, fifteenth later the of painting in the role significant a play also will imitations altarpiece Similar of a complex part eastern wall chapelcomprises triptych the role.of on the imitated painted important The illusionistic ornamental program in the whole of the interior. 160 view, the complete interior decoration of so-called the of decoration interior complete view, the of point this age. From the of altarpieces painted –wall imitations retable for the be retained beginnings to its after life, remains a task for the future. A special place in such a study should detailed thorough, Gothicin study from International the discussing its Transylvania a of image. completion a The broad present fairly fragments altar of number preserved as theGross-schenk piece and even relationa workshop can besupposed. belonged a much originally was largerto clearly altar-panel. aworkfrom It sameperiodthe See adetailed analysis of Schässburg the paintings in the next chapter. The amount of The information,of amount written –both and in material – increased lastdecades the In spite of the rather reserved character of the written sources of this period, the period, this of sources written the of character reserved rather the of In spite (Fig. II.26) or even later the panel-imitations on the walls of the tower inthe tower of the walls the on panel-imitations the later even or 160 47 Marienturm in Mediasch plays an plays inMediasch (Fig. II.25) CEU eTD Collection Siebenbürgische Landeskunde, 1931), 228-257. deutschen Kunstgeschichte”. deutschen 163 Landeskunde 164 Siebenbürgische Landeskunde 162 Hermannstadt: Steinhausen, 1872. Werner: 161 Kunstgeschichte”.A M Siebenbürgische Landeskunde 53 No. 11-12(1930): 280-281; idem: „Neue Forschungen zurSiebenbürgischen 165 Zeitschrift für Pflege religiöser Kunst characteristics discussingViennese the retableleading the has been to that connected retable firstvery The altarpieces. Transylvanian on research vague rather otherwise werein the else anything workshop than attention more much not concerned has theregion.matter literature dealinginexhausted with received topic artof the the Indeed, of at thatthe timeSchotten-altar theworkshop leading of workshop, period’s Schotten-retable. so-called the Viennese with the Transylvanian panel-paintingby problema group of retables which clearshow the influence of the of the stylistic wasIntroducing theproblem. that of Mediasch. The earliest articles literature mentioning the Mediasch-retable from this time on. German-speaking researchers German-speaking on. time from this Mediasch-retable the mentioning literature painting. Streitfeld’saccepted supposition,identified butalso Viennese other buidings on samethe not of only für Oberösterreich”Franz Viennese”Bundesdenkmalamtthe Juraschek,restorer Vienna in backgroundthe of Crucifixionthe panel in Mediasch. Streitfeld whorecognized inhis 1930 article therepresentation Stephen St. the of from church Viennese elements. concrete recognize not the did connections Frankish and Netherlandish certain bymentioning correctly Viennese The idea was immediately accepted by Victor Roth acceptedbyVictor The idea immediately was memberbe of Schotten-workshop. animportant the from to master Mediasch the considered Transylvanian Altarpieces at the End of the Fifteenth Century. The followers of the Theobald Streitfeld: „Etwas über die Kreuzigung des Mediascher Altars.” Mediascher des Kreuzigung die über „Etwas Streitfeld: Theobald Franz Juraschek: ”Das mittelalterliche Wien in einer unbekannten Ansicht”. unbekannten einer in Wien mittelalterliche ”Das Juraschek: Franz Mediasch”. in Flügelaltar spätgotische “Die Roth: Victor Andreas Gräser: Victor Roth: ”Das Kreuzigungsbild des Mediascher Flügelaltars”. Korrespondenzblatt des Vereins für Vereins des Korrespondenzblatt Flügelaltars”. desMediascher Kreuzigungsbild ”Das Roth: Victor Die Mediascher Kirche.Festgabe derStadt Mediasch beiGelegenheit der Vereine im Jahre 1872 The issue of Transylvanian followers of the ”Schottenmeister” is almost considered an in lastyears The very Corvinus Kingare hall-marked of reign the Matthias of 164 Schottenmeister . 34(1907): 193-240; Roth 1916, 36-56. Discussing the Vienna-representationspanel on hepaintings of periodthe 161 Umrisse zur Geschichte der Stadt Mediasch der Stadt zurGeschichte Umrisse , while Victor Roth, although putting his finger on the stylistic direction very Ħ gy Ħ jt Festschrift für D. Dr. Friedrich Teutsch für D. Dr.Friedrich Festschrift Ę 53 (1930): 52-53. . (The (The . art collector) 3 (1931): 83-87; Idem, ”ZurProblematik der siebenbürgisch- in Transylvania 162 , 2 2 no. (1930): 45-46. The first to mention Vienna in this connection was Theobald was connection this in Vienna mention to first The 48 Archiv des Vereins für Siebenbürgische 165 . Hermannstadt: Steinhausen, 1862.; Karl andbecame a permanent elementin the . (Hermannstadt: Verein für Korrespondenzblatt des Vereins für Kirchenkunst. Österreichische 163 Still,in sameyear the . CEU eTD Collection Datierung des BirthälmerAltartafeln”. 173 Transylvanian Arts ( periods different from altarpiece of the wings movable formerly the and workshop connection. (Stangea about 1961,Vol. writes Stange 11, authors. 162)Even ofseveral the opinions onthe latest literature depending differes on are related the panels topicthe which stillto dates the stationarydegree the although isunquestionable panels Mediasch andthe panels 75-77) 1973, Grossprobstdorf the all between (Folberth relation Grossprobstdorf from coming altarpieces different two of wrote also and master Grossprobstdorf Grossprobstdorf altarpiece,produced by Mediaschthe workshop. have areconsideredbelonged tosame tothe inBrukenthal Museum Hermannstadt) 168 167 fivethe hundred years’ anniversary birth)of his (Budapest: Franklin, 1940), 182-183. Lukinich, Imre ed., 22 (1934): 225-241; Henrik Horváth, ”A Mátyás-kori magyar m Schottenstift. high altarthe of former the and of retable the the panels between relationship concrete Haraldgroup. in series of Krasserpublishedstudies wasa 1970sindicatingthe a there paintings. Mediasch the to close stylistically were panels Grossprobstdorf the of two that suggested Roth in1916, Already Schotten-followers. the of circle stylistic the to belonging paintings of Transylvanian small group been tothe added have retable, with Mediasch the together the panelsthe depicting the although all were works of the Mediasch master himself. Otto Folberth considered, similarly to Roth, that only 172 171 Transylvania. in influence stylistic of Schotten-master’s development the to and dedicated birth of the research the overview an tooffer means only bibliography presented The thesis. this of entry 170 169 (Vác:Pestvidéki Nyomda, 1932), 37; Tibor Gerevich, ”Erdélyi m ”Erdélyi Gerevich, Tibor 37; 1932), Nyomda, (Vác:Pestvidéki 166 seems Mediasch master art tobeobviousnow historical inup-to-date literature. thoroughly in analyzed a monograph by Otto Folberth unambiguous fact in factunambiguous Alfred Stange’s 1961 reviewwork slowly matter the literature. becameinhistory Included as accepted art generally an loosesthadof with Austrian onlytheconnections contemporary painting. panel the problem with a good deal of scepticism in his review work, suggesting that the painter had painter. Viennese the of follower a been have might master critiques in 1930s the and 40sonthis simply point or possibilityignored the Mediaschthe that several published historians art Hungarian while once, idea at new the have accepted seem to Harald Krasser, ”Untersuchungen zum Mittelalterlichen Tafelmalerei in Siebenbürgen. Zur Herkunft und Herkunft Zur inSiebenbürgen. Tafelmalerei Mittelalterlichen zum ”Untersuchungen Krasser, Harald Alfred Stange: Alfred Radocsay 1955, 179. Radocsay considered, just like Roth that the Grossprobstdorf panels, were part of two different altarpieces, of two different part were panels, Grossprobstdorf the that Roth like just considered, Radocsay Roth1916, 57. catalogue corresponding the in offered is retable Mediasch the to dedicated literature ofthe list complete A Folberth 1973 Just fewa examples: István Genthon, The retable of Birthälm much was only recognized later asbelonging this stylisticto The panels of the altarpiece from Grossprobstdorf ( 171 Later,this opinion inwas and presently refined all survivingthe panels (kept the 173 Deutsche Malerei der Gotik Thus, in the present stage of research, three retables are known with some . Exhib. Cat. Palatul Brukenthal, (Sibiu: Muzeul Na Mátyás király. Emlékkönyvszületésének ötszázéves fordulójára Martyrdom of theTen Thousand Forschungen zum Volks- und Landeskunde A régi magyar fest . Vol. 11. (München-Berlin: Deutsche Kunstverlag, 1961), 162. 49 and the ĘPĦ Ħ vészet Ħ Martyrdom of Sebastian vészet.” (Hungarian art in the age of Mathias). vészet” (Transylvanian Art). (Transylvanian vészet” 168 (Old Hungarian Painting). Ġ 169 ional Brukenthal, 2007) 140.) 166 , and later being somewhat more Convergences. European Landmarks in , the stylstic affiliation of the of affiliation stylstic , the Even Dénes Radocsay handled Radocsay Dénes Even Pro 172 ú tea Mare, Nagyekemez tea Mare, ; 14, No.2, (1971): 9-24; . (King Mathias. Festschrift to works of the Mediasch 170 Magyar Szemle 167 However, The Ę . ), CEU eTD Collection Nachfolge des Schottenmeisters”, Archiv und Denkmalpflege Ö Schottenmeisters.” des Nachfolge siebenbürgischen ”Zur Krasser, Harald immediate environs for Transylvania has beeninto brought prominence in 1991in astudy by suggestions that such dates usually mark the end-stage ofaproject. end-stage the mark usually dates such that suggestions with the topic to mark the beginning of the work, while the newest literature has started to revise this idea withregarding the dating of altar.the The 1469 inscriptionof divided the are retable isconsidered by researchers most arthistorians Similarly dealing a“Marienmeister”. and “Passionsmeister” a of wrote consequently also he Thus, execution. its to contributed apprentices several although retable the to concept general one was there that a single main masterwas suggested responsiblehave Stange Alfred foror the completeBuchowiecki retable. Walther like RupertOthers, Feuchtmüller masters. was different to two of the opinionbe attributed can that Virgin ofthe life the from scenes cyclerepresenting the and Passion-cycle the that considers who Benesch Otto with themselves align ofresearchers group A large retable. the of unity the Schotten-retable regarding of the opinions problem different the have with dealing authors that well-known It is here. out pointed be shortly should needs thing one However, dissertation. of the end the at bibliography the in listed and pieces Transylvanian the I analyze when in part to bereferred will works The to. referred often and well-known is literature 174 Kunstgeschichte eds., Streitfeld Theobald and Krasser Harald Klein, Albert Gündisch, Gustav Schottenmeisters”. des Nachfolge siebenbürgische die und Altartafeln Birthälmer ”Der Krasser, Harald works. scholarly neighbouringhasbeen countries many in studies,monographsdiscussed different and other background of leadingthe and masters theirindisputable impact on painting inAustria and and in Central andtogether agroup of importantpainters, was one of influential mostthe in Austrian territories Eastern Europeoeuvre in the second half impact workshop’s Transylvanian thefrom on research dedicatedpainting comes latestto the of the fifteenth century. The imported? These aresome of problemsinthe thatwill be approached this study. stylistic be canthese beconsidered or works commissions for to carrying concrete invited these these painters living, working running and a in workshop region,this had theybeen only Were farin region. found so the havebeen miraculous pieces two influence of of these traces only can panels or be thattooneworkshop Grossprobstdorf the No the connected other. other late survivingthe it Gothic thisaltar-pieces However belongis Transylvanian same to group. all retables of important mostand largest of large the two retables, two the be that explained fact can the How painter? Viennese leading the to retabels Transylvanian masters of these the Whatincluded relationship sameadditional of can be thatwithin wasthe the group? paintings be will there that anticipate canone or examples mentioned theabove of help the with merely reallybe stylistic group largequestions delineated Canthis still open. remain numberof a retables, tothese dedicated literature rich fairly of inspite the However, Schottenmaster. represented of followers by stylisticthe Transylvanian to the degree of group connection the There is no need to provide an annotated list of the large number of works dedicated to the topic as the as topic the to dedicated of works number large ofthe list annotated an provide to need is no There of Hans Siebenbürger. There is no doubt that the Viennese workshop, that gathered that workshop, Viennese the that doubt no is There Siebenbürger. Hans of Another factor that directs interest once again on the matter of of Schotten- the thematter on again once interest directs that factor Another , (Bukarest: Kriterion, 1976), 193-214. , 27 , (1973): 109-121.Harald Krasser, ”Die BirthälmerAltartafeln unddiesiebenbürgische 174 The special significance of Theleading specialsignificance Viennese of this anditsworkshop des Vereins für SiebenbürgischeLandeskunde 50 Studien zur Siebenbürgischen sterreichische Zeitschrift für für Kunst Zeitschrift sterreichische , 13(1976):96-108, CEU eTD Collection by Richard Perger in 1973. (See above) at this time the masterHowever, of the epitaphy Schotten-retable. the had not around yet grouped beenidentified stylistically of works with Hans a number and Siebenbürger.epitaphy Hauser the This between was finally done 179 Votivtafel des Jodok Hauser(1478)”, has been discussed.previously Monastery Scotts connectedtothe the of workshop bythe influenced mostand closely those studies. above-mentioned before the of, known were century fifteenth the of half second in the in Vienna Siebenbürger of activities Wien”, 178 analogies,that the date-inscription of 1469 marks finalizationthe of the retable. stylistically uniform. He writes that Siebenbürger was the leading master of the workshop, and affirms, based on177 Verlag, Thorbecke Jagiellonenkönige(1471 – 1526). Kunst – Kultur –Geschichte Ostmitteleuropa”, EvelinWetter ed., 176 Nationale Hongroise painting), Viennese Gothic late of the example anunknown Budapest: from panel significance and providingnew points of view for consideration. Schottenmaster’s stylistic compositional solutions and into play, its renewed enhancing Schottenaltar wasproduced.This bringsrecognition theTransylvanianafterlife of the it is clear that Hans revolutionary Independently thought. factthe of notone whether thisaccepts or identification, Siebenbürgernew, is a Florian, Sankt from scene Crucifixion in the Stephaton of neckline and wristband played a very by supported stylisticimportant analysis, andhistorical data especiallyby inscription an observed on the role inoriginatingfrom Transylvania - with master leadingthe of something Schotten-workshop, the the workshop where the Schotten-workshop. in the painter leading the was master this that claims 175 by Robert Suckale, dedicated to the to Suckale, dedicated by Robert andideas derivingfrom andthis havebeen article developedaccepted a contribution through Vienna. and Transylvania between craftsmen lifeof itinerate the of significance with Hans In thisSiebenbürger. Takácsdefined work the painter’s oeuvre alsonoting the Gallery) National of (Hungarian Eligius-panel the identified themaster Imre Takács,who Alfred Stange (Stange 1934-1961, Vol.11.47) already stated in1961 that there was a stylistic relationship Richard Perger, “Hans Siebenbürger –Meister des Hauser Epitaphs und Stifter des Ölbergs zu St. Michael in Suckale speaks of a group of painters working in the workshop. He considers, however, that the retable is Robert Suckale, ”Der Maler Johannes Siebenbürger(um 1440 -1483) als Vermittler NürnbergerKunst nach Imre Takács, ”A budapesti Eligius-táblakép: A bécsi kés Abécsi Eligius-táblakép: budapesti ”A Takács, Imre Österreichische Zeitschrift für Kunst und Denkmalpflege 2004), 363-384. , (Budapest: Magyar Nemzeti Galéria, 1991), 85-93. Die Länder der Böhmischen Krone und ihre Nachbarn zur Zeit der Mitteilungen der Österreichischen Galerie 179 However, the identification of obviously identification - of painter the the However, 178 oeuvre The stylistic relationship between his known works of the painter Hans Siebenbürger. Hans painter the of 51 Ę gótikus festészet ismeretlen emléke” (The Eligius- (The emléke” ismeretlen festészet gótikus , Studia Jagellonica Lipsiensia 2 (Ostfildern: Ian 34 (1980): 147-150; Idem, “ZurHerkunft der 17 (1973) 7-14. Annales de la Galerie 177 The presence and 176 175 The author The The results CEU eTD Collection general use of vivid colours. However, a moregeneral at ofvivid look However, a use workreveals the thorough colours. painter the many fine compositions, anda details circle. bywell-balanced arecharacterized Thepaintings stylistic same the to belong all and, period same in the executed were workshop, same the to belong clearly they but hand, same the and one of work the were paintings the that say to not Fathers givesanimpression thethat panels are stylistically andhomogeneous. Thisis organic four undivided representation retablethe of Church the the with of stationary wings the stylistic link. However, the matter seems to be more complex. develope this to inorder Joseph of and that Virgin head-types of the the to refers explicitly master He in spenttime workshop. of Birthälm the the undoubtedly that Viennese the retable show figures that types of features, stylistic alsospecific are there sibling, Austrian it itsislinks not only compositional theTransylvanian thatfact to retable that relations also displaysthe certain of details copied from the Viennese model.Krasser representation shortlythe also refers to the Additionally, compositions. Schottenretable’s the dependence on tightest of the context artistic inan conceived clearly dedicated to the topic. to the dedicated 180 Visitation images retable. Viennese the of corresponding thematically the to panels Birthälm the of five of connections compositional close the on mainly based Schottenmeister, the circle of the with affiliated is stylistically century retable Johannes, parish priest of Birthälm in that period. to refer probably most shields These IO respectively. initials andthe achalice representing shieldscan beseen that predella, of isby on the two PARTUSthe emphasised and one 1515 panel:ANNOVIRGINIS central superstructure’s frame of the upper the inscription on quarter of sixteenththe century. This second phase of is retable’sthe history datedby the first in the only together mounted was retable complete the and executed was construction the of while rest and the these, only to part, central altarpiece’s the panelsof the refers to The date altarpiece BirthälmThe year old Jesus in the Temple inthe year oldJesus This periodization of the retable was first formulated by Harald Krasser in his articles mentioned above Both sides of movablethe wings, four fixed the panels flanking the central shrine, and The previously mentioned articles by Harald Krasser have demonstrated the fifteenth The inscription in an open book on the panel representing the scene of the of scene the representing panel the on book open an in inscription The , the , Presentation in the Temple the in Presentation , dates the Birthälm retable unambiguously 1483.to ( and the and 52 The Birth of the Virgin 180 Birth ofJesus Birth (Fig. III.1) Twelve year old Jesus in the temple are scenes that have been have that scenes are , the , Engagement Fig. III.3 Fig. Twelve , the , ) CEU eTD Collection Weninger eds., Weninger (1973) 121-131; Rupert Feuchtmüller, “Wien zur Zeit des Schottenmeisters”. Rupert Feuchtmüller- Peter mittelalterlichen Topographie der Stadt Wien.” Werden der Wiener Vedute the panels: two above-mentioned the on Birthälm much discussedof forenvironment the Schotten-workshop. the been has that phenomenon a itself in is town-background real a even or realistic a within for backgroundimpression the of scene.The represented the encapsulation of bible-scene the realistic a provides town-detail this of depiction The town. medieval a outside gate, In the compositonIII.18) an embracing pair may be seen in the extreme foreground, in front of a motif collection of the same workshop. well as the use of colors,almost be considered can copiesscenes of thementioned thecorresponding previously five Viennese the restonly that panels, fact inthe terms of of spite In compositonof as the Schottenretable. the of panels were also side clearly of the retable, the themes of the representations and their sequence basically followthose inspired by the form- and ihre Kunsthistorischeihre Einordnung.” Michael Imhof, Bamberg ”Die Ansichten des fünfzehnten Jahrhuderts aus dem BerlinerKupferstichkabinett und geschichte der Stadt Wien und Neues zu den„Wien-Ansichten” auf Tafelbildern des 15. Jahrhunderts Bekanntes Mittelalters. des am Ende Wien Stadt der Antlitz „Das Opll, Ferdinand 425; 1966), Landesmuseum, 950-jährigen Stadtjubiläum Kremser?” Wolfgang Maler Schottenmeister, Wiener ”Der Dworschak, Fritz 182 (New York: Phaidon, 1972), 181. ed., Benesch Eva Altars” Krainburger des Meister ”Der Benesch, Otto scenes. first the were Gate Golden the at Meeting the 181 composition isof the that image. type of related A of foreground the closely in actin figures Joachim.and of that Annunciation space a well wife, the to the defined The background,the whiletheleftside includesthe scene tothemeeting previous of husband the of half right the occupies Thegate town. medieval a of street the isview onto a there gate the Anna placemeeting of andJoachim takes infront of endsa gate that in Through a semi-circle. scene Birthälm the of clearlyarrangement and concept general the case, any In on. based fits was Birthälm the tendencies the that scene existed acorresponding decidewhether found in the representations. circle about those exists information preserved. No of the Schottenmaster. exeption of the first and thelast panel of the cycle decorating the“ With uncertainty. deal of agood display also details certain and original particularly was not Karl Salomon, ”Die ältestenAnsichten der Stadt Krems.” and Joachim to Annunciation the that suggested Benesch Otto retable, of the reconstruction theoretical his In The first two scenes of the Schottenretable’s (based, as already mentioned on the corresponding panel from the Schotten-retable). the from panel corresponding the on mentioned already as (based, Otto Benesch. Collected writings Friedrich III. Kaiserresidenz Wiener Neustadt . 55(1999): 101-145. On realistic and authentic depictions of towns in theperiod see: . Vienna: Verlag für Jugend und Volk,1965; Walter Brauneis, ”Beitrag zur . (Krems: Stadtgemeinde,1948), 180. Alfred May: Berichte des Vereins Bamberg . Vol. 3, Österreichische Zeitschrift für Kunst und Denkmapflege German and Austrian Art of the15th and 16th centuries 53 50 Jahre Landzeitung . Exhib. Cat. (Vienna: Niederösterreichisches Meeting at the GoldenMeeting atthe Gate 128 (1992): 7-73. Feast-day-side Meeting at the Golden Gate atthe Meeting .”, Jahrbuch des Vereins für 181 182 Krems und Stein. Festschrift zum Wien in alten Ansichten. Das Thus it is not possible to possible is not it Thus The samefeature occurs in Festtagseite . Krems: Faber, 1929. 31; are unfortunately not areunfortunately (Fig. III.4) Visitation ”, the feast-day ”, the and the 27 from (Fig. The , CEU eTD Collection around 1475, preserved in the Museum of Ulm. Schultes showed that the preserved panels of the retable from retable of the panels preserved the that showed Schultes ofUlm. Museum the in preserved 1475, around composition isdiscussed asgoing back toLudwig Schongauer’s retable dedicated to the Virgin Mary,dated to Fragmente bis Rueland Frueauf 183 185 from from Kirchdorf an der Krems representing same the scene and datedtobetween 1480-1490, to from A in are this example. thisorganizedpanel aretable awayvery similar workshop, to attributed Schottenretable andseveral of the works bewhich would without unimaginable looked forin model-collectionsthe of Schotten-workshop.the Austrian panels, the existance be should panel Birthälm the of origin the that probable than more seems it Schottenretable, especially those of Rogier van der Weyden. - , images Netherlandish several to on further and panels Frankish mainly – South-German to master, used bytheViennese sources the stages and through learning back,the through the environment mainhappened previous tothe is scene panel, on the from alsoknown coming from paintings of the Schottenmaster. The origins of this feature can of course be traced devotion. adeeper ahelpfor foroccurances empathy represented astronger the and permitted among known for its spectator, or astreetdetail leastresemblingat the houses he orshe isliving in well- town in a scene biblical a of representation The images. devotional of devotion, of component important an also but century, fifteenth the of narrative-art renewed in the element is represent only not an meanto realism The they depictions. these of because role of the exactly fluid, is real-looking the and real the between transition The period. in this dominant, backgroundsimagesfashion in much panel of towns the paintings werevery a and actually Visitation and Bernhardand Prokitscheds., 184 zurVerähnlichung on the topic also: Frank O See Büttner,[…]”. kennst Dugut die Stadt Du eine wälst Zweck diesem zu wird; sein Jerusalem Stadt die die Stadt, eine erinnern zu können, ist es hilfsreich und nützlich dir die Orte und better Passionenfor im Geist advice of auszumalen: pieces zum Beispieldevotion.containing (”Um diePassionsgeschichte 1454, deinem Geistfrom besser einzuprägen girls und jede Handlungyoung daraus leichterfor study-book a religious Oration), de (Zardino fünfzehnten Jahrhunderts seen in Austrian regions and backgroundrepresentations of Austrian panels. of elements arecomposed they towns, forspecific Transylvanian not are represented houses motif was in general use in the Schottenmaster’s circle. The architecture depicted, the types of the factthat by explained simple the in canbebetter case this fantasy-vedutes presence of the Imhoff 1992, 52; Michael Baxandall, See the image in: Lother Schultes: Lother in: image Seethe See: Gunter Dimt: “Haus und Hof zwischen Nordwald und Alpenrand – Eine Spurensuche.” Lothar Schultes Although the composition of the Meeting at the Golden Gate is not known from the from known not is Gate Golden the at Meeting the of composition the Although The presence of a scene in the background, a narrative element, something that has 183 . However, neither displays an authentic, identifiable town-scape. Real-looking town-scape. identifiable authentic, an displays neither However, . This is also a plausible explanation for the two Birthälm panels, although the . (Berlin:. Gebr.Mann Verlag, 1983). . (Frankfurt am Main: Syndikat, 1977); 61. He refers to a so-called ”Garden of prayers” Gotikschätze Oberösterreich . (Linz: Österreichisches Landesmuseum, 2005),Fig. 251. 129.Here, the Imitatio Pietatis. Motive der christlichen Ikonographie als Modelle Die Gotischen Flügelaltäre Obesrösterreichs. Die Wirklichkeit der Bilder. Malerei und Erfahrungen in Italien des 54 . (Linz: Bibliothek der Provinz, 2002), 87 – 96. 87 2002), Provinz, der Bibliothek (Linz: . Vol. 2. Vol. 184 Retabel und 185 CEU eTD Collection inKrems. See: http://tarvos.imareal.oeaw.ac.at/server/images/7001657.JPG collection of of patterns. collection existence of a common model,the to amodel points that was obviouslycomposition in their part of the Schotten-workshop’ssimilarities However, above. discussed panels the with Meeting at theGolden Gate images. both The is on present backgroundfrom space scene the the gatedividing the left nextAnnunciation ontheevenadetaillike thethreshold background the shown of side to Joachim’s of depiction the Besides panel. Birthälm the to similar quite are details and forms architectural its is the way butit havea town depicted, the view into not of panel side the does century. fifteenth the very end of to the dated is onefrom Mariapfarr, composition related Another meanderingto along, path. Joachim,next to theAnnunciation shows image side the of theleft while similarities, certain 186 considered. are solutions certain as far as Schottenretable ofthe influence the showing those among were Kirchdorf/Krems on the Transylvanian example. Transylvanian on the or background late gothicthe windows on the bench near tracery Anne’sbedwere“forgotten” drawn master. of onthe simplifiedglass likethe panes by Precisely Transylvanian details the wash-bowl on the background wall, there is a series of minor, but very fine elements that were Viennese panel the Beside to incomposition compared differences such Viennese master. the dependenceon close as painter’s omission Transylvanian the to testify all legs their of forms the follows helpers both of dress of one of the servants, The folds head the H-form Anne’swere adopted. drapery bed, way the of of above the St. the or extra dresses all but their and even followed, colours, tightly fold-forms specific details suchasthe details like thedependence clear. The lattertowel lies not only in the spacial arrangement, the types of figures, theirand III.7) (Fig. above the bed have fallen victim to time and restorations. 187 September2007). be samecan aswell. The perspectives of andon figures representations certain anatomy of in the visible are retable Birthälm the of master the of knowledge drawing in the difficiencies paintings. Uncertainties, level two the of lies inthe obvious difference most the feature, detail be observed. a street can displays same the including composition asemi-circular gate sideon right the which through Viennese panels. Certain details like vaultingthe of kitchenthe inthe background, or thebrocade pattern of the golden drapery Image no. 7001657 in data-bank the of the The next two panels of the retable include representations of the of representations include panels retable the two of The next and the and (Figs. III.8, III.10) Engagement from Birthälm does not display any closer stylistic relationship stylistic closer any display not does Birthälm from 187 (Fig. III.5) (Fig. (Fig. III.9) However, - and partly of course in connection to this to inconnection course partly andof However, - Compositional differences are minor and the stylistic the and minor are differences Compositional Institut für Realienkunde des Mittelalters und der frühenNeuzeit Even the depiction of the street architecture has architecture street of the depiction Even the 186 55 and are In this case the semicircular gate on the right no doubt copies of copiesnodoubt of corresponding the (Site visited on the 11 Birth of the Virgin th of (Fig. III.6) (Fig. CEU eTD Collection Birthälm also displays certain withsimilarities the corresponding panel anotherof upper very very common. in usual sealed letter is angel’shand,insteadof notthe more scepter andbanderolle, the also displays serious compositional analogies. compositional serious displays by Robert Suckale tobean by by Siebenbürger. early Robert work Hans inKronach considered and Galerie of Fränkische the in today collections the from Nürnberg, Behaim-Retable from so-called partof the predella mostthe originally probably Catherine, Schottenmaster. fingers playing with the pages of the open book are a recurrent element in the circle of the altar from Eggelsberg, dated to 1481. from to altar dated Eggelsberg, Divine persons. three the to belonging as seals three the interpreted Schultes retable. the of acuriosity as Angel of the hand the Nurenberg the of more even and art which the Schottenretable Schottenretable the from is also solutions stylistically related to. compositional Schultesand also motifs mentions the certain charter-form messagepresenting in 193 virginity of the Holy Mother. the and incarnation of the secret the suggests letter sealed the meaning: theological deeper a contains document a folded with type first The Human. the and Divine the between ofpeace contract a acharter, represent versions Both parchment-roll. anopened and letter folded sealed a iconography: this of types two betweens differentiates Bialostocki Sexagenario dicata Mariä.” Verkündigung der Ikonographie Zur Brief. Versiegelte „Der Kalinowski: Lech The environment. stylistic same have must been that Schottenretable well-known the of panel same the on scene the mirror hand right her to with makes the painter. Other motifsIII.12) in the composition still arequite closely relatedalso to the Virgin on thelinked corresponding Viennese panel. to the from Schottenretable. all figures from over the painter the taking the precisely format narrow Viennesemodel.preventof The not the Transylvanian the did panel followed a common source. acommon followed indicate that background, twoin worksmustparapet-wall the the to acertainhave extent a on set column the even hand, left in his letter the and angel arriving the of gesture the hand, 192 191 190 a collegue of his. Siebenbürger has spent aperiod of apprenticeship in this workshop of Pleydenwurff,Wolgemuth must beenhave Nuremberg workshop of Hans Pleydenwurff. Thus, if we accept Robert Suckale’s supposition that Hans 189 1400 bis 1500 188 said about panel the depicting scene the of the Schultes 2005, Fig. 214. The dismounted retable is also discussed by the author as being among the panels Th[eodor] Hach,“ Die Verkündigung Mariä als Rechtsgeschäft.” als Mariä Verkündigung Die Hach,“ Th[eodor] retable. ofthe Panel dated to 1460-1465, referred to by fixed-wings Roberthe Suckale 2004,on Fig. 9. Hieronymus Saint of figure the on returns also motif same The The retable from Zwickau is attributed to the workshop of Michael Wolgemut, the master who took overthe Stange, Alfred The total position of the figure, the arrangement of her mantle and, the gesture she The . (Munich-Berlin: DeutscherKunstverlag, 1958), Fig. 90. Annunciation 192 Deutsche Malerei der Gotik 190 Besides the Zwickau example, it recurs on an Upper-Austrian panel, on the The same detail can be detected on the panel with the representation of St. of representation the with on thepanel bedetected can Thesamedetail . Warsow: Panstwowe wydawnictwo naukowe, 1981.161-169. The article is obviously based on models,other although figurethe ofMary is 189 The hand book-holding of Virgin the and herfine,fragile Annunciation 193 . Vol 9. 188 (Fig. III.14) The position of the Virgin with the book in her in book the with Virgin the of position The Franken, Böhmen und Thüringen.Sachsen in der Zeit von 56 panel on the 1479 retable from from panelZwickau 1479retable the on Engagement The scene of the Christliche Kunstblätter 191 (Fig. III.13) which follows even more even follows which Ars Prior.Auro Ioanni Annunciation 23 (1881) 165-169; The motif of the (Figs. III.11, from CEU eTD Collection 2002) 293. mentioned the detail mind, however,that inevitablyin question forcalls to Transylvanian- the element, seen taken out its somewhere, of original andenvironment should usedhere. It be isscenery-mere It a fact. this to point obviously balconies, its with poligonal gate, the above building-detail palast-like clearly elegant, very the like Motifs, view. of point statical from the standing couldpossibly remain depicted architecture the whether never considered has painter the that showing elements of beaccidental composed to seems representation more carefully, at the Looked town-detail. authentic anyother or bea Transylvanian likely to not is again vedute The represented different. arecompletely elements architectural restof panel,the background town-detail, the down smallestto the detail.the the However, on retable Viennese the depicted persons corresponding two the follow again foreground related to that of the 196 Petrus Christus”, Petrus 195 2001). Belvedere, Galerie Österreichische des Bundesdenkmalamtes 194 Birthälm. from scene Braunau. This was a motive that can also be observed in thebackground of the tracery in background,the behind the women saints of fixedthe panels in from altarthe blind- simple with decorated parapet-wall the for is true same The motifs. of collection same from the have must worked idea masters emphasize thetwo the that serve to can and retable Schottenmaster. the of followers close of fairly the one have been to is thought Bäckeraltar the Netherlandish origins. vaultingthe of chapel,the in first occur old German painting byKonrad Witz buthave panelswere related. two these that impression general give the lifting his right hand in the well-known but of compositionthe book, of the the panelwith angel from whole the left,the coming gesture of benediction and the positionmentioned in motif book of open the Mary’s hands andof herfingers leafing through pages the the Virgin, lie in not only already the These similarities from Bäcker-altar Braunau. the Austrian retable, of St.Thomas the depicting panel the on is presence its which proof of aclear Schottenmaster; Bodo Brinkman – Stefan Kemperdick, Regarding the Netherlandish impact on the painting of Konrad Witz see: Charles Sterling, “Observations on Artur Saliger ed., The The strikingquite motif background of holeandthe of rollingthe upplaster spots on Visitation Art Bulletin Art of the Winkler-Epitaph Master. Winkler-Epitaph of the 194 Der Braunauer Bäckeraltar Other details from its panels were related to elements on the Birthälm- , Bedeutende Kunstwerke. Gefärdet – konserviert –präsentiert. 16, (Vienna: (Fig. III.16.) Meeting attheGoldenGate Meeting 195 panel 53 (1971), 1-26. Thus,it has also reached the motif-collection used in the circle of the (Fig. III.18.) Deutsche Gemälde im Städel. 1300-1500 . Eine Ausstellung der Österreichischen Galerie Belvedere und has already shortly been referred to as composition 57 196 (Fig. III.17) . The two women-figures standing inthe (Fig. III.15.) . (Mainz: Philipp vonZabern, The master of Annunciation Martyrdom CEU eTD Collection covered head like amarried headlike covered woman. into foreground. This where the isthefirst painting with intherow the isrepresented Virgin place beare socrowded figures canhardly eventtakes the feltvaultedsince the spacewhere scene is from which those among independent are compositionally Schottenretable. The the The frame-lath. a by divided only panel, single a on shows, backside the as painted, are they inversed laterbecause havebeen scenes could not two himself. The by mistake painter the instead panel. followsin of Epiphany the inversiona be only that next the The only can gold. corresponding in detail but theViennese panel, itwascertainly finely in blackdrawn, and hardly be discerned. can pattern brocade the much sothat worn very is panels other the ason here aswell Mother, Originally, Holy the of dress brocade golden The Virgin. the before pavement in the hole this the like details brocade was not small loss of the or theSchottenaltar on white are asimple that angels’tunics of the showncolour in four different colours as the only the slightest of observable. of differences slightest only the the on again shows correspondingcompositional the scenewith Viennese closestdependence the stylistic circle closest to the Schotten-workshop. to the closest circle stylistic the town-representation in very initsdiffering butsimilar type details. town-representation Schottenretable, the St. Florianisspace concept found in a panel offersThe same Birthälm. retablein the on settlement the outside are depicted Elisabeth and Mary a mirror copy of figuresinsidein panelonastreet,Viennese the town, the the of represents fronta house-gate, two women in frontthose of a on the Visitationbut not identifiable with any of the known settlements of the period. paintings. panel of right from image the German south well-known resemble panel detailsUpper-Austrian and of on the the bridge tower sidethe the on of building-attachement decorated “Fachwerk” attached, Schottenretable. 198 Exhib. Cat. Oberösterreichisches Landemuseum, (Linz: Bibliothek derProvinz, 2002), 93. Alpenrand – Eine Spurensuche.” Lothar Schultes and Bernhard Prokitsch eds., Jahhunderts aus St. Florian, Seitenstetten” Fig. 9. of Günter Dimt: “Haus und Hof zwischenNordwald und 197 schooled eye, the Vajdahunyad ( See the image in: Schultes 2005, Fig. 181, 87. 15. des Tafelbilder Fachwerktechnik. in Obergeschossen aufgesetzten mit Untergeschosse “Gemauerte The last scene in the upper panel-row of the retable, of the in panel-row scene upper the The last Strangely, the next panel of the narrative is that of the As already mentioned, the two figures of women on the Birthälm panel exactly follow 197 The town The town represented is anidealthus gothic one,combining realistic elements, Visitation Hunedoara, Eisenmarkt panel from Stift FlorianSt. and obviously belonging to (Fig. III.22) 58 198 Differences include a change inthe includeachange Differences (Fig. III.19) ) Castle. Other elements, like the like elements, Other Castle. ) (Fig. III.20) Birth of Jesus Circumcision Gotikschätze Oberösterreich However, while the Compared to the , ( (Fig. III.23) Fig. III.21), . CEU eTD Collection two staff-figures have fallen victim to this formal difference. As a result of the narrowness of narrowness the of result a As difference. formal this to victim fallen have staff-figures two lies onlyin the Transylvanian that spacepanel presented anarrower for painting. the Thus, exact composition of the Schotten-panel on a similar topic, similar a on theSchotten-panel of composition exact fünfzehnten Jahrhunderts”, des Malerei Österreichischen in der Reflexen ihren und Beweinungskomposition Niederländischen einer niederländische Einfluß im 15.Jahrhundert On the circulation of these motifs see: Achim Simon: obviously reached the Transylvanianworkshops through the mediation of Frankishthe andAustrian artworlds. deal with here. All motifs mentioned in this analysis as originating in fifteenthcentury Netherlandish paintingit is evident that the Netherlandish paintings have nothing concretly to do with the Transylvanian examples we Dirkin: de Vos, Rogiervan derWeyden. The Complete Works. (Antwerp: Mercatorfonds, 1999), 277.However, 200 of the Bahaim-retable. Suckale 2004, 367. in hisworkshop that Siebenbürger produced thefirst identifiable work which has come downto us, the predella Hans Pleydenwurf is also the painter identified by Robert Suckale as master,taken teacherover ofthe workshopHans Siebenbürger,it of Hans Pleydenwurff is in Nuremberg, after the latter’s death.Geisteswissenschaften, As 2004) 141-213. Here,alreadyespecially Fig .136. mentioned, Simon Lainberger und die Bildschnitzer für Michael Wolgemut be traced far back to Netherlandish origins. history haveoldhim, hishatseton groundinfrontof the long with kingkneeling a and can position haswhich been squeezed in.Certain indetail-motifs the likecomposition, thatof the model, the to according panel resolved byof not and Kinginakneeling very the well representation was the theproblem Birthälm the on fit not did Joseph and Melchior of figures the may havewell been a compositional concept originating inthe Pleydenwurff Only workshop. mantle of the Saracenby oldthe king. The figure and position thisof latterking, and gestures the arrangementof the all correspondat the justcenter holdinghis herchild stretches who of out contents handforthe cupheldthe well on the inchurch Michael to attributed Straubing, Wolgemut. two panels. The Jacob in St. found the highaltarpresently scene from the Epiphany much the very resembles common source forforward kissing theold usuallylinked theChild’shand, to agesture Caspar.The composition both leans He Joseph. and Caspar between small space the into pressed Melchior, figureof is the frontof her. Only Saracenking,whothe has just stands arrived, toher left.disturbing Most her her right, husband behindherstands andtwo of kings,the Casparin andMelchior, kneel center of the scene with the Child on her lap, is surrounded by four men. Three of them are on Viennese master. The composition itself is somewhat unbalanced. The Virgin, sitting in the the of environment immediate the to back traced be can that motivs of number a though itisfrom independent of composition the Schottenretable’s correspondingthe panel, utilizing 199 See the Adoration scene of Rogier van der Weyden’s Columba-Altar. (München, Alte Pinakothek). Depicted Pinakothek). Alte (München, Columba-Altar. Weyden’s der van ofRogier scene Adoration Seethe The Straubing altarpiece is depicted and thoroughly analyzed in: Maximilian Benker, Maximilian in: analyzed thoroughly and depicted is altarpiece Straubing The The scene of the of scene The The next scene, the scene, next The Wiener Jahrbuch für Kunstgeschichte Presentation in the Temple the in Presentation Adoration oftheMagi . (Berlin: Dietrich Reimer, 2002). And also: Artur Rosenauer, “Zu 200 Österreichische Tafelmalerei der Spätgotik.Der 59 (Fig. III.24) . (Weimar: Verlag und Datenbank für Datenbank und Verlag . (Weimar: 199 22 (1969): 157 -166. Itis generally knownthat Wolgemut has (Fig. III.25)(Fig. The connection is obvious: Mary sits (Fig. III.26) belongs to the same category, is following thefifth the the main deviation main the Ulm inNürnberg. CEU eTD Collection other examples of scene. the of examples other on his of gesture encountered tothe covering teacher the ears meaningrelated isprobably “discussion-type” more the but scene of “teachingthis sofollowmuch type” not so-called the seemsto image. Therepresentation impression the to gestures give active exaulted, an again. vehement The is crowded rather figures of the arrangement model. The this follows represented teachers the noneof However, same backtothe canbe source. traced of throne-architecture features the same way certain corresponding detail in the Viennese retable as do the figures of the Virgin and Joseph. In the retable because the book lifted into the air by the teacher on the right side of the image has the similar topicfrom Marienburg ( of the is scene.the Yet, samemotif on another a encountered Transylvanian with panel in the iconography isspecial in intheforeground sitting being theteacher handof the rapped Temple missing from the foreground and there are fewer angels on the tree. and a rock on the rightdifferences are only minor. Theimage side was narrowed with some of the flanking details, - treesof the etching and isover precisely composition taken the themodel of Schottenretable the panels following have been omitted, certain stones and plants are 203 202 201 Flight from Egipt (Fig. III.27) inscriptionwithout the else itor was completely painted over sixteenth the during century. Their(16...?). presence the board suggeststhat wasvery originally probably represented be seen be only seen on this board, “ a couple of inscription could no workshop, Kronstadt in the panel’s the restoration previous to However, background, has presently asthe same parallel the inscription the Schottenpanel.detail on in birthwithattribute asemi-circular Theblackboard scenes. altar in on end the the usual his is which candle, a as well as scene in this servants female the of one for usual more been observable in the hand of Joseph. He was represented with a basket of doves, an attribute the panel, the arrangement of the figures became more crowded. The staff would not have On the panel with the same topic as the retable from Großgmain for example. See LCI Vol.Salzburg 4. 583-589. 1972., 124. B 7 (123) Striking be motifs seenon can panel the depicting the It has identified It in that the been already panel previous literature the representing . (Fig. III.30) wasbased etching.on Schongauer’s As also noted by Krasser, the figure of the child clearly follows the 203 The panel is especially valuable among those in the Birthälm in the those among valuable especially is panel The Földvár, Feldioara 202 The gestures make this clear. The motif of book the motif The makethis clear. The gestures Hic fuit 60 ” letters scratched in later and perhaps adate in later andperhaps scratched ” letters ), actuallyin Its the churchofKronstadt. 201 (Figs. III.28-29) 12 year 12 year old Jesus in the Just as in the as Just CEU eTD Collection of the of the Church atBiertan.” 207 206 205 (Fi Schweischer from retable on the Martin of Saint Death the representing panel the painting, panel Transyvanian 204 can part be An photo, of considered aunit. documentation definitely the compiled archive retable the of view panels of the point stylistic From the circumcision. the of representation hands fingertipswith only touchinghasalready the been onMary’sremarked figure inthe joined Christ’s motif of The representations. analyzed previously match perfectly the robe of angel’s orthe mantle John’s foldsthe of hair, of its tresses with angel headof the face and contemporaneityconsiderations contradictthis idea. All stylisticthe the support characteristics of this panel Reformation. the tothewith ideasof inmeaning appropriate the rest of the probably of Assumption,the wasreplacedby Christologicalthis episode representing ashift retable. The prereformation the depiction, arguedthat she Reformation. the Thus to modification dating faces depicted, was aniconographic panel with the Baptism that the expressly suggested Christ of the doll-like Cr Maria centuries, ofprevious representations theiconography and towards of Transylvania Reformation attitude to the related herconsiderations opinions own andon be “moderated”. ofshould critique Krasser’s that its however removal after thought but retable!) the of panels other the on present also was repaint same the that (note thepanel on could beobserved repaint acertain that admitted retable, the andrestored cleaned in a panel master, Reformation. repainted the perhaps different the first tosuggest, based on this peculiarity that thislast panel might have been the work of a Krasserwas Christ. lifeof early the takenfrom events thematically continues scene Thus, the with the ends circle the that fact in the lies here irregularity either her last prayer, or her Death, or finally the scene of life, Virgin’s endof tothe the theinrelated arepresentation regularly end series Assumptionsequence. Such or Coronation. The in normal, well-known the appear life Virgin from of the taken the scenes special. The iconographic fortroubles researchersdealing topic. program the with of isnot The retable the “ first words in otherbook,the lifted by teacher sittingthe on leftthe side could be identified: the be Only desciphered. not theinscription could restof 1483,butunfortunately the date the it. on written altarpiece of the date HIC INCEPIT LIBRO Maria Cr Maria Richter 1992, 69. Krasser 1976b, 204. Placing the dating of an altar by the depiction of an open book is not usual. However, another example of ú er, Sövénység) – dated by the inscription to 1522 – contains the same motif. The very last panel on the retable’s feast-day side has caused certain interpretative hascausedcertain side feast-day retable’s laston panel The very the ă ciun: “Iconoclasm and Theology in Reformation Transylvania: The Iconography of the Polyptych of the Iconography The Transylvania: Reformation in Theology and “Iconoclasm ciun: Archiv für Reformationsgeschichte ...” 204 The text on the right side-page of the book begins with begins book the of side-page right the on text The 61 . 95(2004); 61- 97. 207 Baptism of Chist of Baptism 205 However, a series of other TheRichter-couple, having 206 Based on these . (Fig. III.31) ă ciun has ciun CEU eTD Collection predella. In spite of the fact that the gesture of the hands is modified, the bookholding hands bookholding is the modified, hands of the thegesture factthat the of predella. Inspite Behaim the on Hieronymus the to well very correspond wrist, the at buttoned sleeve tight the depiction of leftin the arm the wrinkles, its with characteristic face-type father, the Church the of representation the to approch general the Birthälm, from full-figure the to contrast Siebenbürger. München, Pinakothek, Alte the in predella Behaim so-called the on wing-panels the of one to reference makes Hieronymus sometimes hard,inner side rather wings.Thethick, tradition onthe of the H-formed representedbythepaintings folds are veryrestoration. carefullystrongly supported by the drawnphotosis showing and panels the the of condition state actual theyin the were invisible previousis also this to the retable; withthe of paintings level highest a sure hand.before 1970s.The the representations of Churchthe areundoubtedlyFathers among the The figure-type(Figs. III.33-34) ofbrought tolightin from Richterworkshop the underneath anineteenth century repaint. workshop. Both stationary wings with the representations of the four Church-Fathers, were 211 image of the panel used as an illustration in this thesis. 210 209 Baptism of Christ, represented on the last panel inBirthälm. be considered as belonging to the preaching period of Christ’s life can already - a period which that will continue one with first the the practically is event this temple, the in old Jesus 12-year of the scene the with ends Virgin - and the infancy-gospel of Thomas, relating Christ’s childhood.Although Pseudo-Matthew’s Gospel 208 “ preaching. withPseudo-Matthew, and story the childhood Christ’s of beginningsthe ofhis earthly iconographic program which continues narratives from Virgin’sthe life likethe Gospel of of the retable, the of part panels of canthus beconsideredone Baptism original the composition was the Thus, movements Reformation. during the iconoclast by practice awell-known out, clearly put been had angel the of those also and John not Christ, of eyes The producedinterventions. iconoclast or replacedIII.32) in these years. above the theory. contradicts also in Richter-workshop, the wasrestored when the panel The representation of the Werktagseite Suckale 2004, 367. München, Alte Pinakothek, WAF 721. I have to thank colleagues from the Alte Pinakothek Richter 1992, 74. forsending me an The wide spread apocraphyl gospel combines the story told in the Gospel of Jacob – referring to the life of the The image in question represents the pre-restoration stage of the panel, with of clear panel,with stage the pre-restoration the represents Theimageinquestion General stylistic features like features stylistic General the of the draperies folds continue obviously the The panels that the congregation could see on closed stage of the retable, the so-called the of retable, the stage closed couldseeon congregation the that The panels 208 211 ”, nevertheless belongs to the same stylistic circle and clearly to the same the to clearly and circle stylistic same the to belongs nevertheless ”, Thus, these panels remained unknown researchersto dealing with the retable (Figs. III.35-36) 210 Although Frankishthe a panel half-figureinrepresents which Robert Suckale thinks wasan early work of Hans 62 (Fig. 209 CEU eTD Collection drapery than the etching. The hard folds of the alba breaking above the invisible belt, the way the alba adheres to adheres alba waythe the belt, invisible the above breaking alba the of folds hard The etching. the than drapery ofits interms figure Transylvanian our to similarities closer even presents Roller, by analysed Nurenberg, der Spätgotik 216 215 214 213 212 in the figure of St. Michael. period, simply set one next tothe other. Thus, one can see the influence of Master E.S.’s print stamps of the the modelsfollow or Schotten-workshop’s collection of depicted seem again to compositions. Thefigures coherent,especially not Thepanels deliberate applications. are III. 39-42) toSiebenbürgerattributed and hisworkshop. Martyrdom of St. Ursula in the collections beseen. clearly can tiara of Gregory’s fine decoration thecleaningafter of previous panelsthe tothe but carriedrepaint by the out very restorers, the of taken On photos Schottenmaster. of the environment for the feature characteristic another the Österreichischefine for jewellery detailsand general be andis can predilection delicate clearly observed The Annunciation. the of scene the with connection in above shown was as Schottenmaster, of withHieronymus, theirfine fingers, wasagain a motif belovedquite in circlethe of the Galerie Belvedere, figure in both in cases. figure both feet, linkthe lying is primarilyclear, in thestrong torsion of lowerthe body definesthat the done. more carefully finer, of the composition, of its details - unusually for the work’a day-side of altarpieces - is much individual more seen insideof head-types on pattern-like the than the wings; the execution the much fathersare Church four of the faces the that stated beit generally can still However, itis fineunfortunately longerexactly such details canno that beobserved. that so restoration, the during however, over, painted were clasp the and tiara the Both ornamentwas originally used for painting the of mantlethe claspof inGregory Birthälm. of Siebenbürger, a collaborator to Catherine,St. attributed enprisoned the visiting Christ representing panel the on both observed be can decoration same saints. woman three depicting Lvov, from apanel of background the in parapet-wall on the in decoration the be can observed motif Avery similar circle. this stylistic tiara,offine, the interwovensurrounding composed leaves, areacommongothic in pattern On the spread of this upper-Rhenan Saint Michael figure-type see: Stefan Roller: Stefan see: figure-type Michael Saint upper-Rhenan of this spread Onthe L 152, Not depicted by Bartsch. Dated to 1480. Suckale 2004,Fig. 6. Suckale 2004, Fig. 12. Dated to 1465-1470. The place the panel is presently kept Referred isto by unknown.Suckale 2004,Fig. 16. The outer side of the movable wings comprises four panels with rows of saints. . (Berlin: Deutscher Kunstverlag, 1999.), 123-129. The Saint Michael figure in the They are all set in They front with are all of set golden star- ornamented a bluebackground 216 The figures on the Birthälm wings are simply listed although acertain although listed simply are wings Birthälm the on figures The 215 In spite of small changes and the inversion in the motion of the 63 214 A very very Ahighlysimilar type refined of 213 (Fig. III.37) and on the representation of the Nürnberger Bildhauerkunst 212 The ornament-lines The Crowns with the with Crowns Lorenzkirche (Fig. III. 38) (Figs. in CEU eTD Collection Assumptionby angels. No unambiguos explanation of the problem canbe suggested at the moment. with her identification asMaria Magdalena, taken, as her positionsuggests, from an etching which presented misinterpretationher of the (perhaps abbreviated) word: MAGDALENA. The big head of hair oncentury thesaint agrees a sixteenth with dealing we are that be imagined can it retable of the construction century which also means nothing. Taking MALANT into MARIA S. consideration as be read could that the inscriptions inscription the in areletters contemporary The misread. been with clearly the sixteenth have MALAVIT MARIA as: literature previous in transcribed and read words, The problem. this with help not does cases not previously discernable. The inscription on the frame of the panel which identifies the saints in the rest of the 218 the 217 for source common a suggest representations. two the portion this above leg the on folds hard forms material the and saint of the knee the them, especially the faces discussed here. faces discussed them,the especially in and manner completed seriouslypanelsa overpainted were of aspects that some altered madeworkshop in shows Kronstadtthe Afterus surprising differences. being the cleaned, restoration the after before and panels of these aphoto juxtaposing because documentation photo- older of basis the on circumspection much with made be only should comparisons quite similar to that of St.so-called panel, the last Barbara onthe theVirgin of face-type The predella. on the same Franconian this figure St. Catherine’s on to linked inparticular predella.hairare clearly of arrangement the However, such stylistic painterknown of the Behaim-predella. the face-types, above-mentioned the and to The the wings. Figures like those these is follows panels Josephclearly samethe figure-type unquestionable. of theinside as of on St. Barbara, of affiliation stylistic The St.image. next the Dorothy on place first in the front facing or standing Virgin St. Margaret the towards looking and panel follow her on saints the of rest the modelstowards back her turning alsopanel, similar but less panel.successful Thus, the attempt,unity him, his lookingplaceon andson, standing firstthe next wife the turned towards towards of of the when Holy BarbaraFamily samepanel, the on depicted histhe threesaints backon panel turns firstside right the of the was is to depictedsome extent on Joseph of beobserved. The figure linkscan make between them to attempt compositional as indicated. the last figure on the third follows the fairly wide-spread practice in the period to present a row of the most venerated themost of a row present to period inthe practice wide-spread fairly the follows side panelsfrom The outer Birthälm the “work’adayside” the of wings. program of the four these on loworiginality a degreeof fact displayed painter the that the to pointdepicted the compositions, draperies the offiguresrepresented, types speaking,the Virgin. Generally the of cloak the on be seen can lines such where Schotten-retable the of panel Visitation Dorothy,Margaret, Barbara,Joseph Elisabeth’sor mantle-edges, amotif also found on the line in of undulating bethe seen ascan usedpatterns of repeatedly seem cloaks comprised The ears of wheat are observable on the robe of the Virgin on photos taken after the restoration. They were This representation of the Virgin as Apocalyptic woman belongs at the same time to the less common type of type common less the to time same the at belongs woman Apocalyptic as Virgin of the representation This Dexiokratousa The composition of the dresses and mantles is not very diversified. The folds of the : the Virgin: the holding Childthe on herright arm. (Figs. III.43-46). 64 Ährenkleidmadonna, 217 It appears as a 218 is CEU eTD Collection 219 because this analysis is case be This epecially the omitted. not to ought retable history the of painting wasinfluenced by leading Schotten-workshop’s an the master, outline of overall the of Schottenworkshop.the master of Birthälm the mustpanels received have in hiseducation environment theimmediate The direction. same in the point all general in compositions the of concept the and jewellery fine for dresses, frequent –the of faces, his occurance elegance brocade golden of predilection character of thoroughlythe andfinely sketched folds, the fur-collars wrinkles orthe on the but technicalbeautiful, also the likeoval, doll-like times face-types, the details – oft’ style, the colleagues general andapprentices.by His explainedworkshop of collaboration the be also can details these panels. However, of anumber on be observed can and perspective in anatomy andmistakes,perfect uncertainties isnot His drawing clichés. more aslearned models athis disposal at afair level, artistic butwith a certain lack of originality, using them the followed milieu. He same the artistic from abody motifs using painted of master the doimages that notdirectly from derive corresponding panels of Schottenretablethe showthat mostinfluential retables of the age, - the panels theof Schotten-altarpiece. Even those Birtälm surviving shows work he that didmore than and admire copy one most of the significantand His collection. motif pattern and of Schotten-workshop’s the amount serious a of possession in was panels Birthälm the of master the that suggest links compositional and stylistic These images. the of in creation the modelsemployed above andthe links enumerated stylistic concrete the of help the with be specified can retable Viennese the of painter the and retable Schottenmaster. the of followers of the was one altarpiece of the master the that Krasser of Harald statement the on her arm, and the group of the three women also called Mary depicted behind Anne. tendency is also very probably being emphasised in the representation of St. Anne, with Mary was not seen that altar the of side onthis even of retable the dedication the hadconsidered painter the that during the great feasts for the Virgin but during ordinary times. The same Apocalytic woman with the child on her arm “ asthe her once childon and the arm woman with Apocalytic the saints. liketheas However,Virgin,of representation double oddities small once Krasser 1971, 1973, 1976a, 1976b In spite of the factAn Excursus that the aim of this chapter is to present the way Transylvanian The main in direction analysisthe of this retable has been undoubtedly determined by 219 The nature of the relationship between the master of of Transylvanian Thethe master between the of relationshipnature the 65 Ährenkleidmadonna ” indicate CEU eTD Collection 223 Birthälm in thecatalogue.Certain examples canfrom be found that thoughUpper in Hungary. resembling motif single one is not there analogies, their and altarpieces Gothic late on Suabian etc. 1996). In the chapter summarizing engravedthe or pastiglia foliage-patterns onbackgrounds of shrines, panels Schwaben. Bogeschdorf and the Radeln altarpieces can be dated to the first quarter of the sixteenth century. 222 sixteenth of the quarter first the to be dated can altarpieces Radeln andthe Bogeschdorf More simple, but withsimilar foliage and twined columns decorate the shrine on the Radeln-retable.originally supported this decoration. Both Also, gable-ornament the the from Birthälm may be linked to the same retable. 221 (Leipzig: Lepiziger Universitätsverlag GMBH, 2006),109-126. Lambrecht eds., Lambrecht Keren Bahlcke, Joachim Pfarrkirchen”, siebenbürgisch-sächsischer Retabelausstattungen vorreformatorischer Bekenntniswert zum ”Überlegungen Wetter, Evelin lately: most see rearrangement, this in Reformation the 220 large, fairly regular square surface was left undecorated, obviously because it was covered by because it was covered obviously leftundecorated, fairly squaresurface was large,regular ornament only thatamorewas indeed vine-foliage here.The placed complex suggests representation covers a narrow ata certainlook thebackground-gilding butathorough extent, to expectations iconographic band on eachfulfilled the have of Virginthe also would statue simple Naturally, a iconography. side of the shrine-background,the Assumption or the Coronation of the Virgin would have conformed to the rest of the actual have that century Krasserandother– sixteenth – shrine, suggested already researchers while quitedimensions – based on the width of the panels.As for the original sculpturala decoration of the century, the century retables. Transylvanian original, sixteenth of baldachin-motifs panel-closing in the parallels exact fairly their find foliage fifteenththis centuryTransylvania notand is awidely motif used typeofbackground generally. central hason shrine-background in nothe parallel The though gilded engraved, vine-pattern part of the fineof foliage enclosing the shrine has close parallels in sixteenth century Transylvania. retable must motif the andespecially columns twined flanking the including of character shrine-façade the have had the date. 1510s analogies thelatter 1480s or Transylvania from suggest same itis Although rearranged. hardto decideits in from details whetherthey produced the were else newlymadeor completely possibly itself was likely shrine reused. The panels were Only the work. from earlier the wasadopted that part central complete the not probably most was earlier.It years thirty above painted discussed panels reused the whole which obviously a as construction the for date asaperfect be accepted can gable-tryptich the inscription on unique. Athorough examinationleads of conclusion retable this tothe the1515 that on their afterlife. should additional raise alsorelatedquestions topanels datedto1483and may shed newlight Quite similar forms can be observed on the panels of the altarpiece from Schweischer. from altarpiece ofthe panels the on be observed can forms similar Quite See: Hans Westhoff-Heribert Meurer eds., Meurer Westhoff-Heribert Hans See: probably most columns similar where retable, Bogeschdorf the on that to similar very is foliage The For versions and dates regarding the sixteenth century form of the altarpiece suggesting a prominent role of role aprominent suggesting altarpiece the of form century sixteenth the regarding dates and versions For The structure of the Birthälm retable is completely uniform but, at the same time, same the at but, uniform completely is retable Birthälm the of structure The Exhib. Cat. Württembergisches Landesmuseum Stuttgart, (Ulm: Süddeutsche Verlags-Gesellschaft, Süddeutsche (Ulm: Stuttgart, Landesmuseum Württembergisches Cat. Exhib. Konfessionelle Pluralität als Herausforderung 220 223 Even if the shrine was indeed Even if shrine was sixteenth the altered in the Graviert, Gemalt, Gepresst. Spätgotische Retabelverziwrungen in 66 . Winfried Eberhart zum 65.Geburtstag (Fig. III. 47) 222 The forms of . The 221 CEU eTD Collection 227 Renaissance capitals in as well, written dated to, by its inscriptionreferred often very to 1545.) (A repainting, Hermannstadt-retable. ofthe panel central on the act very 226 225 will help in this matter. identified here. Unfortunately, the inscription cannot be made out today. Perhaps a future restorational-analysis 224 the same workshop because their structure was clearly composed to fit the rest of tofit was retable. restof the the clearly composed same becausetheirthe structure workshop seemed disturbing. (Fig. III. 48) arealsocarved, sculptures the backsides of because the composition individual Crucifixion an of part been have might originally which group, The Reformation. the during extent certain a changedto and century then in thesixteenth restructured wascompletely retable the after centuries the throughout preserved been have would they that all at likely not also is it hand, original fifteenth tothe retable. belonged they makeitcentury that probable not do dimensions their panels, century fifteenth the with contemporary them making century fifteenth the of quarter last the to dated be probably most can they Although sculptures. on these proveniencethe retableof nor the in shrine was of Crucifixion the placed group the date the on information no is unfortunately There extent. a certain to be discerned can still endthe workshopof beginningin although 1970s- the of 1980s the the Kronstadt letters the vitamaeternam sedhabeat qui creditineumnonpereat from John 3,16:” andidentifiable basis of taken words The textwasabible desciphered the on quotation, the as incan beseenillustration inKronstadt, 1973. published of Krasser’sarticle Harald an in restoration the until visible probably was that Inscription capitals. in Renaissance written with an inscription overpainted surface was chalk-covered the that been haveoccasion this on mustmost shrine the after probably composition the Reformation.during It - removed was disturbed wasclearly surface rectangular white undecorated, The corners. inthe consoles by late-gothic vaultingby shrine,the supported of scene wooden determined small the was probably figurethe of Virginthe filling verticalthe axis. placed, large, centrally unusually The sun-like highrelief-composition. aquite case) of the depth (based on the plausible makes it was in of shrine original Birthälm the that decoration background the halo the suggests by observable, presencelarge the Thus, outlined a of chalk-foundation. the rectangularsurface that sculptural the With the of contours decoration. sculpture a single figurethe would be the composition was also a central one, with – most The sculptures, showing the influence of the Multscher circle, would deserve a separate study. separate a deserve would circle, Multscher of the influence the showing sculptures, The The use of painting over parts of a retable with Bible-quotations during the Reformation Krasser 1973, 110.fig. 102. can be caught in the The outerband of the halo shows remains of letters indicating that the saint whom the halo belonged to was The predella andthegable tryptich haveseem to been at produced same the in time, was possibly set up in its actual place later when the emptyness of the shrine sic enim mundum dilexitDeus utFiliumsuumunigenitum daret utomnis 67 224 ” 226 The space available for the relief- The surface was gilded-over at gilded-over was Thesurface 227 On the other the On 225 CEU eTD Collection to who commissioned the retable: 229 sunt” unum rigat, Chor.1, 3:7-8.:”itaque qui plantatestneque aliquid nequequised rigat quiincrementumdat. Quiplantat,et qui III. 51) general stengthening vision Faith.of based is The Ezechiel of depicted on Ez 44,1-4. in the Virgin the of role the emphasizing century, twelfth-thirteenth the from represented and the emperor saw the Virgin with the child onher arm above the altar. The scene was often 228 Tiburtinethe Sibyl. when the Roman senators wanted to venerate the emperor as God, he was reluctant the to and called According well-known. fairly is vision Caesar’s the of representation linked vision Ezechielare The of totheMarianic of program retable. Prophet the the Octavian’s vision Oldand the of prechristian, paganrepresentation the Testament Emperor Redemption. leading to earthly andarrangingChrist’s preparing way in role his symbolizes tree the planting Baptist the John of figure the Similarly, Redemption. Virgin watering andfeeding and vinealludes herrole in the to contributor asmediator figureKindred.Saviour Christ’s bereferringthe inan the Besides, –could way oblique of to close relative of Christ -and of the apostles, alarge number whom of were also related to the text. the endthe of curiosity is by represented Virgin in theBaptist is the and and to referred beginningthe and with apostlesthe onits branches has inparallels late medieval iconography.Christian The stem asagrape-vine depicted cross motif the the of very represented: isconcretely John 15,5 inscription,of ( the inpart The central the allegory. VIRGINIS PARTUS The inscription panel on the ( while Mary pours water from a jar and John the Baptist hacks around the stem of the cross. bunches of grapes. of bunches Crucifixion with a living representedcross, in form of a vinestem with vivid greenleaves and anallegoric The central paneldepicts from of view. point importance this which areof features those emphasize I will Here, altarpiece. the on found details century fifteenth of the infit with the thatprimarily framework of chapter this deals with and connections history the not does analysis Theirelsewhere. study inspecial a explanation detailed moreand a deserve predella andthegable’s side panels. The of gablearethe representations enigmatic especially The baldachin-imitating follow golden panelsmodelclosing the patterns both the thesame on The way his presence is emphasized here in parallel with the figure of the Godmother may provide a hint as The parallel mentionof thewords The castle standing ona hill in with background the itsiron-hooped gate large, (Fig. III.49) 228 1515 – JOHANNES PLANTAT) is meant explain to the central elements (Fig. III.50) The common presence of the Holy Mother and John the Baptist – a Plebanus Johannes MARIA RIGAT – EGO SUM VITIS, VOS PALMITES ANNO The apostles are shown standing on the branches of the tree the of branches the on standing shown are apostles The rigat coming She the of prophesized a newking.The sky opened and plantat . 68 unavoidably remembers one of the verse taken from taken verse the of one remembers unavoidably Ego sum vitis, vos palmites Ego sumvitis, 229 Both flanking images, flanking Both Ara-coeli ) taken from ) taken legend, (Fig. CEU eTD Collection 1980s, show a repaint of 1980s, show arepaintmostof certain panels the that probably tothisat points dates sixteenth Inaddition,imitated. takenbefore photographs andduring restoration the retablethe of inthe scene. Engagement century fifteenth the of be infollows drapery background can red-blue-white seen that the predella, model the the of related is that to apattern closely robe, of Bartholomew’s Apostle pattern observed. golden-black The the dressFine details can be this be intention impression,seems to widespread. quite pointing to of the Tiburtinecomposition in inclusion whichthe fragmentsgive earlier the doesnotof avisually odd butensured by alsoin content its the formal anew create A details. ambition to general Sibyl or that of Mariapredella. Jacobi and Zebedeus on the received them by way ofVienna. by way them received master Birthälm the though even painters, two the for motifs these for source common a be considered can that Vol 11, 162, Richter1992, Stange 115) (see panels is unfortunately ofthe on one beseen once could no longer that detectable. Norinbergensis” pictor However, “Jonas the signature signature The suggestsaltarpieces. a locality tearing out pages from the bookteachers –was certain showing earlier temple mentionedthe in old Jesus year in thistwelve ofthe chapter scene The as them. a between common link motif concrete betweenthe two second the is this that is noteworthy it retables, two the between be traced can relationship stylistic concrete so-called Marienburg retable, parts of which may be found in theBlack Church inKronstadt today.Although no 231 230 commissioner – in the person of Reformation. Thevery identified, program well unified a supposes highly educated of the signs premonitory the Redemption,reflect probably leading to earthly passage this newprogram, concentrating relatives of on and Christ forthe on preparation his the by its suggested order earlierthe years of The ideasmeanings cycle. thirty the of theme the theologically clearly defined andsupported concept which could alsoexplain andincludein III. 52-54) Kindred. Christ’s emphasizing above presented intention the into well very fits persons, depicted the identifying inscriptions with altarpiece the of panels the all over distributed Evangelist’s vision on Pathmos. John the St. of the usual the depictions a certain extent to resemble cameto composition the samethe time and at thus point this emphasizes clouds, the above herarm, occurring child on prefiguration of prefiguration from of Birth Christ’s Virgin.the testament old an is immaculacy, Virgin’s the of a Symbol as interpreted traditionally obviously represents the closed gatefrom the Vision of the prophet. The closed gate, which is Avery similar,engraved painted not pattern was used asa background motif on theEngagement panel of the LCI Vol.3. 424. The motif is part of the Lauretan Litany. LCI Vol.3, 27-31. Additional analysis will emphasize that the unity of the altarpiece was not only not was altarpiece the of unity the that emphasize will analysis Additional Family large Holy the of representation its with of predella the iconography The The complete sixteenth century iconographic program, reflects adetermined, reflects program, iconographic century sixteenth complete The Plebanus Iohannes 69 231 The pattern has clearly been intentionally been clearly has pattern The 230 The half-figure of Virginthe holding the , whose heraldic shield is depicted on the on is depicted shield heraldic whose , (Figs. CEU eTD Collection built chancel of builtchancel Birthälm of the restore church,the and fifteenth century reuse detailsto inorder newly for the enough large a retable, produce to commission received the altarpiece century combination of theseextent orwhether its reuse was a simpletwo material economy. The explanationreasons. probably lies in a It such an to wasesteemed retable high the by quality justified factthat the is was if the reuse in any case obvious of decide course to ispossible It not appreciated. was still it shows that later, years than thirty that the mastermore no in an altarpiece reused it,from were details least significant at or of earlier retable, the thethat fact The sixteenthintention. with and now repeatedly word the use I “restored”. –were ones fainter the perhaps – draperies certain only that impression the give photos The panels. the of surface likely. very seems comtemporaneity their that predella-panels the of depictions above. Michael, which clearly presents the same changeant-characteristics as the draperies described unifying and corrective repaint. The feature is perhaps most striking on the robe of St. old Jesus. year of Twelve the in representation on the air book liftingthe the teacher the sleeves of the on the robe of the high-priest on the Presentation in the Temple anditis clearly observable on same feature can be observed on the wide sleeves of the old king in the scene of the Adoration “ Virgin was foldsover painted with thatunavoidably the viewerremind so-called of the stage of the other panels: the kerchief the child iscovered within the scene of the Birth of the 56) mantle. the of rest the on drawn those from different very so folds the detail, atthis Zacharias wasoverpainted time. is This shownbyof surface shiny-shadowy this the lining“colored”lining tosomeAlso, was after whitethe the cleaning, darkshade. of Meeting at the Golden mostthe striking of repaintedthe is details theveryfirst perhaps panel representing the Gate. St. Anne’s– one mightwere draperies perhapsmostly mantle, details, certain only sayundertaken, not was – panels restored. earlier the of whichoverpaint No faces proved or other importantto bewhite photos whitepartsthat can help us inwere this matter. changed.Thewith documentation shows thata completeOnelight of considered alien to fifteenththe century paintings. Thusitis only preservedthe black-and- red becausewas restoration the during removed was completely repaint The century period. changierende Farben changierende Similar types of drapery representations can been seen on other photos photos Similarother of on canbeenseen ofpre-restored the types drapery representations (Fig. III. 59) The sixteenth century repaint, as already mentioned, did not affect the complete the affect not did mentioned, already as repaint, century sixteenth The (Fig. III. 58) The nature andThe nature quality repaint-foldsthe of drapery the aresosimilar to ” so widely” so of used in sixteenththe painting century. The panels on the outer side of the wings have also not escaped this escaped not also have wings the of side outer the on panels The 70 (Fig. III.57) (Figs. III. 55- The CEU eTD Collection a work of Birthälmthe master.Radocsay 1955, 183. 235 234 retable. the to later years nine added been Salzer 1881, 84. ) It is not very probable that the predella or at least the central panel(”1524 erhält ein Malerof 4fl. Wenigerthe25 predellaDr. und für altar-piece. dieAbholung would ofthe des Bildes panel derHl. Annahave predella zahlt man the 1fl.” to refer might Anne, Saint representing painting of a Birthälm to transport quoted)assumtion that 1524the entry Birthälmin the accounts-book saying that 1florin was paid forthe 233 (1987): 119-121. középkori Magyarországon.” (The first traces of restoration inMedievalHungary). placed back to its place in the cathedral of Gyulafehérvár. See: Entz Géza, ”A resturálás els ”A resturálás Géza, Entz See: ofGyulafehérvár. cathedral inthe place its to back placed Transylvania sent a ” 232 them newthem in altarpiece. the only the central panel and perhaps the lunette from can from to this lunette be attributed Schaasthat andperhaps the only central the panel Birthälm. Thus, he from predella the with similarities indeed display does Family, Holy the representing introduces the namementioned byRoth as belonging to this groupalthough central the panel from Schaas “Master of the Holy from retables the restof the different was completely panels of style Bogeschdorf the the Families”, specifying annecessarilynot workshop. indicates joiner, identical a complete that it is only foliage the of similarity the that very notingcorrectly matter, the explained Krasser Harald of of Birthälm-group a so-called Later, same andhespoke altars. the workshop, in allhave could that beencreated suggested altarpieces Based three connection Roth on this andBogeschdorf. from Schaas onthe retables corresponding details in wereproduced crowning as of the panels the superstructure the workshop same the must retable havethe been there. carried century of production retable.the sixteenth the of occasion the on inscriptions these with identified be could saints of row inscriptionssuperstructure’s sides and outer the of fifteenth century showthe that the wings, the usedonthepredella-panels, letters of type identity of the The retables. inscriptions onthe is retable. completed by the emphasized the The sameunifyingquality to tendency the panels where necessary and at the same time give the impression of uniform style and already by Victor Roth by already Victor out pointed been has It consideration. into be taken to need view of points certain However, forbe needs? their definitely present cannot question own stage of The decided at research. it transformed and community another from it buy they did or chancel, earlier the ornament it Did church. Birthälm the of posession the in was retable century fifteenth the whether Krasser 1976b, 211. Based on the opinion of Victor Roth, Radocsay also considered Roth1916, 99. the retable from Schaas much since (ever Krasser’s contradicts retable century sixteenth the of unity the that believe I We do know about a commission for restoration of a panel or a retable in 1464, when Nicolaus, bishop of bishop Nicolaus, when 1464, in a retable or panel of a restoration for commission a about know do We The work was obviously carried out in a workshop. Thus, the fifteenth century parts of thabula 234 ” to Hermannstadt to be restored or transformed (” or transformed be to restored Hermannstadt ” to that the foliageopenwork finialsvimpergues with flanking andand 232 The interventions were minimal. They clearly aimed to restore to aimed clearly They minimal. were interventions The 233 The matter unavoidably raises the question of question the raises unavoidably matter The 71 reformare 235 Ars Hungarica Ars He also mentioned that mentioned also He (Figs. III.60-61-62) ”) and afterwards Ę nyomai a nyomai 15, no.2, 15, CEU eTD Collection Renaissance retable could have been bought from a neighbouring community – perhaps from Schässburg – Schässburg from perhaps – during the 18th century.community Further research into the 18 neighbouring a from bought been have could retable Renaissance the while Ages, Middle Late the during Schaas in church of the chancel the decorated that altarpiece ofthe part 236 commissioned. town possibility fifteenth the from that century Birthälm inretable boughtwas alsoperhaps the of Schässburg around the year 1515, when the rest of the altarpiece was the Schottenaltar. the 238 chapter. Mediasch the to ofview point of Birthälm belonged from community the and the administrativepredella, ofthe side other on the point the are ofrepresented that view fact ofarms coats the whose to to the seat Johannes, refers ofpriest only Mediaschparish and probably It from the ecclesasticalsupposition. this to contradiction in not is ofMediasch, arms of coat 237 Lutheran Churchwill hopefully provide new informationon this matter. in innear-by aworkshop Schässburg. Birthälm, painted panels, with shrine-work repaints, and joiner’s other wascarriedwork out town. makesitSchässburg, likely in quite they produced that were both a inthislatter workshop of neighbourhood in immediate inthevillagecenturies thelastkept over Schaas, of been had they factthat the However, were assembled. they exacttime the about nor pieces belongedbutretableknow separatealtars. two Weanything to donot the origin about these of Birthälm the to connections display both panel central the and work foliage the Thus, piece. foliage flankingaltarpiece. both of Probably structures were also the central panel this part The largeis Gothic predellathis is smaller retable huge on placed remains what Gothic of a decorated a smallerpredella and is lunette the independentan altarpiece in itself which very probably originally but, based oncomposed its extremely isin supposedly form from its actual retable Schaas, The level. is atamuch higher artistic highof artisticfragments Schaaspanel the glance that first isobvious at italthough also each level, other, to similar are very a quite from importantfolds the used depicted, The faces Schaas. Family from Holy the panel with clear similarities two space. separateorder to bring in altarpieces.us shortly is clarifying above worth presented matter the but of Schaasretable, andthe those closeraltar Birthälm the of parts century sixteenth to the regarding theanalysis stylistic a deep historyinto enter of theThe altarpiece. from originallybelong notdetails that did together. central The paintings –composed Birthälm from like one just the time – later from as a was retable the master, panel, of the predellawith itsshow small Based on an analogous situationfrom Gross-Schenk, it mightbe supposed that the large Gothic predella was As we will later see, the town of Schässburg was also not free of the influence of the Viennese workshop of of the part ofahand, representation a the with altar, ofthe predella onthe shield heraldic of a presence The 236 To cut it short, the idea obviously occurs that the sixteenth century from thecentury retable that sixteenth theideait obviouslycut short, occurs To 238 Is it possible that a local master was commissioned to make the necessary make the to wascommissioned master a local that Isitpossible 237 Consequently, it is not possible to exclude the exclude to possible not is it Consequently, th century documents kept today in the Archives of the 72 (Fig. III. 60) This is not the place to CEU eTD Collection number of number of inhabitantstheir and number the of students the they sent toforeign universities, all competed for priority in the and wasgiven localitiessimilar in1477Mediasch privilege.a very The continuously two in war fortification todefendfrom from to theirorder own danger going Turkish on-going the Asright. already mentioned,in 1468one third of inhabitants the of Birthälm were excused therightwas holdingandgranted into market aweekly Mediasch receivedthe 1424 same has been incontinuously literature to referred dealing with their history. In 1418, Birthälm date from years. date these fortification the to belonging Catholic-tower so-called the in paintings wall the that way same duringobviously carried out half the second fifteenth the of century thearound churchin the war, in order to stay at home andMathias freed a of third inhabitants the of Birthälm from obligationthe defend of ina participating their fortified church. from when King 1468, dates fortified, already church factwas the the that to reference important towns of the two most between two the The rivalry be dated. can retable from the panels century fifteenth building. the of character the on standing church dedicated to the Virgin Mary. Virgin the to dedicated church standing 241 240 altars in Birthälm Schaasand – as already pointed outby Roth.Victor (Roth1916, 99) from Bogeschdorf. The carpenterwork on the Bogeschdorf altar was produced in theJohannes same Reichmut.workshop (Jenei as 2004,the 269, Machat 2002, 99) Johannes Reichmut was also the master of the stallssupposed been tohave commissioned, according to the modern literature, in the Schässburg workshop of following informationshould be mentioned: the stalls standing in the Birthälm sanctuary, dated to 1523, are also 239 was mentionedfrom comes 1373. written document which refers to the existencecentury, but there is no concrete informationof a on parishthe building which stood in itschurch place. The first in Birthälm whenwas its priest completed. The history architectural Birthälm of and from its church 1483when period around the retable the present church was mostly erected in the first quarter of the sixteenth 243 century. fourteenth-fifteenth inthe place this at stood that church of the character and whichwere built into the wall of the church above the main entrance, can provide minor hints as to the 242 Entz 1996, 235. Birthälm ofitsthe of newchurch? and large chancel-space the those place: commissioner the of demands theological the both match to order in completions and changes 244 “ ” In addition tothe suggestion that the sixteenth century retable was produced ina Schässburg workshop, the Ub. Vol. 5, 357; Salzer 1881, 30; Fabini. 2002, Only details, such as the two keystones which most probably were part of the vaulting of the earlier church Jenei 2004. Ecclesia parochialis in Byrthelm … in honorem…virginis Mariae fundata et constructa Nicolao Petri de Birchalin….parochialis ecclesia de Birchalin There is no final answer to the question. There are very few data on the history history and few onthe data very are question. There the final answer to no There is 244 However, nothingis period knownaboutthe elsetowhich these sedes sedes, , the so-called “zwei Stühle”, that is, Birthälm and Mediasch, 242 240 for residenceofjudge,thethe the The first mentioning of “Kirchenburg”,thusthe – a Later, in 1402, a letter of indulgence clearly refers to a indulgence to of clearly refers in1402,aletter Later, 62. 73 241 However, there is absolutely no information no absolutely is there However, ” Ub. Vol 2,415, Entz 1996, 235. 243 Certain commissions were commissions Certain 239 iudex regius ” Ub. Vol. 3, 274, . The CEU eTD Collection doorof the sacristy – together with the same date of 1515 – as on the retable. finire per industriam iacobi cementarii civis cibiani curavit fongebatur munere quem tandem eiusdem nepos magister lucas subsecutus eandem ex sua legatione testamentali ” 248 enlargment of the church. (Salzer1881, 91) He was followedby Johannes, commissioner not only of the sixteenth century retable but the comprehensiveartium 1468, Martinus Schezer de Megies was astudent at Universitythe of Vienna becoming in 1472 Series Prima. Tomus Quintus. Tomus Prima. Series 247 Studenten”. “Birthälmer Nussbächer, (Gernot ofPadua. University Law at the and of Arts Doctor became Guttermann of priest parish Birthälm,Guttermann, to be summoned frontin of bishopthe Christian without his pope’s) allow (the to consent. not (Tonk 1979,1475 221). In in 1476, of Kertz provost the and Kolozsmonostor from place in 1461. (Tonk 1979, 221) He seems to beenhave quite an important person, as the pope ordered the abbot 246 Vereins für Siebenbürgische Landeskunde 245 figures in written the documents as priestof Birthälm in 1493. centuries. fifteenth-sixteenth the during shoulder to shoulder developed they that show well the ideas reflected in the earlier panels of in retable. earlierthe panelsof ideasthe reflected well the matchedso above,that presented program iconographic of complex the creator probably the Schezer priest asparish Martinus here of Birthälm,Johannes was until 1520. very acting year to Thison. initiative successor the happenedthen around Johannes, 1515atthe of much later not necessary became a newaltar of As production the aresult parish church. the of rebuilding the preceding period in the them of by either one commissioned retablethe was that be excluded not thus can It Vienna. in studying were both and Mediasch from – shows Birthälm the for church) commissioned was retable century fifteenth the that inwhich story the of version boththe of them were – as the date of succession.the Itmay be from of interest point our of view, (and this wouldform support their names exact the to existsreferring weredata nobut Gutterman, Christian of successor was the Schezer mentioned in also in was priest parish 1475 Megies de Guttermann Christian A certain date. that at Birthälm of community in the priest the of person the on even information sure is no There church. old its for altarpiece an order decorate thenew to retable chancel,in wascommissioned Birthälm only while 1483could modern the and church, parish new its erected already had Mediasch of town the that been differenceimportanthave environment – that of Schottenmaster’s. One Viennese the would samestylistic tothe belonging with paintings in period, same the altarpiece spectacular a both that commissioned communities beconsideredapartof thiscould competition well Erecta est hec edis sacra ac instituta impendiis venerabilis dni baccalaurii iohanis qui tum parochiani hic Through the inscription on the triumphal arch of church, the we know that Iohannes was baccalaureus:a ” Gutterman was astudent atthe University of Vienna in 1457 andbecame Rudolf Theil, ”Zur Geschichte der „2Stühle” in der zweitenHälfte des fünfzehnten Jahrhunderts.” Mayster Marianus plebanus de Virthalmen and in 1476 Neuer Weg magister artium , 26 April, 1983: 4 ) 246 Liber Confraternitatis Sancti Spiritus de Urbe , while the next priest that is known is Martinus Schezer, who first inthis place. (Tonk 1979, 285).He was parish priest in Birthälm until 1502. . 1873 (11): 61-97. ” ( Monumenta Vaticana Historiam Regni Hungariae Illustrantia 74 .” His coat of arms can also be found on the wooden 248 . Budapest: Franklin, 1889, 12) In baccalaureus artium 247 Itcanbe that supposed baccalaureaus at the same Archiv des 245 It . CEU eTD Collection Drotleff,1883), 22, 27. 250 mistake made by the chronicler.a clearly is Holy Virgin to the church of the dedication the to reference The 1872). Steinhausen, (Hermannstadt: Kirche 251 Wladislaus II. und Ludwig II”, Vereins für Siebenbürgische Landeskunde the dependency between of neither nature the of Schottenmaster, the thestylistic circle to belongs altarpiece Mediasch the two altarpieces and painted in it or has imported that the Although Transylvania. become acommonplace thus the two masters isretable known, nor is has necessary the analysis athorough of andthe it produced was commissioned underwhich circumstances to provide the closer to get to order In been commissioned. had high altar the its and end approached a plausible answer the question of whether the panels were 249 place of first deacons. inan the enumeration generalis as times ” several wasmentioned It role Saxondeacons. the among important fairly a its played deacon showthat sources provostship. written The Hermannstadt the of instead Chapter Gyulafehérvár diocesethe of the Asitbelonged such to Mediasch chapter. of the and center point the focal an ecclesiastical also but of communities, eighteen agroup together was not only the center of the administrative region, the region, administrative the of center the only not was time. this at here life ecclesiastical and cultural economic, commercial, active the second half of the fifteenth century, but we also know of other data mirroring the on-going in Mediasch of situation the flourishing economic indicate that reconstruction of large works years in Birthälm,general inlarge placephenomenon Saxonlocalities. Asimilarin undertaking took these in Schässburg,a final beconsidered of almost during second the half, fifteenth can the century decades but also in a seriesithad been surely The comissioned. or reconstruction enlargement of earlierthe church parish of rich surrounding in in this winged already stood (1488) the very point case or probably church, retable the any villages. It is the MediaschRetable The eighteenth century eighteenth inin century the chronicleabout parish church hisTransylvanian Mediasch. anno1488,utchronologicaenotaeinnuunt XV, perfectum See: Rudolf Theil, “Zur Geschichte der „2 Stühle” in der zweiten Hälfte des 15. Jahrhunderts”. 15. des Hälfte zweiten der in „2 Stühle” der Geschichte “Zur Theil, Rudolf See: Johann Michael Salzer, Georgius Soterus, Georgius . Festgabe der Mediascher Kommune zur Erinnerung diean im Jahre 1872 in Mediasch tagenden Vereine. It is in these last decades of the century that the reconstruction of the parish church has church parish the of reconstruction the that century the of decades last in these is It ” Templum Mediensium seculo majus in honoremsanctaeMariaevirginis aedificatum ” and evenin” and when the period notion this not yethewas used, figured in the very Historia Transsilvaniae Zur ältesten Geschichte des Mediascher Kapitels Archiv des Vereins für Siebenbürgische Landeskunde 1873 (11): 61-97 and Carl Werner, “Geschichte der zwei unter Stühle , Manuscript.1095, referred toby Karl Werner, 251 75 sedes ” wrote Georg Soterius” wrote inthe . (Hermannstadt: Druck vonJosef Mediasch, which brought which Mediasch, 1874 (12): 270-311. Die Mediascher 250 Archiv des Mediasch Decanus 249 At CEU eTD Collection the background. the in event asecondary as represented was Crucifixion the where scene Christ” ”Resting the and background the 257 256 partly from Schongauer and partly from a pattern-collection connected to the Schotten- to the connected from a pattern-collection partly and Schongauer from partly individual was the representation composition. Thus, motifs several compiled from taken into backgroundthe Crucifixion episode. pushed of another the of scene main the representing of method innovative Mackenem’s to adhere to dare not obviously did Thepainter elements. of different was composed Meckenem’s cycle,Passion – scene referredtoabove that–missing in form the individualof an from representation Passion Larger vanMeckenem’s of Israhel compositions literature, in earlier out pointed been has already It one. can be considered when examining the relationship of the Mediasch retable with the Viennese side wings the here.Thus, of outer the only had Magi stood Birth Adoration the the of and the Visitation, the Annunciation, the Life: Virgin’s the of scenes four the that suggest would inner iconography most coveredthe once of that wings. The sidesof wide-spreadthe kind reliefs the of themes the on information extant no absolutely is There altarpiece. the of part this theChurchhad Fathers decorated or of those evangelists the figures, perhaps standing identity. their on information no is there although shrine central in the standing figures individual carved three there were shrine-background the on traces the Based on destroyed. completely consideration, since it created a connection to the Schottenretable and its circle. and a to theSchottenretable connection itcreated since consideration, into Crucifixion the representing panel particular the took only topic the with dealt have who Mediasch.” feet. her 255 at dragon the with martyr the was one left-side orthe central the perhaps figures, 254 the stylistic direction has beencorrectly identified. has been attributed to the masterof Wohlgemut, Hans Pleydenwurff. However, this does not change the fact that 253 252 having been used asmodel for corresponding the Mediasch panel. scene Crucifixion Hoferof Altar’s the hespoke when correctly panelsquite of the direction Mediasch. from scene of background Crucifixion the inthe vedute of the identification the after stylistic been circle, thenoted Viennawasfirst link studied.Birthälm, The of retable with from same the altarpiece largeTransylvanian other tothe altarpiece of this relationship Meckenem used this method both for the ”Washing of the feet” scene, where the Last Supper was shifted to shifted was Supper Last the where scene, feet” of the ”Washing the for both method this used Meckenem Bartsch 10-21; Lehrs 142-153. Dietmar Priebitsch, „Der Mediascher Meister, ein Epigone. Über die Vorlagemuster des Passionsaltars von Passionsaltars des Vorlagemuster die Über Epigone. ein Meister, Mediascher „Der Priebitsch, Dietmar ofthe one that be supposed can it Margaret, Saint to dedicated was church the that consideration into Taken Rothstill writes that the HoferAltar was a work of Michael Wohlgemut although in the meantime Streitfeld 1930, 52-53. the piece The decoration of the generally more sumptuous ” more sumptuous generally the of The decoration 254 Südostdeutsche Vierteljahresblätter 252 (Fig. III.63) However, as already mentioned, Victor Roth also identified the stylistic Similarly, the imprints on the predella-shrine suggest that four that suggest onthepredella-shrine imprints Similarly,the , 18 (1979) no.2: 116-121. 76 255 256 Festtagseite that seven of the scenes follow the follow scenes the of seven that . It is precisely in the Crucifixion the in is precisely It . 257 He needed this scene as an 253 However, all the authors ” of the retable has been retable ” of the CEU eTD Collection central panel of the Sankt Florian altarpiece, although in a completely different form. different in completely a although altarpiece, Florian Sankt the of central panel it(although on occurs panels).other it However,can be observed in of background the the here. weavinghis endsof loin-cloth folds and its hadbeencopiedfrom the graphic-leaf discussed legs itsparallely arranged knees with each into bent,twisted is Evenother characteristic. the general position of figure,histhe with head and upperbody in turned direction one and his 260 Wien zu den ”Wien-Ansichten” auf Tafelbildern des15. Jahrhunderts.” Neues und Bekanntes Mittelalters. des Ende am Wien Stadt der Antlitz ”Das Opll, Ferdinand See: arrangement. depiction far is from being topographically correct - it only presents presumably buildingsViennese in arandom have identified various Viennese researchers several constructions Although on this representation, Schottenmaster-followers. the itof category has the also into beenpointed master outaltarpiece’s that the Mediasch 259 258 Crucifiction mentioned already Schongauer’s a redmantle and herleft lifting hercheek hand to is versionspresent on several of B17. from leaf adopted image areall the edge of Martin Schongauer. Mary Magdalen, kneeling the Virgin and the woman clad inblue onthe from by be deducedetchings again can of Evangelist by group John the women accompanied is Crucifixions unquestionable. Schongauer’s influence the of one of that fact the in spite of circle, sameartistic the to body of refer the character and overall the shoulder,right hishairfalling on this shoulder, hishands with fingersthe convulsively closed his his headbentonto of Saviour, figure the The Schottenretable. the of corresponding detail thumb, left aremosthand the hisswordand, linked grasping closely general posture tothe the workshop of Schottenmaster. workshop the the beneath his arm. The panel indeed shows the closest connection of all is shown simply standing behind wide the theVirgin thewithout spread gestureof holding her Mediasch panels to copied. The hisposition of upwards looking head is completely different andin Mediasch he robe his of folds the clothing, his Although work. recall in Schongauer’s or Schottenpanel the on either the Johannes-figure from the Schottenretable, the Evangelist was clearly not Altar. Hofer metioned of already the of the Schottenaltar as well as on the centralgestures panel of of the theseTryptich two from persons Sankt Florian fromare orrepresented thethat circle of inthe a verySchottenmaster, similar Theenvironment. most striking detail, unquestionably recalling Crucifixion representations way on isthe theCrucifixion couple comprising panel Pilate and the centurion. The Bartsch .011 S1, S2, C6, C13. As already mentioned, the identificationof the vedute with Vienna has contributed to the inclusion of the B .011 S1, S2, C6, C13 . 55(1999): 101-145. 258 The vedute-motif is not present on the Crucifixion scene of of Schottenretable the scene on Crucifixion the present is not Thevedute-motif (Figs. III. 64-65) 77 260 . The figure of figure. Theappear Johannes doesnot of (Fig. III. 67) Jahrbuch des Vereins für Geschichte der Stadt The gestures The gestures of thepointing Pilate, The woman weeping, wearing (Fig. III.66) 259 The The CEU eTD Collection side figure was used here. The scene of the of The scene here. figurewasused side from a pattern back- that shows his feetobviously of position The Flagellation. panel of the was this back-figurePilate used as frontally of for Pilate’s on represented the a model person, stay by isthat model beingapprentice whoneededto tothe close suggested fact the employed again. this itselfmotif retable. environment unmistakably Thetothe of points Schottenmaster the mantle isscenes. for of Pilate Themotif his brocade reserved golden-black on the on person of most the his mate whoaccompany and of figures Pilate above-mentioned the resemble to in order changed are slightly event the witnessing theimage of leftcorner lower the borrowings from other works. thorns The and of High the Priests. one asPilate identified be can and retable assisting at thepersons The two master. of Mediasch the in circle the will recur model that a floor-tiles, flagellation the model of simplified somewhat is the work Meckenem’s to compared areminor alteration a permanent motifeven invented byMeckenem,from but known derived Netherlandish works him.Another to since they wasnot feature panels.This Mediasch on the present are consistently of narration, the course recur in several depictingbackground events, happenings inpreceeding theepisode foreground in the the scenes of the the even from in and Meckenem, scenewastaken the thegeneral architecture well as a version borrowed from from borrowed etching. Schongauer’s a version of image mirror isa a sceptre to alluding staff a simple over handing by him mocking Christ, differences relative to the etching, all details taken from sources. from other taken all details etching, tothe relative differences Gross, Hans Pleydenwurff – Hofer Retabel, Dreikönigretabel etc. Dreikönigretabel Retabel, –Hofer Pleydenwurff Hans Gross, number of retables from the circle in point: Bamberg – Klarenretable, Michael1995. Wolgemut Called – inEpitaph hercatalogue of Anna ”Muster2”, listed there as present in painted form and as a Pressbrokat on a unquestionably borrowed from from unquestionably borrowed by an etching Schongauer. figure of summonerthe dressed allin liftingred, his whip with his righthand was background hasalsobeen chenged. The scene ofthe of in corner the theleft-hand little town-representation head-dresses. The several of types in specialjoy depicting appearshe took that It painter. of the style based onthepersonal III. 68-69) 263 262 261 Meckenem. The scene of scene The Meckenem. See the pattern in: Daniela Gräfin von Pfeil, B 13. B 12. 263 reflects the same tendency with the etching followed precisely, with only minor The rest of The rest of cyclethe is inspiredclosely by previouslythe mentioned by series That the hand producing the image was still unpracticed, perhaps that of of an that perhaps unpracticed, image still was the Thatthehandproducing It is only the face-types and the clothing of certain figures that has figures beenchanged that of clothing andthe It is certain face-types only the the Betrayal (Figs. III. 74-75) Der Pleydenwurff-Wolgemut Kreis very very closely follows correspondingthe etching. 78 Ecce Homo Ecce 262 The figure of the man kneeling in front of front in kneeling man the of figure The (Fig Flagellation . III. 73) 261 again displays only the smallest the only displays again (Fig. III. 72) The two persons standingin again displays only small only displays again . Dissertation TU Berlin, (Figs. III. 70-71) The remainder as Crowning with (Figs. The CEU eTD Collection Cross Bearing the CrossBearing the well as a 266 eye. naked the with 265 Belvedere,Vienna. in (Depicted in Baum 1971, fig. 126.) representation of the Martyrdom of Saint Ursula from Lilienfeld, today held in the Österreichische Galerie 264 deviations from from etching. deviations original the be found on several panels and several scenes in Passion-cycles fashionable invery of Schotten-circle. thethe “cloak-room” from the one used on the graphic print, is different – clearly panel on head-dresses the most striking of the One thespecial head-dresses. tall white fur cap, a piece of clothing outstanding. his again that The painter for predilection demonstrated depicting several of types was the infrared-photographs. the on seen be easily can as painting the during changed was motif the Meckenem-model, the to legs image. of underdrawing, both the on Although had been soldier conceived according the knee of the Saviour Christ’sinstead of thewaist elegant, andbesides the etchingis almost series.preparing The soldier pullsaffected with his right hand Meckenem’son endto of thestep ropehit tied around observablethe prints.suffering in seen costumes the than century, fifteenth decades of the last the of tradition Viennese to the onHis Meckenem’s gestures Christ reflectwith its pattern,with brocade golden on indecipherable inscription edge, was an again more similar it. the Hispainter’s left foot was knowledgeseriously modified on the panel. His stepsdress, especially the short over-coat decorated with a ofon otherthe soldier important pulling hairChrist’s andholding on etching the his the barof crosswith handthe right The composition. the of corner sourcesright-hand lower the in mainly found be can Differencies theMeckenem-etching. copies of ”word-by-word” are previous panels ” of the scene panels. The other than the much higher in quality theirin drawing their depiction details,the of the paintingfaces of the Schottenworkshop. shown heris husband. her She to relating dream wasrepresented wife, woman,Pilate’s probably in a costumein inleads the background alsothoughts direction our the samethis of The environment. woman-figure The altar. Viennese the on panel corresponding the from known motif a also is wellfingers that can be observed in the crowd, symbolizes the knowncry of the people: ”Crucify him!”. It in panel paintings from the stylistic circle of the The first version of the gesture, with the leg of the soldier still on the ground can actually also be observed be also actually can ground the on still soldier of the leg the with gesture, of the version first The the on as well as Schottenretable ofthe scene Homo Ecce the on be observed can head-dresses Similar On a and of the The following three panels from the lower panel-row of the retable are obviously of a Flagellation Flagellation ofIS from Master(Depicted Karlsruhe 1516. in 2001,222) Fig. Ascene of the Flagellation scene of Master the from Hersbruck (around 1490), depicted inStange Vol 9,Fig. 206, as of the Katzheimerworkshop (Stange Vol. 9,Fig. 216), and a laterbook illustrationof the 265 , from the Lendenstreich workshop and kept in the Castle of Landsberg are ofLandsberg Castle the in kept and workshop Lendenstreich the , from (Fig. III. 80) (Figs. III.76-77) (Figs. The of gesture on treading Christ suffering the can Bearing theCross Bearing 79 However, these differences are quite differences these However, 264 ” follows and just as with the with as just and follows ” 266 The gesture of the crossed ofthe gesture The . However, the origin of the (Figs. III.78-79) (Figs. Bearing theBearing CEU eTD Collection the stylistic environment of the Schotten-workshop. the of environment stylistic the known from the previous panels as Pilate and the High Priest, are alsofaces well-known from buildings. Thevividly couplegesticulating in on leftthe discussion edge of panel,already the Viennese againresembling of elements modified, composed wasconsiderably architecture terrain for crucifixion the is being prepared has been taken inover background.the The the where Golgatha the of front in case in this represented women, three the and Virgin the John, of group inthe Only importance. of image increases the Thus, the devotional character scenehad panel morespace. foreground the aseparate retable, on the crucifixion receives proportions were modified. incomposition by thefollows foreground etching eventthe of the Israhel although the Staatsgemäldesammlungen, Inv.Nr. 42/242 Bayerische inthe a panel representation, ofthe edge left the on standing mates, her and Ursula 270 B 66(149). by Meckenem) version a reverse in copied (also etching Schongauer’s on ofVeronica position the resembles closely more panel Transylvanian onthe depicted figure The way. 269 268 Staatliche Graphische Sammlung, 2006. Exh. Cat. Munich, Pinakothek der Moderne), 221. Reproduced Achim in: Riether ed., 267 Christ being trod in theFlagellation-scene. of (Stange gesture Vol. same 9,Figs.the 280-281) we encounter and leaves Meckenem corresponding the to close quite also compositionally “ etching.the of Marys andthegroup three from the John,architecture arein Virgin copied and the essence observed. hands the completes her,Mediasch panel. the head Behind of be a third woman can also inter inaround Virgines,dated Virgo workingDelft. 1495,of to Master the panel Cross the of aBearing on found be can it case, any In Netherlandish. isprobably motif also modified on the panel. Next to the nursing woman, Veronica with the with Veronica woman, nursing the to Next panel. the on modified also in Thepair is bucket. behind Meckenem’sstanding cross the image women of represented asmall holds he hand left his in while shoulder, right his over hand right his with it pulls corner has suffered another small modification. Instead of holding the rope in his left hand, he in of Theback-figure period. the popular influencedpainters Netherlandish the among the the Mediasch master of the work Israhel. as conception sameNetherlandish influencedby the have been seems to haveis to considered series, Meckenem scenein corresponding the to the incomposition very close had knowledge of another source, probably one rather Andachtsbild Pilate’s face is indeed very similar to the face of the figure witnessing a scene from the martyrdom of Saint martyrdom the from scene a witnessing figure ofthe face the to similar very indeed is face Pilate’s Veronica is present on Schongauer’s representation of the scene (B 16 (126)) but in acompletely different Munich 2006, 221. Master Virgo inter Virgines – The Bearing of the Cross – Barnard Castle, Bowes Museum. Inv. No. 168. With the representation of the 269 (Fig. III. 81) ”, a typical devotional image was intorduced into the narrative. The narrative. into the was intorduced image devotional ”, atypical The rest of the image, the background scenery, the details of the Israhel van Meckenem. Kupferstiche - Der Münchener Bestand (Figs. III. 82-83) (Fig. III.87.), Man of SorrowsMan of Resting 80 even if the relation does not seem to be that close as close bethat to seem not does relation the if even Because the background scene of the 270 (Fig. III. 87) on the retable, an Vera Icon 267 The panel, . (Munich: 268 inher Thus, CEU eTD Collection uninfluenced by any of the fashionable etchings of by fashionable period,uninfluenced of the the backsidethe of any of etchings retable the havebeen master by seem to and works individual the unquestionably figures are compared to those89, 91) on the three panels beseen. still restoration the can were redrawn during that only blackcontours the that of faded very so are thehowever, donor, other the of highestmantle the on Those overpainted. been quality on have but clearly contours original their thestill retain of priest the evaluate. Those to very easy retable.not also are mantles their of folds The predella. the of Whileform the of because likely most drawn, the two in figuresshort book as as open Thelegsofboth the his handemphasizes. aresomewhat 272 271 altarpiece from Mediasch. Suckale 2004, 379. Robert Suckale has suggested. He counted with the identity of the master of the panel from Munich and of the the same master who was responsible for the remainder of altarpiece. the remainderof for the responsible who was samemaster the of works been have not could they that opinion his as gave representations, the of discussion have been omitted workshop, in the revealed during the only Kronstadtpaintings of the restoration predella the from the analysesarchitecture again displays changes although these are of ofvery little importance on the panel.most in be becausethey distance the are sotiny. canhardly distinguished researchers. The background composition, while the background scenes, the figure of ChristinIt Limbo and the three women is onlychanged with mainmotifthe in representation the occupying alarger surface of the Folberth theforeground and was Schongauer’s Theetching. relationshipbetween background again who, in his knew about master Mediasch fact the to the that lid point clearly sarcophagus’ the of character 86) haspainter made again use by etchingof corresponding aswell.the Schongauer way. servile Resurrection closes thecycle.Atfirst composition the sight follows a againin etching the preserved. better is somewhat man,person, ecclesiastical an hand. left-side a sure,practiced The their preservation to a certain extent. However, itis still clear that both figures were drawn by effected quality the of cleaning wellas procedure, and the were overpainted as this, patrons the same workshop but were the works of the main master himself. In spite of the fact that the observation paintingsthe of it likely very seems in notonly that figureswere both produced Folberth 1973, 92. B 20 (127) The figure of The figure ductusandthe of Christ, his the folds of mantle, loin the well cloth the as as Both faces indicate that a highly skilled painter was at work here. These faces canbe here.Thesefaces work wasat painter a highly skilled Both that faces indicate Because they have been in this overpainted state for centuries probably, and were and probably, centuries for state overpainted this in been have they Because After the already discussed representation of the Crucifixion, the scene of the of scene the Crucifixion, the of representation discussed already After the (Fig. III. 88, 90) (Fig. III.88, (Fig. III.84-85) His red However, a more thorough look at the panel shows that the birretum indicates that he was a learned man, a 81 272 After careful After 271 magister (Fig. III. (Fig. (Fig. III. (Fig. , CEU eTD Collection closest circle of the latter as patterns for the complete Passion cycle. Passion complete forthe patterns as latter ofthe circle closest 469-472. – according to Koreny, Meckenem used patterns that were also applied by Baegert, models from the des Israhels van Meckenem, ex. Cat. Frankfurt am Main. Das Städel 2001.” Westfalen. Ex. Cat. Schmallenberg, Museum in Kloster Grafschaft, 2000 aus and Martin Sonnabend. KupfersticheMittelalters späten des Kupferstiche van Meckenem: Israhel PLassman: of Otmar Recension Meckenem. 279 Mündel, 1905), 6. 278 Stadtarchiv Bocholt, 1979), 110. Passionszyklus in der Graphik Israhel van Meckenems und Martin Schongauers Schnack. Jutta See: collections. several in today held still are series complete Fifteen 1934. Kunst, Kupferstichs im XV. Jahrhundert 277 276 was his main interest. He was able to earn of forprints first whom production havebeen the the in recent research to most the considered a good living from this activity as well. 275 274 Grossprobstdorf. from retable ofthe side back on the beseen also may leaf-ornament same The be mentioned. may examples of other number contemporary of the Schottenmastera Wohlgemut, ofMichael and workshop alsothe in once produced were perhaps ofwhich panels histhe colleagueof Zwickau, retable inthe the example workshop of Pleydenwurff. But a on the back side of altars with this kind of ornament is also characteristic of the late fifteenth century. See for was series print the that fact mentioned previously the consideration into Taking surprise. Meckenem’s graphicsbeing on Transylvanianreproduced panels,itcome not should asa panels. In spite of the factof cycle,toaround1480, the a obviously represents that – as far as is knownPassion cycle can be considered one of atthe most important present creations of this master. The dating – this is patterns. byseveral Netherlandish influenced Schongauer and the only example of to be a work largely master bythe work individual be a completely to considered inspired by thethe cycle of around forty slightlyto fifty surviving copies. earlier series. succesful most commercially of one Meckenem’s (around 1475)called tothe endcycle, LargePassion dated around1480,seems of have 1470sor the been to Passion cycle of Martin pictoribus in summo precio 273 period butalsoperiod well in Meckenem’sknown andSchongauer’s complemented with whiteyellow and light fruits flowers and are widespreadmotifs in this leafabove. in gothic typically late whirling, The avivid dense, decoration green color, by exactly fashion van very Meckenem the popularized andsame largely Israhel discussed – very much knowledge again of patterns themaster’s at decorative contemporary shows Christoph Metzger: „Multiplikation des Ruhmes.” Munich 2006, 43 and also: Fritz Koreny: van “Israhel Max Geisberg: Max Lehrs. Max Munich 2006, 211. Achim Riether. ”Israhel van Meckenem. Kupferstecher zu Bocholt.” In: Munich In: Bocholt.” zu Kupferstecher Meckenem. van ”Israhel Riether. Achim Quoted by Christoph Metzger: ”Multiplikationdes Ruhmes.” In: Munich See: B 113 (154), B114 (165) forSChonaguer or B 205 (282), B206 (282) forMeckenem. “ Icones Israhelis Alemaniper habenturqueuniversam Europeamdesiderantur Icones a Geschichte und kritischer Katalog des deutschen, niederländischen und französischen Verzeichnis der Kupferstiche Israhels van Meckenem ”, wrote Jacob Wimpheling”, wrote inhis 1505 chronicle. Vol. 9. Israhel van Meckenem, Vienna: Gesellschaft für vervielfältigende für Gesellschaft Vienna: Meckenem, van Israhel 9. Vol. 82 277 terminus post quem 276 The cycle of 12 prints was once Max Lehrs knows for each leaf of leaf each for knows Lehrs Max . (Strassbourg: J.H. Ed. Heitz und 278 oeuvre Print Quarterly but today it is mainly thought mainly is it today but 2006, 38. 279 . (Aschendorff Münster: . (Aschendorff At the same time, the . 273 2006, 21. (Fig. III. 92) for the Mediasch 18(2001) no. 4: 274 The decoration The Meckenem is Der 275 The so- CEU eTD Collection coat-of-arms on the left side of of side predella the left on the coat-of-arms is preserved the theresearcher given handhold success. Thesingle led havenot to persons revealed in the 1970sas workshop-production. by the of also,“autograph” beidentified panels work while mainmaster remainderthe can of the the Kronstadt on donator-portraits predellathe werevery two the Meckenem etchings.probably The the complementing details individual most the restorers,contain also scenes three same These himself. master leading of the work werethe they that doubt islittle there panelsthat the rest of several attempts to identify these two two men – an ecclesiastic and a secular person were represented. Usual donator 280 Cross the with panels three the of quality the mentioned, As already work. his style, alsoutilizing everything else he had learned. He was obviously helpedin byapprentices whileof has Schottenwerkstatt, the theMediaschmaster developed hisownmore individual remained apupil latter The painter. as Birthälm such extentthe to Viennese predecessor the from dependent not is master Mediasch the of style The Schottencircle. the of treasury style- models in a ratherindividual style thatborrowed substantially from form,the pattern and known of a compilation series, etching an of adoption out a well-thought with here concerned commonplace way – faces does a in relationshipgrotesque Thus,what the andtermed expressions. almost the replaced painting Viennese contemporary of circle the to related characteristics stylistic featuresfigures. ofHowever,finely manneredpositions and twisted, drawn Meckenem’s alongthe This with wasadopted painters. in from a way depicted Netherlandish learned clearly in scenes thebackground, with secondary A project, perception. perspectivic clear space- a complex into placed narrative-spirit great the painter: theMediasch of desires the asmuch it behindMeckenem’simagessuited took from heconcept needed.The general as and aswell master Colmar the series of Passion complete the knew Heclearly Schongauer. from directly borrowed small details them with and complemented compositons these of some have revised to seems master Mediasch the However, by Schongauer. compositions easily have purchased them. inflencedin strongly Meckenem was his of creation could in Vienna time spent clearly had - panels Mediasch the of painter the – like who master Europe widespread throughout From Germany, through Italy to See:Spain. Schnack 1979. , the , It is these two portaits that can provide us with further information. Since they were Man of Sorrows resting Schottennachfolge 280 and sold, probably bound together into little volumes, a volumes, little into together bound probably sold, and and the – cover in the case of the Mediasch retable? We are retable? Mediasch the in caseof the – cover (Fig. III. 93) (Fig. Crucifixion 83 scenes differs so markedly from the from markedly so differs scenes and the fact that the two donators, two the that fact the and Bearing of the CEU eTD Collection wherefind in we him registered 1460. eldest son, Ladislaus, was already a clerkiudex ( Anna, famousmarried The onlybeginning of atthe century was sixteenth the the to daughter, them. to referring documents later in and King the of donations above-mentioned in the to seven in in inauguratingprobably he also acharter the astheking’s 1472 when figured delegate in court 1466, David. two that he would have it rebuilt. on condition of town, the the in the interests servicesperformed numerous for the Thabiassy 1470, the town council of Mediasch offered the ruined house of Johannes Bwdner to Georgius King gavethem house in a stone-built– againHermannstadt for a as reward their In services. of includingnumber thefunction and posessions of king, for the servicesfor a the done rewards eldesthisheSeptember two and and sons 1467, – aseriesTobias – Ladislaus received of of itis amonthof that after striking the only uprising, on 22 ruler.the the Inany case have King1454. In uprisingontheside Matthias,the heseemsto stayed the of 1467 against Saxon-regions in Georgius period. this Thabiassywas mentioned since inthedocuments important role, not only in the life of the town and the 281 ( Hetzeldorf referring to Mediasch, the name of the Thabiassy family,“ Thabiassy Mediasch,the name of the to referring founder, but the representation of two men is not very usual. representations either depict a family, a man with his wife and perhaps children, or a single 288 287 286 285 284 market-square, in the neighbourhood of parishthe church. See: Entz1996, 183. source, that the house is identical with the so-called Schuller-house that still stands today on the cornerof 283 the 282 MagyarOrszágos Levéltár. I.246. 34738 and of the 34860. posession the in microfilm on of charters collection the and 1870) Steinhausen, Theodor (Hermannstadt: See: Rudolf Theil– Carl Werner, Carl Theil– Rudolf See: Theil 1901, 441. Tonk 1979, 274. Tonk 1979, 274. Ub Vol. 6., 267. No. 3504. Theil 1901, 439; 440. Theil 1901, 441; Entz 1996, 384. Entz also 437. supposes, based the on(1901) 30 topographical description Archiv given inthe Erbgrafen“ Hetzeldorfer “Die Rudolf, Theil iudex regius sedes – of Hermannstadt, Johannes Lulay. From our point of view itis more important that the sedes 284 Among the names mentioned by charters from the second half of the fifteenth century fifteenth the of half second the from charters by mentioned names the Among Not much is known of Stefan and David, but the two eldest sons were often referred and Hermannstadt in newposessions. certain andHermannstadt $Ġ Mediasch and Schelk, hadMediasch and fivechildren: Schelk, Stefan, Ladislaus, Tobias, Anna and 285 el, Ecel el, of the after having obtained a degree ofMaster of Arts at the University of Vienna, ), recurs quite), recurs often. sedes of Schenk of 283 Urkundenbuch zur Geschichte des Mediascher Kapitels bis zur Reformation. Georgius, alreadymentioned in 1466 as for the period of for theperiod of lives.their 286 notarius He still possessedfunction in this 1470, 281 84 The family is known for having played an ) of the royal chancery at King Matthias’s sedes 288 of of Mediasch, but alsoin the other Not much have he later Not seems to Erbgraf ”s from neighbouring the 282 InOctober1467,the judex regius 287 of the nd and of CEU eTD Collection great role in the construction works of the town in these years and therefore alsothe therefore yearsand of townin the works these rolein great construction the most important person in person Mediasch. important most infirst during 1460s.In1474he the of the a charter was still King,apparently the as greeted Ub.Vol 7,23, nr.4012. Georgio Thabyasy de Etczel ac iuratis senioribus duarum sedium Saxonicalum Saxonibus salutem et gratiam 294 nostrae Muszna exhibuerunt nobis et presentaverunt… circumspectorum judicis et juratorum ceterorumque civium etinhabitorum universorum oppidi meggyes et villae Thabyasy de Eczel acJacobus Gereb deMusna et laurentius Aurifaber de Meggyes in ipsorum ac prudentum et ” Thabiassy: of Ladislaus function Matthias…Memoriaethe commendamus tenore praesentium fideles regards nostri egregiusas ladislaus, flilius Georgy unambiguous not unfortunately is point this at to referring is he charter the However, waren.” Persönlichkeiten tonangebenden die Zeit dieser zu Jakob Graf Meschener 74: ”…der Königsrichterder„2 Stühle” Ladislaus Thobiaschi, der BürtgervonMediasch war, und der 293 Ladislaus was delegated to solve by kingthe in 1477. Meschen am 26. August 1912, Meschen.” Gemeinde der Gegenwart und Vergangenheit “Aus Römer, Carl Mediasch. and Meschen between divided Furkeschdorf move to Meschen, and in 1474 King Matthias decides thatthe territory of Furkeschdorf should be 292 Hungary before Mohács) (Budapest: Akadémiai Kiadó, 1971), 234, 235, 236 and also Tonk 1979, 274. unquestioned. The father, Georgius, was Theunquestioned. Georgius, father, Thabiassy family in thelifeMediasch of in halfsecondthe fifteenth of the centuryis of his with position fits perfectly crown, known about him.Additionally, the coat-of-arms representing a writing hand growing out of a 291 290 289 ecclesiestical person with a magister’s person ecclesiestical an of Therepresentation be with Ladislaus Thabiassy. might identified Mediasch predella consideration, it is worth to raise the possibility that the donator on the left side of thewhowas supposed have to 1477. diedaround hisfather, of death the before shortly or occasion the on Transsylvania, perhaps to returned Mediasch at this time. atthis Mediasch “ of the a delegate as mentioned hewas when in Mediasch, persons from King. of influence the family’s sphere privileges for Mediasch, Hetzeldorf, Agnetheln and aseries Saxon localitiesof within the of Ladislaus Thobiassy de Etzel. He had clearly obtained a number of exemptions and According Rudolf to he possessedTheil function the of Furkeschdorf. of of possession the arrangeproblem acertain to in court the order in Gyulafehérvár. provost became later ” Rudolf Theil, “ZurGeschichte der„2 Stühle” in der zweiten Hälfte des 15. Jahrhunderts”, Theil 1901, 441. The problem of Furkeschdorf went on for years. In 1470, the last inhabitants of Bónis György, Bónis Ub.Vol6., 267. nr.3504-3506.; Vol. 7,124. nr.4164. Theil 1901, 433; 441. Matthias deigratia rexHungariae, Bohemiae et cetera fidelibus nostris nobilibus et prudentibus viris Altough indubitable is proof still missing, taking the intoabove data listed Festgabe zur Erinnerung an die feierliche Einweihung der neuerbauten evangelischen Schule in A jogtudó értelmiség aMohács el 293 (Mediasch: Reissenberger, 1912), 11-12. It is probably still this same matter that 294 It is more than probable that he must have played a 291 birretum iudex regius In1477, important Ladislaus wasoneof most the Ę 290 notarius tti Magyarországon ” See Theil 1873, 93. 85 289 In these years he also became parish priest and priest parish Intheseyearshealsobecame on his head very well suits the information A series of other charters mention the name at the royal chancery. The role of the of the two iudex regius . (The law-aware intelligensia in intelligensia law-aware (The . sedes zwei Stühle and was also a citizen of , reelected several times Archiv ” travelling to . 11 (1873): Nos ”. 292 CEU eTD Collection are spaking about). spaking are vaulting of the chancel and of the nave dating from the last decades of the centurythe same – (thus time exactlyat a sacristy1440), the(after periodwas century attached, ofthe we middle the and at thebuilt southern was chancel larger aislenew, the of 1970’s) the the in church done was excavations finished.the He considers the Culturii Centrul istoric fifteenth century. See also: Alexandru Avram, Alexandru also: See century. fifteenth (Budapest: Akadémiai Kiadó, 1987), 693. – considering the present chancel a work of the second half of the 295 rebuilding and vaulting works on Margaret inrebuildingvaulting on St. churchthe period.and this occurred works that power inpower period.1486-1487, the this In etchings. must The stillhave important sons,Ladislaus and Tobias, Thabiassy possessed aproof.constituted wouldhave –that –unfortunately destroyed only this coat-of-arms the supposition, although personsupport depicted the thedress of and ageand church.Theold the on theconstructions gesture of respect and remembrance oneto who playedsuch a great role in thelife ofthe town his son of a on – as order the there represented Thabiassy, could hisfather,Georgius be commission. Thus, there is also a possibilityhe put only had to crown the on work the sponsored by his fatherandputthealtarpiece into that thethat donatorimagined be easily can it onthus years, the in these right end an to came side probably of church-chancel the the predella support continued and finish try to to begunin the works father. the time ofhis The work on Georgius. of death the with end an to come not did Mediasch in Ladislaus family Thabiassy the of influence remained one of the most important citizens in the town. He probably protested against their occupying the role against of the their occupying protested Vienna. date with theViennain years 1460s.Havingspentafterwards attheroyalhe the was probably court, up-to- cultural and forcommission this fits work, nicely thealso with information Ladislausthat studied in artistic trendspainter, afollower of mostthe famous master of regionthe in was period that given the and fashions aViennese-trained factthat The altarpiece. luxurious quality buthigh or largeparticularly not of thehis make him still importance for permitted wealth and a probably the necessary to donation period evenyears. in However, inMediasch these by Ladislaus played is role on 1467. Littlethe known after he hadsedes left For the architectural histrory of the church see: Ern church the of histrory architectural the For ) without having) without beenelected,based on privilegethe given them by Kingto in Matthias ú The retable was painted after 1480 and– as pointed out above, based on the Meckenem i cultelor– Muzeul Na . (Topography of Transylvanian monuments. Medias. The Historic center) (Sibiu: Ministerul Ġ ional Brukenthal: 2006), 21- 25. According to his information (based mainly on Topografia monumentelor din Transilvania. Municipiul Media Ę iudex 86 Marosi ed., Marosi iudex of Thomas Altenberger, of Hermannstadt, in the Schenk in the Magyarországi M sedes Ħ vészet1300-1470 körül (one of the seven the of (one 295 The ú . . CEU eTD Collection provostship, its properties donated tothe town of Hermannstadt. provostshipof Hermannstadtthe until King dissolving after 1424, when Sigismund, the Mediasch, it belonged neither to the to neither belonged it Mediasch, martyrs.) thousand Sebastian martyrs, while the with combined Crucifixion of the a representation the right side with from of interesting more left iconographicview. The point the decorated side panel was wing was ornamented with a depiction of the Claudius and anunidentifiable saint preserved panels the figures of figures the preserved panels two other of the back sides whileon the Visitation the side of back the on are depicted surviving panelshave ofsaintspairs painted onthem. sides – back sidespreserved). –outer Annunciation the three the of not isor The panel 298 representations. Thus, the identifications are adopted from V of the exposition the in Brukenthal museum.Neitherpositioning did Iever get photographic their and documentation from the museum concerning these ofpreservation state their of because panels Adoration and 297 296 Annunciation the Virgin: the of life the from scenes represented often most four the probably Virgin Mary. The of the with a representation inner been have decorated might shrine the that suggests representation sides of the twoshrine was flanked by panelsnarrow four displaying four angelsmovable playing music. This wings wereneighboring Mediasch,was originally mosta wingedone,with probably a central shrine. The painted with whatvillage a inGrossprobstdorf, church chancel the the of decorated once retable The that regard. were most Museum, in Brukenthal the today altarpiece, another from is details surviving in It the region. the worked actually master the whether Mediasch or in assembled simply and imported Transylvania, outside commissioned was altarpiece provide question the whethernot of the Mediaschof ananswerto still do retable the Grossprobstdorf from panels The Ub Vol. 4, 218. During the years I was working on my dissertation, I was not allowed to examine Inv.No. the 1507,1518, 1519,outer 1520, 1521, sides 1522, 1523, 1524, 1601of the Birth In spite of the fact that the village of Grossprobstdorf lies so near to the town of town the near lies soto of Grossprobstdorf village the fact that of the In spite The information presented above and suppositions on the circumstances of aboveThe information circumstancesthe of on suppositions production presented and (instead of the scene usually paired with the ten thousand, Ursula and the eleven , the , Visitation , the St. Laurentius andArchdeacon Stephen Birth sedes are shown. and the and nor tothe Chapter of Mediasch. Itwas the property 87 Adoration oftheMagi ăWăú 297 296 ianu 1959, 782. It is the two stationary wings that are Catherine andMargaret that will provide certain hints in this hints certain provide will that martyrdom thetenthousand of 298 In addition, a number of (of which the first the which (of respectively martyrdom of (Fig. III. 96) St. CEU eTD Collection 302 Fabini. by resolved manuscript or typo-script in the collections of the Lutheran Archives inHermannstadt. The abbreviation is not panel. andfloor the half in arch areall background the details thatcorrespond with memorial this tiled The inquestion. epitaph seen the on hood atraceof the represents very headprobably resemblances Florian to memorialWinkler’s panel. spot The gilt,behind restored Joseph’s of isithis body, alsoJoseph’s figure,contains architecture and certain that thebackground of his mother’s mantle asin Austrian the panel), his hand right pointing and total the position Besides the Virgin’s figure, details like positionthe of child(althoughthe notlying on end the 1477. so-calledWinkler”datedto the Florian lies “Epitaph close of quite to of by Sweden. Brigitte on based a text representation a well-known backof type faraway to canbetraced pointing downwards in prayer, infollowsof quiteherhands atype well-known clasped theSchottenmaster; environmentthe background. in the carpet brocade andtheelegant floor tiled the unusual becauseof placeissomewhat event takes where the space composition; the loose 301 300 Tár The representation milieu.of this same artistic the unmistakably belongedto all panels the that sightfirst at wouldrecognize - initiated, he theschool from heor came An eye schooled in paintings related to the circle of the Schottenmaster, be it the environment any iconographic peculiarity. without mentioned, already was,as retable of The innerside the refined. being is worth it but statement, this doubt to reason no is There altarpiece. Mediasch the of workshop to the closely related master of a work wasthe retable the that literature 1505. itto chancel dated entrance of parishthe churchshowed the date of inscription1492, whileanother in the church. According information from to Rampelt,Johannes aninscription above themain Pálig“ ( With bowed head and joint hands. The route of a motive from Rogier van der Weyden to Paul of Paul to Weyden Levoder van Rogier from a motive of route The hands. joint and head bowed With ( Pálig“ 303 299 around 1500. date to altarpiece the to researchers hasfact caused that a centuries, andsixteenth fifteenth of the turn atthe construction rights as the seven provostship, Hermannstadt Grosspropstdorf,that hadformer same property the of the asa villageby paid tenth the existreferring tothe early data Hermann Fabini, "Die älteste Darstellung von Mediasch" Die Woche 245, 1 245, DieWoche Mediasch" von Darstellung älteste "Die Fabini, Hermann Data quoted (as Rampelt. L.K. Archiv 1870) 1469. Ub Vol.4, 280; 1494 Rechnungen 1880, 160; János Végh, “Lehajtott fejjel és összekulcsolt kézzel. Egy motívum útja Rogier van der Weydent der van Rogier útja motívum Egy kézzel. és összekulcsolt fejjel “Lehajtott Végh, János In 1331, see: N.a., “Erdélyi tizedlajstromok” káptalani (Tenth-lists of Transylvanianthe chapter), 34 (1911), 34 401-442, especiallyhere 413. þ a) 0Ħ vészettörténeti Értesít vészettörténeti sedes. 301 300 These data would suggest that the church continuous was under church that the would Thesedata suggest However, little is known about the history of the locality and its and locality the of history the about is known little However, Ę 44 (1995): 19-42. according to Fabini 2002, 240. The referred work is probably a probably is work referred The 240. 2002, Fabini to according 88 302 It has also been pointed out in previous out pointed been also has It 303 However, the complete arrangement complete the However, 299 and certain mentions of of mentions fact andthe certain (Fig. III. 97) st of September1972. Birth Mary’s figure (Fig. III. 98) Ę is a fairly a is l L l Történelmi Ę csei CEU eTD Collection The tiled floor is also similar to that appearing in appearing Birth-scene. isalsosimilartothat the floor The tiled altar. of master Grossprobstdorf the of the be characteristic to seems which palm large, puffy Schottenaltar. The surviving detail Catherine’s ring-holdingof hand same showsthe of type the of panels the on times many recurring also but mantle, Mary’s of case the in – above presented Florian Sankt from scene visitation the on encountered also motif a mantle-side, lifted left Margaret’s edge of thewavy is perhaps detail The most obvious Schottenmaster. of the in environment the were conceived theway shows draperies preserved, clearly better issomewhat which of garments, the part lower The be noted. andshould can features side of this panel makes it hard to carry an carry analysis. hard out makesit to of side panel this back the of conservation of state The Schottenmaster. the of that than more Winkler-epitaph Elisabeth andface of wrinkled square, asthe such details, However, somewhat. differs that side lefton the the hard foldsgate that offers viewa intoofa town,follow quite precisely thisher panel.is It only backgroundthe head-dress,III. 20) are closerHans Siebenbürger. in to Florian, Visitation the Stift attributed Sankt representation to the stylethe correspondingof the master in Birtälmfollowed itself,also Schottenaltar on the beseen can which of a version Schottenmaster, of panel. the However, the of inthe circle known well has acomposition theclearly representation preserved poorly Grossprobstdorf scene is obviously closer to man. but aswas dark skin ratheris represented, with as usual inthis shown already period a blond bring as usual, a inciborium their hands. Noteworthy is thefact the that third king isnot offers his hand for the homage-kiss. two kings, other arranged The behind closely eldest, the the box has already of gold heldby kingthe kneelingin frontof him,while kisses thelatter his hand. In this case, been handedmotif on the Birtälm retable. However,over. on most of the examples the child reachesIt for the box is similar with tothe quite in circle. scenewasdiscussed regard recurs This often stylistic this being held by impression interior. more Themotif an hand the a palace of kingkissingthe of Child the of the Mother, whileThe carved window framewhich andthecarpet the parapet-wall covers windowthe giveof Jesus simplySomewhat unusually, left. from herthe approaching three kings the side, sits onthe Virginthe the scene takes place inside a room, which does not resemble a stall. 304 Depicted in: Schultes 2005, 87, Fig. 181 The third surviving panel shows a depiction of the a depiction of The shows panel surviving third The representation of of the The representation Thefigures of women,the the architecture their behind gestures, Elisabeth with the Epiphany is a more crowded composition, of the type where 89 Visitation (Fig. III.96) . (Fig. III. 100) However, certain However, (Fig. III.99) The very The 304 (Fig. CEU eTD Collection Mauritius) it and spreadin crusaders the its thisfirst was period. who assured St. by (led Thebes from Legion the of legend the on based being into came It Crusades. the of membersfor inmoral asortof intoandbeingencouragement thesupport twelfth century, as fictions of medieval hagiography. Itseems beto generally accepted that the legend itself came III.103) invery andwide-spread itTransylvania thus, deserves a smalliconographic excursus. the with combined Crucifixion the of representation somethingmore special intheiconography of Transylvanianaltarpieces. The the 1943), 19-23. feastThe of Achatius, the leaderof tenthe thousand, is celebrated on the 22 Tracht und Attribute der Heiligen in der Deutschen Kunst bishop.a contradiction The is explained by Braun Josephas in book his figure as a medievalhe does mistake. JosephBraun, versions ofthe innone but asoldier, as prince, a as heathen legend the in described is Achatius 307 crowned with thorns, pushed from Mount Ararat into thorn bushes finallyand crucified. followed and converted kings Achatius and Christianity. oriental the of army All ten the thousand from were subject soldiers to variousthousand torture another methods: faith, they firm were stoned, and whipped,belief convince them to to give trying up court their their before new belief, soldiers the torturing summoned them kings wise - withoutoriental ofseven any success. assistance the with Yet, at emperors, the sightThe of this strong Ararat. Mount on angels ofseven presence the in Christianity to converted soldiers the all and sky opened the victory unlikely. However, an angel appears to give them heart promising victory. After their miraculous victoryAsia Minor by the Emperors Hadrian and Antoninus. The great numerical superiority of the enemy made their 306 no be to appears there serious stylisticGrossprobstdorf, from relationship.ones the with contemporary roughly are panels the although and Csegöld, today held Keresztényin the Múzeum, Esztergom. In spite of structural the analogy of two the altars 103); Four narrow panels with representations of angels playing music also flanked shrinethe of altarthe from 305 by his inposition composition the and byhis prince’s hat orbishop’s miter. figuremost the martyrs casestenhalf-naked surround isAchatius, of enhanced usually who Achatius and hismartyrs being bushes pushedinto thorn and –asasort this fellowsof attribute-type of fortorture – becomesGermany. Already the very first known representationsthe of the legend grasp the moment of the specific known example a thirteenth scenecentury vault-paintingin Severus St. the church in Boppard, for representations inbecame mostpopular Middle throughout the territories Ageswith German earliest the of the legend. In under discussion. circle stylistic the in fourdrawn areawide-spreadmotif of panels walls background all in up. The parapet the angel, has who upperbody a short giving the impression he is hisstanding with shoulders the feast day of Achatius, a bishop of Melitene (Armenia), from around the middle of the AD 3 anatomy. in the deficiencies observe canalso one largehandsarestriking, and Theunusually as theprevious panels. There is a complex literature concerned with the of Achatius being represented as a bishop or as aprince. as or bishop a as represented being ofAchatius the with concerned literature acomplex is There in battle a to soldiers thousand nine his with sent was Achatius prince, heathen the legend, the to According 2005, Schultes in (depicted Braunau from Bäckeraltar onthe saints woman ofthe representations Seethe It is the two stationary wings of the Grossprobstdorf altar that can be considered The four narrow panelsThe four depicting narrow music same angelsplaying havethe characteristics The legend ofAchatius and the ten martyrsthousand is one of greatlegend-the (Figs. III.101-102) (Figs. 305 90 , (Stuttgart: J.B. Metzlersche Verlagsbuchhandlung, This is most obvious perhaps on the first martyrdom thetenthousand of nd 307 of June. However, rd 306 century is on The legend The is not (Fig. CEU eTD Collection fifteenth century depictions of depictionsfifteenth type, of century above-mentioned the combined with crucifixion the the Suckalemay have thisthat image-type suggests for the asasource,starting served point, bosom of Abraham’s representations largejust shawl, asangels doon depictions.other This mindsleadsdetail, our to martyrs ina dead the of holdingis souls the seen, and image, Christ tree the the crowning of ofJesse top Tree of On representations. is the reminiscentcomposition thus of image the fourteenth fourteenth century in wall inpainting the StJacob Church Thorn( result of a feasible development, the logical outgrowth of an earlier representation-type. The hanging as fruits on a sort of Suckale, speaking of this representation and the type it belongs to considers belongsit to typeSuckale, and the this representation speaking of Robert cross. the under in form a circle of arranged positions in different martyrs and ten remaining examples of from canvas painting Middlethe Ages,depicting Christ onthe cross Ro 308 representations of the legend in questionshould clearly be identified with Hermolaus togetherwith the martyrs after having thembaptized. According to Stöcker’s suggestion bishop the figuring on selben heiligen zentusent rittere toufte adds the following lines to the original version: “ baptizes wholethe army.Around 1350, in atranslationof Anastasius’ work German,into Hermannvon Fritzlar The legend was soon baptized. correctedproperly been inhaving several ever without ways. saints In pronounced onewere of martyrs the the Thus versions, death. after a bishop saints became is introduced and intobeliefs the their of storybecause who tortured angel, by the victory to led were soldiers the as describes Bibliothecarius, the the 31 (figuring also on the pages of the Dürers von Zehntausend“ Ikonographie Zur Achatius. Bischof falsche der und Celtis (”Dürer, Stöcker Christoph special iconographic group, under the name of “Achatius as bishop”. Another explanation was offered by the bishop, a confusionwhich slowly came into general use and figures in the literature - due to Braun - as a Šarišske from isthis time. A the mid-fifteenth example,century dating in ondisplay representative the martyrdom of the ten in meanings of represented the iconography of –combiningtypes the legend.One the the thousand with Christ’s startinginpoints new 1430s-1440sproduced the of types andreinterpreted representations Crucifixion comingbecame popularityremarkably fourteen auxiliary saints wereincreasingly alsobecomingof – due well-known upandto the widespreadthese saints. at Thebeen examined by scholars. Around 1440-1450representations ofAchatius amonggeneral the really not have century fifteenth reorganization in the spread extensive its and iconography, and message of the Europeanlegend were provide by explained to needto the moral support crusaders,the changesin the artistic focalheyday infifteenth theAlthough century. first ofitsthe period spreading and thebirth of the Robert Suckale, “Ein Tüchleinbild der Achatiusmarter aus der Nachfolge des Meisters von St. Lambrecht” vonSt. Meisters des Nachfolge der aus Achatiusmarter der Tüchleinbild “Ein Suckale, Robert þ enka Slovenskejenka Národnej Galérie v Bratislave.(Bratislava: Narodná Galéria, 2001), 77-83. st of March. The above-mentioned contradiction was explained by Braun as a confusion of the prince and prince of the aconfusion as by Braun explained was contradiction above-mentioned The ofMarch. The cult iconography Achatius and of thousandand histen fellows hadclearly its real múzeum , Artibus et Historiae of Bartfeld ( Bartfeld of Acta Sanctorum lignum vitae 1984, 121-137.). He explains, that probably the first version of the legend ”. Thus, a certain archbishop Hermolaus should have been tortured been have should Hermolaus archbishop certain a ”. Thus, Bardejov, Bártfa – as Ouch war mit in gemartert der erzebischof Hermolaus derdise Hermolaus der erzebischof war ingemartert Ouch mit ), written down in the twelfth century by a certain Anastasius , but stabbed through with the thorns of the tree. The tree. the of thorns the with through stabbed but , the 91 embodiment of Paradise. In his article Robert article his In Paradise. of embodiment ). The painting is one of the very few very the of is one painting The Torún . ) depicts the martyrs the ) depicts 308 that itis the Marter der CEU eTD Collection regular cross, still on the ground between them, awaits a Christ-like victim”. Christ-like a awaits them, between ground the on still cross, regular a while crosses, rough-hewn “on Golgotha: the on thieves two the resemble strongly painting crown to the usual Christ-pattern. He also mentioned that the two crucified martyrs on the Already Panofsky noted inmonograph noted his Already Dürer Panofsky means. here transmit toChrist’s other asit samemessage,the Passion does through alluding mentioned be should it type this to belong not does composition the Although legend. the of most depictions narrative of is the probably one and manytimes, been analyzed painting has of is legendthe one by the popular most the Perhaps representation Dürer. Devotio Moderna ideasthe of whenthe period the at “Andachtsbild” image,aso-called perfect devotional a servedthousand between parallel –probably as the anunambiguous –thusdrawing two into thorn the bushes andfinally crucified. the presenting legends, martyr Achatius and for story the histen fellows isof perhaps apropos thousand Of of Christ. all the with the Passion strong parallel legenddrawsa the Already textof the the Elector (Frederick the Wise), commissioner of the painting. “In visually this “In stressing of painting. the commissioner (Frederick theWise), Elector the feelings of religious the appealedto that Christ” of Passion and the martyrdom between this analogy the as itself, in thousand ten the of martyrdom the much so not “was it Panofsky 314 313 representation. the within theme secondary a as be understood can of Christ imitation the that sucggests also author 81. The 2001, Suckale scenes. Cross the from Descent on Christ lying Christ in a Pietà, while the lowermartyr, with his arms half hanging makes a reference to cross)the position imitate positionsof linked to Christ. The upper martyr is posed ina manner reminicent of the position ofpainting the from Bartfeld, more precisely the position of two of them at the center of the circle (just beneath the312 London– New York: Prestel, 2000), 129. 311 Niederösterreich 310 309 from the mid-fourteenth century, martyrdom of the ten thousand. ten the of martyrdom were not unusual. Some of armssuggestingChrist with outstretched the Crucifixion inaposition middle of of scene, the these examples are inthe Achatius depicting Examples be considered. also could type compositional widespread quite early. The one from Ibidem 121. Erwin Panofsky, Albrecht Dürer. (Princeton: New Jersey – Princeton University Press, 1948) Other images also emphasize the identificationwith Christ through other methods. The martyrs on the Depicted in:GünterBrucher ed., Geschichte der bildenden Kunst in Östereich, Vol. 2.Gotik. (Munich- Depicted in: 2001. Suckale in images abovementioned the ofall depictions Seethe The type of representation combining the Crucifixion and the martyrdom of the ten Corpus der mittelalterlichen Wandmalereien Österreichs . (Wien: Verl. d. Österreichischen Akad. d. Wissenschaften, 1983) Figs. 580-581. Imitatio Christi and the Imitatio Christi . The ten werewhipped, . The ten with thousand crowned thorns, pushed 309 310 An additional explanation for the development of this the one from one the were gainingmore more and inimportance. 92 313 the similarity of the figure with thorn Bruck ander Mur . Vol.1. Elga Lanc ed., Lanc Elga . Vol.1. to around 1400. to (Fig. III. 104) 314 Wien und According to Thunau dates The 312 311 CEU eTD Collection 318 painting painting in Silezia in theNational Museum of Wroclaw) (Wroc the arguments of argumentsthe Fabini convincing, of are notidentification as not buildings isof certain the the representation. Hermann Fabini has even identified it with the town of Mediasch. of town the with it identified even has Fabini Hermann representation. Mediasch the on buildings hardly recognizable than small, the morebe concrete much to itself seems representation town the Mediasch panel.vedute the on However, corresponding tothe closely related are theshore on depicted trees and type of the the town surrounds way water the the arms, Christ’s beneath landscape The background Mediaschaltar. the on more alive, figure the is of from Christ Grossprobstdorf quite similartothe Crucified Savior 317 was originally also covered by a miter. 316 (Mlynica) Zebenand (Sabinov) Upper in Hungary (today Slovakia) are good examples.Mühlenbach at altars the from panels appropriate The Europe. Central in century sixteenth the into on type 315 thesis. withof dealt inthe center this chapter branch of artistic of a the and waspart therefore from Go 1506-1508) is Master Poliptych the tothe of attributed Wichów,(originally and datedto from form. rectangular similar inits ( A much in of legend-versions. various Wroclaw knowledge the panel the Museum of legend because very and partly probably a representation only was type used herewithout the of narrative the of instead image the of character devotional the on thus and Crucifixion, playhere. background, main asecondary Partly waslaidon to seems emphasis the role the marked. clearly not pointing towards Christ, on his right side, in spiteof the fact that he is alsojust one of the ten, identified with AchatiusHermolaus. mightperhaps be the person wearing the redprince’s hat, the lowerto shortly disputethe presented in thisabove concerning bishop, represented iconography the leftAmong themartyrs under the cross,corner, itis not easy to identify Achatius, theirleader. According iconographic combiningtype, the Crucifixion with martyrdom the of tenthousand.the not having and slaughter intoana symbol of the Imitatio Christi”. outstanding narrative apurely tortures analogy –)Dürertransformed rendering of continues (– Panofsky position in the composition could be Breslau Fabini 1972 See: Anna Ziomecka ed., Ziomecka Anna See: martyr of this head the that showed Mihály, by Ferenc out carried panel the of reflectography infrared The Ibidem 122. Representations of tenthe thousand combined with thecrucifixion continued to be aflourishing 317 Although much more rigid and more anatomically superficial, with a face looks that The panel from Grossprobstdorf is obviously a version of the above mentioned above the of version a isobviously Grossprobstdorf from panel The Ğ ) is a close compositional and conceptual analogy to our example which is also is which example our to analogy conceptual and compositional close a is ) ciszowic ( Gießmanndorf 316 This also points to the fact that the legend itself, the textual ĝ laskie Malárstwo Gotyckie. Zbiory Muzeum narodowego we Wroc (Fig. III.105) ). This master is known as followera of Hans Pleydenwurff 93 It might therefore be of interest that the panel the that interest of be therefore might It 315 á aw: Muzeum narodowe,1986) 63-64. á awiu 318 Although . (Gothic CEU eTD Collection Szépm 322 321 320 inhabitants of the should be elected forone year from among the citizens of the townand in the otheraccording to a charteryear of Wladislaw from from 1494.In this charteramong the king orders thethat the Similarly, at the very end of the century, the town had still not beencompletely surroundedpainted. The bytower was still undera fortification constructionwas inthe middle retable of 16th this the century.time (See: the at Avram 2006, 22). finished barely was church, the architecture, of piece central The Mediasch. in as 319 cycle). Passion Large Meckenem’s van Israhel in Flagellation the of scene the example for (See whipped. 107 his arms above hishead, obviously follows Schongauer’s corresponding etching. Epitaph, its with spread in museums.panels several Winkler- of the Master by “Zwölfbotenaltar” the is theso-called retable Grossprobsdorf the to closest lies that one the Schottenmaster-circle, the to belonging paintings the all finer. Of aremuch which retable, from Mediasch the details anatomical in their like, opposite and paddle- –large Grossprobstdorf panels in thecaseof other mentionedthe – as already are hands The Mediasch. in ones the as certainty such with drawn not although accurate more much are faces Grossprobstdorf The differences. considerable also display details technical and representations, stylistic the juxtaposing two the when image. However, Grossprobstdorf hand,lifted and pointing isin backwards, repeated figurethe of beardedthe man on the heldGrossprobstdorf by onthe scepter panelinhisright panel.Mediasch Pilate Similarly the recurs in figurehis of the gesture red-mantled the the on partner, interrupt speaking to trying is he that sign a as palm his showing example, Mediasch the on Pilate of hand right lifted The related. are gestures the even and same the is clearly representation the behind The concept altar. Mediasch the resting” on “ManSorrows of the on panel depicting the men same motif of two having is represented withthe figure-types very adiscussion, similar from be –engagedin seen us like gestures their The They greet a discussion. acquaintances. image dressed in lively, colorful garments. The two persons, assisting at the event are – as can St. Sebastian’s martyrdom the fifteenth century. lookingmuchrepresentations town Viennesethe typical so for painting in halfof second the unambiguous, -mentioned aboveand assistance“Martyrdom twofiguresonthepanel the the of representing Two panels in the Städel inFrankfurt, other two in the Saint Martin’s church in Pressburg, B 13 (207) five in the B112 (240) The buildings of the representation are general types, all of them could easily be found anywhere else as well as else anywhere be found easily could ofthem all types, general are representation ofthe buildings The ) This is ) This Ħ vészetiMúzeum (Fine Arts Museum) in Budapest and one in theSchottenstift, Vienna. The pendent image, the other stationary wing is, as already mentioned, a depiction of a depiction mentioned, is,asalready stationary wing image, other the The pendent an etching, with a composition clearly alluding to Christ’s position when he was 319 sedes 321 the conceiving of the vedute belongs out of question to the category of real- category of the to question of out belongs vedute the of conceiving the The compositionisbalanced standing by group ontheleftside ofthe the until the townis not completely fortified. See Theil 1873, 79. . (Fig. III. 106) The figure of the saint, tied to a dead tree with 94 322 A comparison between the two persons two the between Acomparison iudex of the two 320 (Fig. III. (Fig. sedes CEU eTD Collection close similarity of the background representation on both stationary panels from panels stationary both on representation background the of similarity close the indiscussion, men of pair mentioned already the of motif the like details Specific master. Mediasch with the in workshop same the for awhile worked hemust have be that assumed above. compared of the Winkler - Epitaph master; this can be clearly observed on the turbans of the two figures those more to superficial compared way less determined, ina Folds painted arealso retable. Austrian Grossprobstdorf tothe compositionsdynamic asonthe on panels character the general same the have not do martyrs) thousand ten the of figures (on positions torsioned between the Austrian panels from and those Grossprobstdorf. The active gestures, the be observed may quality in differences obvious However, panels. Mediasch the of certain of representations background similarinison way avery Thefeature present also yellow spots. turn out to be a repetition of the same type of tree painted in dark green and modeled with fine amore careful examination after nature-observation, of impression correct sightgive the first is obviously similar tothe Grossprobstdorf solutions. both In cases, the trees, although they at Jacob (Budapest), elder the St. execution of showing theother the Philip or (in Bratislava) St. of the Martyrdom one representing “Zwölfbotenaltar”, (like the represented of onpanels the as we have landscape relationlike the between backgroundcomposition, events, butalso, foreground and seen, in befeatures in paintings can grasped general between two the connection compositional. The the figureregard with typesabove mentioned tobeen already the has panels Grossprobstdorf the of painter and the of that technical details. here. under discussion The way trees and rocks are Gemälde im Städelsches Kunstinstitut Frankfurt am Main Vol. 4. (Mainz: Philipp von Zabern, 2002), 292. special features of his painting. haveas on master beenremarked Austrian by forced panelspainted gestures on the the almost varied, asactive, aswell fantasy-hats exotic other and Turbans compared. can be easily that was group arranged, face the inbetween pressed discussing headsof the two the individuals, - the way the is also It stylistically. them link face-types their and heads their on turbans the the their beardlessyounger,figures lively gestures, of other, oneturning towards the the with 323 4147) reflectInv.No. this relationship. Múzeum in Budapest, John the Evangelist” of the former “Zwölfbotenaltar” (in the collections of Szépm the of collections the (in “Zwölfbotenaltar” theformer of Evangelist” the John Bodo Brinkman and Stephen Kemperdick eds., The stylistic affiliation of the master of the Grossprobstdorf panels is clear. It can also It isclear. panels Grossprobstdorf of the master the of affiliation stylistic The and Epitaph-master of Winkler work the linkbetween compositional the A concrete Birth - representation. However, the link between the two is more than merely is two than more the thelinkbetween However, representation. 323 Such features are also striking on the Transylvanian panels Transylvanian the on striking also are features Such Deutsche Gemälde im Städel. 1300-1500 95 (Fig. III. 108-109) , Kataloge der The position The Ħ vészeti CEU eTD Collection painting in the immediate circle of in of circle Schotten-Werkstatt. the painting immediate the of his knowledge whohadaccumulated Transylvanian aswell born master as anative foreign leading of master nor workshop the to his colleagues and apprentices. Hemay have been a bring however not the for to factdoes us any closer acertain least Transylvania. This time,in paintingsnot be should considered but imports, the products of a workshop operating, –at these thethesis that supports sameworkshop, linked tothe be another could altarpiece that by century,the history of suggested church, architectural the also the reasonable. seems epitaph, Winkler the of of turn the or century fifteenth of years lastthe Master very the Adating to later. the perhaps somewhat to links compositional and stylistic its consideration into taking or retable, Mediasch the of that with contemporary be,more-or-less, seems to A precisehand. same the and one to attributed be dating cannot altars two the oflocalities); two the the of proximity Grossprobstdorf retable by idea supported be relationgeographical the caneasily (an imagined although a workshop is not possible onis that clear It panels. on theGrossprobstdorf than executed those much better a are bodies, stylistic basis. His of naked especially representations on observable workdetails, proportioned. anatomical The better and balanced more are His figures a painter. as experience more much with someone whose hand workshop, of the master leading at the least master, Mediasch The exist. also coulddifferences be traced on three panels and the predella of the Mediasch altar, was master. However, the topic will need further research. further Tobsdorf need the will to topic the known However, were master. workshop Mediasch of the paintings the that show floor-tiles and grass trees, of dating at the end of the fifteenthcentury. Certainfigure-types, garments and folds,Otmar Richter details to such1522, as due representationsto a mistakenly read inscription, but the stylistic features of fromthe paintings Tobsdorf (today found in parish pointthe church of to Mediasch).a The retable was incorrectly dated by Giselaand 325 two. these on only occurs it Transylvania in retables preserved the all of 324 represents represents a link. on the back sides of both altars, which are connection.Additionally, the decoration suggestaworkshop all analyzedabove, similarities covered with a whirling green leaf ornament,Grossprobstdorf and thealso landscape seen on the Crucifixion panel in Mediasch, as well as other A certain influence of this Mediasch workshop can also be observed on the panels of the so-called altarpiece so-called of the panels the on beobserved also can workshop Mediasch ofthis influence Acertain but example), for Zwickau from altarpiece the (see period of the onretables wide-spread fairly is feature The The fact, that the Mediasch retable is not alone among the Transylvanian retables but retables aloneis not Transylvanian the Mediaschretable among thatthe The fact, 324 (Fig. III.110) However, as already shortly discussed above, a number of 96 325 CEU eTD Collection pairs and painted also as if it werehangingfrom nails. 362. According to transcriptionhis thefourth line of textthe would be: The yellow frame waslater added. lined-in. previously on rows cursive letters in elegant was painted accurately church. text The axisof the the exactly along vault, situated the of in-fill the above on this, can bereadright for the above mentioned version. mentioned above the for a of representation tower. the of ground-floor the decorating cycle more complete wall tower–thisthe of is hasbeen what preservedof what wasoriginallyvery a probably northern the on pair another and wall eastern the on panels of pairs Two nail. a on chains by clearly fitted to the shape of thevault. A pair of “panels” is paintedin each section, asif hung imitations of images, wooden The wall. panels,northern the areon placedheight same onthe theat and wall-surfacesnave the to entrance the underabove theright arches wall of eastern the the vaulting, on gat, the to opposite situated paintings the observe immediately will tower, kunstgeschichtlicherVersuch.” 326 so-called “Church on the Mount” ( Mount” “Church the on so-called of floorthe of western the tower thesupposedly ground from wall-decoration the on deduced environment of Schottenmasterthe in wereinvited work to inTransylvania canbe period this The wall-paintings in Schässburg The inscription was first published by Friedrich Müller, “Die Schäßburger Bergkirche, ein An individual and entering the churchthrough western the gate, thus through the Kendlinger deSanctWolfgang Jacobus Huius Opifex Nix gravis arboreas alapsu fregit Tempore quotriduo Gerhardi sit tibisign[um] Hoc opusexpletumestauxiliantedeo Annorum Domininumerus dum iste fluxerit 1488 A new, still hintunpublished to the fact, that foreign masters schooled inthe Vera Icon Archiv des Vereins für Siebenbürgische Landeskunde can be observed on the eastern wall, between the two panel- two the between wall, eastern bethe on can observed Bergkirche (Fig.III. 113) 326 ) in Schässburg. ) 97 (Fig. III.120) Nix gravis et boreas fregit et lap… . N.F.1 no.3.(1853): 305- A painted inscription (Fig. III. 112) I opt A CEU eTD Collection Siebenbürgen.” Siebenbürgische Landeskunde Értesít 329 (1856), 167-172. 328 Révész. Gábor tothank have I analyis green trees, the missing word could perhaps be: ” tree and as on the third day of Gerhard, the 26th of September, the snow the text speaks of probably fell onstill the Schässburgthe nave in was constructed 1480s the by KendlingerJacob from Sankt construction. church the to related Henszlmann in his from 1879 travel-notes mentionsSchässburg, also inscriptionthe as being inscription.. Imre 1488, based the on the to of church works endof the construction the history. Inhismonograph on Schässburgthe church inpublished 1853. inLutheran church Transylvania one and of pioneersthe and of Transylvanian church- art- and madememorable lines.these through information on the craft Kendlinger worked in, on the nature of the work that was completed identifyingfor master,norany the detail other inscriptionof the us furthergives any information. However, neither the word 327 end. from its aword ismissing second the is first one complete, The distiches. of two composed is in verses written metrical The text, inscription. the of subject the differconcerning incommentary yet, spite has it beenpublished about ofthefact researchers’ opinions that or muchmore asnotranslation so, So formulation. in its of terms words a fewextra deserves an from accuracy, notonly unusual of view pointthe of it wayitthe butalso appears, with a short one. The form of the word noun is missing to which this attribute belongs. The metrical verse requires a word of two syllables, beginning Henszlmann Imre, “Úti jegyzetek a királyföldr a jegyzetek “Úti Imre, Henszlmann Friedrich Müller, “Die Schäßburger Bergkirche, ein kunstgeschichtlicher Versuch.” The metrics and the Latin sentence bothsuggest this. If the third word of the line is read as 327 Ę . 9(1879): 337. The inscription could be translated as: betranslated Theinscription could Attention was first called to the inscription by Friedrich Müller, bishop of the Saxon the of bishop Müller, Friedrich by inscription the to called first was Attention The first lines two and the signature include thus historically art important Master ofthisisJacobus Kendlinger ofSanktWolfgang. weightThe ofthe snow has broken the (foliage?) ofthe trees. When onthethirddayof Gerhardus –thisshould be asign you(rememberfor this) With the help of theLord this work was completed As thisyear the ofwas Lord passing 1488 Due to the fact that the text contains important information and has been executed with executed been has and information important contains text the that fact the to Due Mitteilungender k.k.Central-Commission zur Erforschung und Erhaltung der Baudenkmäle. . N.F.1 no.3 (1853), 305-362. and Idem. ”Die Schäßburger Bergkirche in arboreas 329 Géza Entz suggests quite decidedly that the large hall of large the decidedly quite that suggests GézaEntz requires a requires comas Ę opifex l. Segesvár” (Travel notes from the royal lands) royal the from notes (Travel Segesvár” l. 98 ”, meaning foliage or leaves. For his help with this (simply meaning craftsman), usedin text the pluralis nominativus . As arboreas Archiv des Vereins für 328 In1856,he dates means a living arboreas Archeológiai then a 1 CEU eTD Collection church on the hill and the history of Schässburg), 337 (Munich: Verlag des SüdostdeutschenKulturwerks, 1977): 97. 336 could only be removed by rubbing the surface with brushes and bread for a long time. a long for bread and brushes 333 with surface the rubbing by removed be only could frescoes the covered had which paint blue the because difficult extremely was tower inthe paintings the cleaning 335 Akadémiai Kiadó, 1954), 204-205. 334 Corina Popa in her study in tothe Schässburg. church the wall Corina inherstudy paintingsof dedicated Popa by mentioned are connections Tyrolese Similarly influence. the theory of Tyrolese the accepts “Bergkirche” from from “Bergkirche” Schässburg. discussed atlengthby MachatChristoph inhis on dissertation architectural the history of the A.B. in Schässburg über das Jahr 1934 also placing the frescoes in the neighborhood frescoesalso placing in of Tyrolese the neighborhood the paintings. panel Wolfgang masterthe locality in of paintings, considering wall the bea Sankt Tyrol, to thus 332 Gegenwart. Vol. 20. (Leipzig: Verlag Von E.A. Seemann, 1927), 151. 331 Kendlingerfrom Sankt Wolfgang) Entz 1996, 180. Schässburg, articulated by pairsthree of slenderpiers with no in capitals, was hill constructedonthe in 1480sthe church by ofthe Jakob hall large (The építette.” Kendlinger Jakob való Wolfgangból a Sankt években 330 asregardsthe Salzkammergut, stylistic V he affiliation adopted the master of the paintings on the ground floor walls of the tower. as might havebeen he says,from Salzkammergut Jacob Kendlinger,coming that publication) Stef Géza Entz. from received information oral on asheaffirms, based, church, onthe works building the with inscription the connected Radocsay Dénes opinion. his to response no been Stef was I.D. does noteven mention inscription,the also probably considering it an It architectural data. Transylvanian buthe termsto panelpainting, connected andstyle of closely their dimensions Wolfgang. andin tower. the church the of vaulting the aisle, northern in the arch, triumphal the on chancel, in the revealed in had marvelous published paintings wall whichthey the works, same year areport on the the led who Misselbacher, Julius paintings) wall neighboring the for relevance eventual researchers publishing theinscription before datecould that possibly not have thoughtofits Künstlerlexikon. Corina Popa, “Pictura mural Machat, Christoph: Die Bergkirche zu Schäßburg und die mittelalterliche Baukunst in Siebenbürgen. Ion D. Stef V Dénes Radocsay, Aközépkori Magyarország falképei (Wall paintings of medievalHungary) (Budapest: Julius Misselbacher, „Die Wandgemälde der Schässburger Bergkirche”. Schässburger der Wandgemälde „Die Misselbacher, Julius zur bis Antike der von Künstler bildenden der Lexikon Allgemeines eds., Becker Felix and Thieme Ulrich ”Segesváron aHegyi templom három pár fejezet nélküli, karcsú pillérekkel tagolt, tágas csarnokát az 1480-as ă ӽWӽú nescu’s opinion was adopted by Virgil byVirgil V adopted opinion nescu’s was ianu 1959, 765-766. The of wall-paintings in churchwerethe revealed itis1934. (Thus, obvious that 330 ă nescu, This opinion was adopted by Ulrich Thieme and Felix Becker in their ă nescu who first raised the idea (only four years after Misselbacher’s years four after (only idea first the raised nescu who 331 332 L’art Byzantin et l’artLombard Transylvanieen In his short analysis, Misselbacher considers the frescoes in the tower in tower in the frescoes the considers Misselbacher analysis, short his In ӽ a „Bisericii din Deal” , (Schässburg: Ev. Gemeinde, 1934 336 Although he refers to the master as coming from Ars Transilvaniae Ars 99 ú ăWăú i istoria ora ianu, who refers to Wolfgang Kendlinger as Wolfgang Kendlinger ianu,to refers who . 8-9(1998-1999): 175-184. ú ului Sighi . (Paris: Geuthner, 1938), 27. ), Jahresbericht de r e v. Gemeinde 8-14. He mentions in his article that ú 333 oara”, (The wall paintings of the ăWăú For a long time there has ianu’s evaluation and 335 His analysis is 337 Thus, 334 CEU eTD Collection Schongauer’s inSchongauer’s a etching similar topic, beof acopy considered wall cannot the painting of composition The overall very similar. III. 115) (Szépm master Winkler-Epitaph by the panel elder on Christ with his whip. The figure-type is quite similar to that of the executioner of St. Jacob the inand front behind him. Helifts both his to hands rightthe side of his headin to strikeorder andovercoat ayellow mantle thrown on his his shoulder, wrappedaround waist and waving alight boots, high, red stockings, inred is dressed pier. He the of theright standssoldier to A on his feet. third darkboots withpointed, be canstill barelegs and discerned his overcoat He raises his right hand in order to hit Jesus. The other figure seems tohave been clad in a red and green stockings. tight, is inagreen overcoat Oneof them dressed very easily discerned. been largely Thus, figuresdestroyed. the of two soldiersthe standingside on that be cannot pierthe behind him wearing nothingbuthis loin-cloth. The surface on leftthe of pier the has his tiedto with arms Heis inrepresented of space. center the pierholdingto the vault the depicted on the frame of the right side panel. inspiration for the painter. for the inspiration place. takes event of the room where frontthe marking the arch, chain on a painted nail. In tomakethe nail.chainorder apainted In on four images haveimitated profiledframes. wooden They arehung in a pairs with painted Ecce Ho 338 Christ’s Passion: The Passion: Christ’s joy. special a bring will Schässburg-tower in the paintings wall the followers, his and circle his Schottenmaster, the of works the about writing and schooled in Tyrol. unanimousKendlinger’s are instatingwork, they that of are the work a panel painter considering rolethose butopinions the regarding ofKendlinger inSchässburg, frescoes the different reflects inthe tower wall paintings the inscription and the to referring literature the B 12 (125) The Flagellation As already mentioned above, the paintings on the eastern wall present four scenes of scenes four present wall eastern the on paintings the above, mentioned already As comparing studying, analyzing, considerable time historian has spent art who For the mo The motion, the gesture, the dynamics of both the figure but also the drapery are drapery the also but figure the both of dynamics the gesture, the motion, The and the scene of Flagellation is an absolutely balanced composition, framed by asemicircular by framed composition, balanced absolutely isan (Fig. III. 72) Christ being deprived from his robes and the and The composition coprising the semicircular frame, the frame, semicircular coprisingthe The composition 338 Crowning withthornsCrowning 100 but it must have been a general source of trompe l’oeil Ħ vészeti Budapest). vészeti Múzeum, even more perfect, a bird was (Fig. III. 114) , on the left side, while the appear on the right. All Christ is tied Christ (Fig. CEU eTD Collection stands an elegant man blue,stands lined his elegant yellow alarge, mantle, an wearing with arms with crossed, green robe, edged with white fur, yellow gloves and a red hat with a yellowtowards rim. Next to him thumb his with Christ.pointing hand, right his lifts Pilate in Schässburg. omitted are In Schottenpanel his left hand he holds comingfigures of Onlyis out behind represented. two standing Christthe on the the end of the Saviour’shis headhe wears the thorn crown. Even the arched openingin theinside of the building heis mantle. Heside of isheldwhich his byPilate, standing left.Christ’s to hands andare bound together on wears a long, two wide stairways separate him from the crowd. His back is covered by a red mantle, the left modifications. few very a only with panel, Viennese corresponding the copy of accurate an being typical of the (Netherlandish inspired) contemporary typical Viennese painting.of inspired)contemporary (Netherlandish the very all are andloggias, in windows the small with genre-figures spaces, architectural several into with views of concept background the ayellow edge.The wearingcapwith man ared of as a moustached head the aswell be discerned can doorway A room.rectangular of another on leftthe side of imagesothe isnotwell butpreserved was this probably representation the a long, bluecap.Behindhim insideroom a vaulted of the can beThebackground observed. hison leanshis who mate elbow pointing is toward head window.His through the covered by manleans columns, another betweentwo itsimage. parapet, On side of the right seen onthe windows can be discernedbehind amanChrist; leans of out largerone.A the loggia canbe for Two details. with anda clearpredilection much out attention background wascarried stick,the ironically alluding the scepter. Christ to it grasps with hishand. right The Christ: only his and high,darkboots hiscan yellow coat be seen. He is the one handing over with manA forth ina rededgeandyellow green overcoat hishead.on of front turban kneels whilebehind his leftis Christ, oneon ingreen the pointed shoes, alight dressed stockings, manstanding the of bediscerned yellow edgecan a hatblue with anda whiteshirt Only the front.waistcoat above,buttonedblueby Hislong downis cap head the covereda a with end. his head with two long sticks. The one on hisstanding onhisleft, on his andbehindright himare pushing thecrown of rightthorns down onto wears a yellow shirt and a sleeveless,red mantle whichfalls ground tothe behindhim also coveringhis knees. Three soldiers, red bya his left. backiscovered profile His to inthree-quarter turned is centrally, Chirstseated background, all clearly painter the that reflect wasfamiliar this with etching. pier in the center, Christ’s position and the doorway or arch on the right side in the It is the scene depicting the is scenedepicting It the A similarly balanced composition isthe composition balanced A similarly (Figs. III. 117-118) Ecce homo Christ isstepping just a out through rectangular and, door 101 that is most closely linked to the Schottenaltar, Crowning with Thorns . (Fig. III. 116) CEU eTD Collection 339 Francis scenes from the life of St. Francis of Assisi. inbeen unanimously astwo previous literature part of identified They have cycle. Passion the red mantle aboveit. The remains of canbea greenlandscape observed in background. the white mantel above it. John holds her from behind, by hera and dress ared wears She arm. eyes. closed with and stands breast her He over herarms hascrosses a green tunic on and Virgin The a halberd. the of side right the on standing are Evangelist the John and women discerned. The image issplit into parts by two a halberdbehind Christ. Virgin, The other be can still garment Only his yellow destroyed. been shown whose headhas completely is man another him to next while image the of side left the on them behind isstanding Pilate off. hisrobe pull soldiers Two hands. his over still mantle his and him of in front hands his the group of Schottenmaster followers. Christis placedin the center of the composition with in includeinitself master the beenough almost scene,to on would previous represented the minds His school the to hisgreenmantle face-type, of just Schottenmaster. andredhat, the as figure, very standing left on the probably side of Pilate, in picture wouldthe itself lead our Christ. undress soldiers the when scene the represents which –areall depicted very stylistically. close faces of his figures, The follower Schottenmaster. the of be astylistic considered also aid.Hecan compositional the types of robesobvious painter thatthe followed both theViennese a panel as pattern and it used a he paints and the Itis have beenomitted. inalso composition staff-figures the can beobserved that acoupleof way the folds of the of the simplification and acertain modified, been have that garments of the colours draperies are the to entirely correspond gestures and figures, their position image the awhole, the of as arrangement The is from depicted. a town fingers. This is allusion havean to their to wish beingcrucified. Christ Behind them, adetail in their crossing manner, same background in the all gesture the and represented soldiers crowd. He lifts his right hand, also pointing with itin the direction of the crowd. The people the slightly onhishead, ofbuttons.longwith He turban towards turned row a white wears a closed and collar a wide with mantle, ina yellow,kaftan-like person bearded athird depicted andhimis Pilate and capwithabove Between ahighhis forehead. adark rim, pointed V ăWăú ianu 1959, 765; Popa 1998-1999, 175-184; Machat 1977, 97. The two frescoed “panels” on the northern wall are on a completely different topic, not cycle Passion Schässburg the of “panel” fourth the on stated be can thing same The . He kneels with his arms lifted above his head, a red book lies on the ground in front ground the on lies book a red head, his above lifted arms his with kneels He . Ecce Homo Ecce 339 102 The first one presents the presents one first The panel of the Schottenretable.is It only the (Fig. III. 119) stigmatization ofSt. Already the CEU eTD Collection placement would also not justify this. retable. ofthe Birthälm that to compared altarpiece Mediasch behind the workshop to the lies closer technique painter’s ontheSt.Francis-scene, andarchitecture background trees discerned, general the handlingcomposition, of the draperiesthe and on details likethe becan still clearly that facetypes basedthose on However, Schottenmaster-followers. theTransylvanian of examples presented already tothe compare them to difficult knowledge of the whole.) and the idea standingbehind the program theseof could only bewith understood the researched. Originally all possibly fourthe walls ofthetowerhave been by covered paintings been not surfacehas the tothis series, scenesbelonging walls hideother still can tower befact, remainderthe that the of drawnto needsthe to (Attention program. same decorative the to belong scenes two these that doubt no leaves panels hanging the of representing of way illusionistic this similar and the reflects clearly compositions the The conceptbehindof representations, background. Inspite of differentthe theindependence topic its and apparent from Passion-the two paintings and gate onwooden afence, with canstill contours, painted thick,in be red discerned the the northern wallsurrounded are clearly works byis Herhead herwaist. herback to from slid down mantle has red the wide, Similarly, a by halo.the same The hand. image herneck. slidon herheadhas down covered once white shawl that the herdown back, is one of theMary Magdalenher holding hands out kneels, Christ.Her long, towards blonde hairfalls most worn ones feet. Infront his be him his on mantle. of can woundsfrom cross death the on observed The of the wholeby alargered covered with hisback barefoot right, the on stands Christ representation. series, a with identified be should but scene the reality In Francis”. St. of a walls around the parish church in Mediasch. in church parish the around walls Birthälm and the very similar chapel – arranged, just as in Birthälm, in one of the towers of the fortification 340 researchers. by beenomitted has scene second the of identification Theexact in background. the painted monk dressed in 121) a cowl sits at itsof base.him and A landscapehe awaits thewith wounds a little from church the seraphim on the left visible side hoveringis above him. Representations of altarpieces in the form of wall paintings are known in Transylvania from the chapel of Hisheadishalo. by A occupies surrounded a imageanda the rightthe of rock side The imitation panels are obviously not aiming to represent an altar-piece and their and altar-piece an represent to aiming not obviously are panels imitation The itin makes technique the anddifference the of paintings the The state of conservation (Fig. III. 122) The representation was simply called “another scene from the life the from scene “another called simply was representation The 340 They are a simple illusionistic play, quite fashionable quite play, illusionistic simple a are They 103 Noli metangere Noli (Fig. III. (Fig. CEU eTD Collection edoctj sumus et clarissimam facti habemus experienciam huiusmodi urbis construi perswasit Illa autem omnia non obstan. Neque pensan.Ut ex reuera (se) intellectu Incolarum nostrorum eciam precipue Testudinem lucidissimam inEcclesia Beatissimi patris Nicolai patroni Ecclesiarum Turrium menium In muro nostre Ciuitatis prefulgen. pro decore et tuicione conseruationeque obfuscare potest Item proprio ingenio attinctis quoque manibus proprijs certa Edificia Structurarum pro Usibus laudabiliter tenuit pariterque eciam rexit absquequavis nota, vitam cuius nemo veritate dicenda quouismodo honestate et probitate Nichilominusque in Sublimacione Magistratus Ciuium intra quaque et extra se suorumvestigia parentum ymitatus hucusque laudabiliter consecutus semper in omni virtutum exercicio morum Magister Ciuium presentium ostensor unacum sia virtuosa Geneloia nostri inmedium educatus laudanda 108. ” 342 341 place in this period in the church is without doubt. isin place inthechurch this period without buildingfact took important building-works. that works finishing The dateof the of the the itmarks that consider theresearcherswho opinion tothe of contributed has certainly church, working in aswe willSchässburg, see in followingthe pages. painter the to known been have even course of might Pacher-circle the of works The century. fifteenth late in the intentions illusionistic playful, same the of representatives as named Friary of Bozen, in Dominican the wall paintings Pacher’s Friedrich Ducale), of Ducal (Palazzo the Palace or certain works decoration Mantegna’s several Austrian regions. to Tirol the from through period Italy in that of the Uttenheim master or Michael Pacher could all be a not very much later example comes from Transylvania. The predella of Taterloch- the of Thepredella from exampleTransylvania. later very much comes a not very general among painters tosign intheir works such way,inan metricalelegant verse,but not is It above. shown paintings wall the to refer verses the that probable more much seems words “ the that probable seem not does it prominent, very is inscription the of place the when Even on the vaulting of thelinked the precisely enlargementandto modernization of sign building,the wantto his name tower,church, the of nave in the work considereda tremendous finished has who architect, an would Why to be one of the oldestplayedrole and inthebuilding agreat the works revaulting of mount. churchonthe the parts of the actualMichael Polner, a documentchurch? that clearly affirms, among the otherfor of town inby the Schässburg of issued 1490 council the virtues was of certificate character of the mayor that he duringrefersdatum fact the A that to hall that 1480sthe the andvaulted.was finished church mayorin “Michael works, the 1482”. purgermeister Polner There is alsoanother important sides the on and piers ofnorthern the of twoneighbourhood in the vault southern the on church: in the times three windows. Onecarved with together middle northern,the pierof 1480. naveto the The date 1483 figures of the window-inscriptions even states the role of the See: Machat 1977 Karl Fabritius: Urkundenbuch zurGeschichte des KisderKapitels. (Hermannstadt: Michaelis, 1875), 107- 1490. 16 Juli. Schässburg (…) Nouerint universi Ouos Egriegius vir Michael polnar alias nostre Ciuitatis The prominent place of the inscription: right above the entrance, along the axis of the of axis the along entrance, the above right inscription: the of place prominent The hoc opus ”, placed on the tower-vault, would refer to the building works of the nave. It 104 (…)” 341 Aninscription dates the pulpit, builtand 342 CEU eTD Collection 346 345 Augustiner Chorherrenstift,1998): 173. Künstler der europäischenSpätgotik 1498 – 1998 344 Taterloch/Seiden. 343 Polner, brotherof mayor,the studied in Vienna in1460.In 1462, he was already mentioned in are period, mentioned ina number dating of from documents years.these membersfamily, of Polnerthe have known to role playedanimportant inTransylvania that butstudied,haveseveral mayor informationthe regardingwherenot We church. doany played abig role notonly in buildingthe in butalso decoratingthe and equiping of the newly finished church, perhapson commissionthe of Michael himself,Polner whoprobably in acompletealtarpieceforexecute the in hasarrivedorder Schässburg Jacob Kendlinger to order to paint a few panel-imitations on the walls of the tower. It is much more probable andexecuted, finally 1480she the during reachedTransylvania. that theretable inBraunauwas of or where bakers’guild backsideof the Pacher-altarpiece the the amount of time in Wofgang.Sankt Hemay have workedperhaps in samethe workshop, a certain Austria, belonging of Braunauin administrative circle spent locality tothe Upper a masterimagined that ashis coming called from nameshows Jacob,originally Kendling, a Hans Siebenbürger. back circle of within side of altarpiece the the Mondsee and Sankt Wolfgang.Mondsee andSankt transported partly at Pacher’s expenses, partly at the expense of the abbot, through Braunau to in its place and complete wasobviously altarpiece the of construction The masters. by local but Pacher, by thisby Michael not 1479, wasexecuted to aninscription with dated retable, the back of side the that timeliterature in the thought been unanimously been has It Wolfgang. within Sankt Pacher the Michael of altarpiece famous the of panels backside the on found canbe Schottenmaster the circle of the to belonging paintings of example mentioned often very anda not that mentioned be must sculpturesWolfgang was painterthe of wall the paintings inSchässburg. While arguing this it matter, arriving masterof provides the additional hypothesissupport tothe Jacobus that Kendlinger of Sankt even pieces of papers. imitated on letter-types, with same the written be read, can verses metrical later.in written epigram an side right the on while side left the on Cibiniensis) They werealtarpiece contains the date of the work (1508) and the name of its painter (Vincencius Richard Schuller, “Das Patriziergeschlecht der Polner in Schässburg,” Schultes 2005, 90. ed., Rosenauer Artur Pacher”, “Michael Medersbacher, Lukas from altarpiece onthe dissertation this in chapter the see detail this of analysis detailed a more For It is not very probable that a foreign master should have been invited to Schässburg in Schässburg to invited been have should master foreign a that probable very not is It 344 Lothar Schultes Lothar paintings includes explicitly onthe the . Ex. Cat.. Ex. Augustiner ChorherenstiftNeustift (Bozen: 105 Michael Pacher und sein Kreis: Ein Tiroler Archiv 27(1897) 344-407. 345 It can thus easily be 343 346 Further, the name A certain A Marcus certain CEU eTD Collection (Jubiläum derSchässburger Bergkirche)”, 03.03.1994: 6. and Idem, “Michael PolnerPurgermeister. Eine 500 Jahre alte Inschrift undihre Bedeutung Zeitung 348 347 Schässburg. commissioning,in the arole played construction under exactly was Schottenaltar the when years in the choice of Vác. of the master,Andrew inby chapel Pécs king.Inhethe mentioned is 1484, asarchdeacon of and canon Pest for the new of highRoman altar low and from free of the arts. asabaccalaureus Vienna matricols of of University the parishthe the priestBergkirche of Schaas, in he was given the position of director of the St. Gernot Nussbächer, “Spärliche Quellen. Zur ältesten Ortsgeschichte von Schaas,” von Ortsgeschichte Zur ältesten Quellen. “Spärliche Nussbächer, Gernot Tonk 1979, 283. 22.07.1995, No. 651: 7; Idem, “Nochmals: Polner in Schässburg.” 348 Itcan easilythus beimagined thatMarcus Polner, studied having inVienna inthe Neuer Weg 03.09.1983, 10668 (35): 4. 106 Karpaten Rundschau Allgemeine Deutsche 347 Later, as doctor 9(27), CEU eTD Collection 349 examples. We do not have any information on its master and we cannoteven demonstrate that from Transylvanian restof the independent the Schottenaltarandcompletely the on dependent Birtälm altarpiecebetween stands out quitethesethem on its exclude paintingsown among1480s. Itwould be very assume thus to tempting the of existence a largelocal workshopthat the others.this Schässburg.With exceptionthe Grossprobstdorf the of panels, all date works tothe these could Stylisticallypossibility all marked geographical narrow by quite Birthälm between a triangle region, and Mediasch, itbe same, is the from come all the paintings attributedthese that striking is most It in Transylvania. and Schottenmeister the make theof by followers produced was originally to what of percentage a certain only probably represent althoughquestion very examples preserved pieces. The of numberlargeart such a through Schotten-workshop therather stylistic more complex. and technical was produced. Schotten-retable The differenceswas under camethe from his Vinckwho certain Transylvania. It that abbotship Matthias in been Suckale, 1467had a Abbotof Scotts the of Vienna Monastery the since the that by andwhichwasalsoaccepted to, referred which first to Takács fact by Imre interesting the most importantmost rolefinalization in of Schottenretable. the the Pleydenwurff in Nürnberg, toVienna was invited afterwards has and played undoubtedly a hasSuckale out,came pointed studied inof from theworkshop Transylvania, Hans asRobert Apainter who, Siebenbürger. Hans came region from called with the who a painter orperhapstheleading himself mightbe mastermasters identified of Schotten-workshop, the leading of the one that fact bythe primarily explained been has be and can The feature belonginginfluence, large preserved inthefairly mirrored tothis numberof paintings circle. bythisstylistic hasits the aspecial among place territories touched spread.Transylvania boundaries of historical impactof the its methods,this workshop, paths andthe along stations and geographical, the cultural delineate would which topic the on systematic overview nois still there point, this on information considerable have contributed of research pieces many fact that spite In of the Europe. in Central Schottenmaster of the influence wide-spread Summary. Transylvania’sspecial role for the Schotten-followers. Suckale 2004, 376. It is therefore evidently not by chance that Transylvania reflected the influence of the of influence the reflected Transylvania that chance by not evidently is therefore It There is still a great need for art history scholars to devote an overview study the to study an devote overview to history scholars for art need is a great still There 107 349 The story is made even more CEU eTD Collection degrees. The second half of the fifteenth century saw a considerable increase in the numberincrease of inthe sawa century considerable fifteenth the half degrees. Theof second have university to were by by frequented wishing far most Transylvanians that of that Cracow Transylvania in that period. University registers show that it was the University of Vienna and in particular very as something behave understood not to ofcourse does education Viennese Their Schotten-retable. the of that workshop, Viennese leading the of works studied in in Vienna this whenperiod, have could they easily become with aquainted the ashaving alsodocumented whowere commissioners supposed also are There Matthias. King with of royal hadlively contacts the court Schässburg in altarpiece to and Polners relation the retable Mediasch regarding Thabiassys the the families, both Saxon the Besides, community. would have had high a fairly inposition and society a considerable role andsocial in status families these then assumptions arecorrect our If this on question. data some additional situation.familiesidentification ofthe The persons these behind or commissions may offer Schässburg, but he very probably also painted an altarpiece for the same church. though he that invitedwas not simply from far awayfor executing the wall paintings in can be It supposed acommissiontwo. or for invitedonly he was whether herea workshop or had he has whether to regarding data no in Transylvania, spent he has period the of length the about information no have we however, Schotten-workshop; the of neighborhood immediate KendlingerJacob coming from inAustriaSankt Wolfgang was clearly in schooled the by its couldbeen nature but surelynot imported, executed onthe spot by master. a foreign paintings in the church-tower of Schässburg represent an excellent example of a work which in Thewall wereexecuted milieu. same weconsider the which from Grossprobstdorf, functionedinworkshop by is Transylvania stylistically closely panels supported the related foranything working sculptor in aboutthe Thethis assumption or workshop. the that say possible to is not it retable, Mediasch of the parts sculptural the loss of complete to the individual restof paintingsthe areobviously style. The weaker quality.of Unfortunately, due Sorrows with the panels three while the collaboration of a workshop resultis altarpiece the the that haveshown Mediasch retable panels of the eight Birthälm church,reusing through andrepainting fifteenththe century in panels 1515. The having been the of newlybuilt for the chancel assembled presentaltarpiece the questionable, itlocally and imported.was Evenproduced its origin, not its primary place originof is Thus, the preserved examples offer a fragmented image of a complex, far-reaching a imagecomplex, of fragmented offera examples preserved Thus, the and the and Crucifixion can be attributed to the leading master, who clearly hasa who clearly very leading master, to the can be attributed 108 Bearing of the Cross, The Resting Man of oftheCross,Bearing TheRestingMan CEU eTD Collection (that of Constantin Cr of Constantin (that Bucharest in collection aprivate from 1963 it in acquired Museum Brukenthal The painting. panel Transylvanian of rubric the under bediscussed it cannot However, here. analyzed circle stylistic tothe connections the representing ofthem, one Schottenmaster-followers: of the context the in be mentioned should panels other Two Transylvania) in Cluj, december2007.(under publication) m Erdély régi “A conference the at given the or Paper research). regional of Marosvásárhely, from difficulties panel called so ofthe origins the (About buktatóiról” kutatások regionális 354 relationship. panel differs so much from the details of the Mediasch retable that I would not dareCrucifixion to speak panel of in Mediasch.suchon the a close Inrepresented spite ofPilate the ofhead to the indubitable is related It image. ofthe similarityside left onthe of standing the figure two figures, the of head-type the rest of the Munich considers it to be aproduct of Mediasch the workshop. (Suckale 2004) This hypothesis isbased mainly the on Ursula the representing painting isa here upon betouched to needs that panel Another one. German Brukenthal Museum) itshould not be attributed to any Trasylvanianof the workshops but rather toaSouth- wife inTövis (Teiu Museum of Fine Arts from Budapest should transfer 100 Korona, the price of the panel, to the address of his 353 in workshop the of Mediaschthe altarpiece.Radocsay 1955, 180. 352 Lajos Feny 351 350 Gallery. over all as originating in Marosvásárhely, a panel registered isTransylvanian of detail Thepainting inquestion the Schotten-followers. the of circle the of discussion the into today brought be could inthat theabove, analyzed posessionaltarpieces of the Hungarian National attending both universities. Transylvanian students suggest that inMeran Kosice), the from (Kaschau, Kassa high altarpiece (especially the large workshopfrom Upper Hungary art of Pieces istoday. known far as least as - at Schotten-workshop, the of the Schottenmaster Szepeshely) Kapitula, in Vienna was Itsopen production to a variety inTransylvanian but very origins, stylistic strong support its links upper Hungarian provenience. theof workshophave not does panel the that has prooved, research newest ofHowever, Schotten-followers. the altarpiecestill observable strongly master the suggest that of panelthe belonged within group the of in Zipser Kapitel123). (today Slovakia: there scene canberecognized a Crucifixion from detail preserved fragmentarily Spišská links followers tothe undoubted Schotten-workshop. the of withis large a’ It patterns. day backgroundthework presents golden decorated side that in awoman front elegantlyof feast-day a pressed side showed saintdressed, encrowned, Suckale2004, note no. 47. Radocsay already considered the panel, based on its feast-day side, awork by a younger master who worked Inv.nr. 3713. The panel is registered as coming from Marosvásárhely because it was acquired from acertain from acquired was it because Marosvásárhely from coming as is registered panel The 3713. Inv.nr. See Tonk 1979, 44-51. Martyrdom of Saint Barbara See the attribution in: Emese Sarkadi Nagy, “Az úgynevezett Marosvásárhelyi tábla eredetér tábla Marosvásárhelyi úgynevezett “Az Nagy, Sarkadi Emese in: attribution See the The composition of the painting, the recognizableface, the colors and types of garments , from a private collection in Munich. The panel has already been mentioned above. Robert Suckale Robert above. mentioned been already has panel The Munich. in collection private a from , So far, arethese all influenced by of examples preserved Transylvanian painting the 351 Ę , clerk of the Hungarian State Railways in Marosvásárhely. Feny The image is part of an originally fairly large panel, painted on both sides. The ú ). (See: Inv. No. 320/1908 in the archives of Museum the of Arts, Fine Budapest). ă ciun). Most probably (in spite of the attributions in catalogues and exhibitions of the exhibitions and catalogues in attributions ofthe spite (in probably Most ciun). can can be wellsupported. is by held Brukenthalthe Museum (inv. No. 2239) and presents obvious 353 109 350 There is a panel in addition to the Ę asks in a telegram in 1908 that the 352 Ħ vészete” (Art of the old ofthe (Art vészete” The small and very and small The 354 Martyrdom of Saint and elsewhere Ę l, avagy a l, avagy (Fig. III. CEU eTD Collection Transylvania obviously occupying aprominentrole in theiritinerary. style andmotif-collection acquired intheViennese all workshop with central over Europe learn. wishing spreadthe people then from These abroad, to and apprentices coming painters 110 CEU eTD Collection to provide an image of the research that has been dedicated to the topic. to the dedicated been has that research of the image an provide to order in here overview an in shortly them present to is necessary it However, paintings. ofcertain analysis the in 356 back to the topic at a laterpoint in this chapter. 355 provide the fullest possible image of his activity. hisany gathernor did paintings, of try togetherall might anyone to data,thatthe be usedto of analysis a thorough however included never works, his and name his mentioning articles historical art numberof high The fairly known work. his earliest Taterloch, from predella person of very work. and successful active working craftsmen life.Thenumerous ecclesiastical and in cultural economic, lifealso but political, there city the played that aprominentrole intheTransylvanian Middle Ages,notonly in artistic could production of Transylvanian winged altar-pieces. was The workshop located in Hermannstadt, thus the day of hey asthe same period in the exactly a century, of leasta quarter for at functioned take first time opportunity the to outline aTransylvanianThis altar-building workshop. workshop advantage the for provides facts coincidence of these The fortunate 1525. to panel dated preserved last ofmentioning asinhisa painter 1500–with respect to knownworkfrom earliest 1508 –andhis all the his afairly first between long followed canbeinterval for clearly technical development circumstancesstylemethodologys, beginning with secureattributions.the Thus, his hisoeuvre, stylistic- and period. in this often not inTransylvania done most he- something works; of date these the placedon necessaryhim and to based signature be onthe can attributed have that preserved numberworks been of a fact, that inlies the exactly Hermannstadt from for Vincencius painter the significance of their The art. Transylvanian in fifteenth-sixteenth-century artworks haphazardly remaining names,Painters’ be evercan which hardly survive,only with rarely connected the sources historical the and Vincencius on research Previous sixteenth century his name in 1871, in name hisfrom the connection altar in1871,Reissenberger with to the Heltau. referred first mentioned was Ludwig who Reissenberger nineteenth century. eighth the It the decade of Vincencius. Pictor Cibinensis.of Thedevelopment a Transylvanianmaster in the The literature on the works of Vincencius will be referred to and commented on in a much more detailed way detailed more a much onin commented and to bereferred will ofVincencius works on the literature The Certain researchers doubt that the same person could have beenthe author of all these works, -we will come 355 It is exactly the above mentioned features that raised the interest of researchers in the of researchers raised the interest that features mentioned is above the It exactly The mentioningearliest works Vincencius andforshowing appreciating date his art, to In addition, particular paintings can be connected to his workshop, using critical Vincencius Cibiniensis pictor - as he called himself in- ashecalledhimself theinscription on the 111 356 CEU eTD Collection 366 95-96. 365 364 Siebenbürgische Landeskunde 363 ist, wo erdurch Einheirat in die Familie des Bildhauers Simon sesshaft wurde.” ) 119:„Wirvermuten, daß Vincencius vonAuswärts, vielleicht überOberungarn nach Hermannstadt eingewandert 362 Museums, 1909): 366 361 359 360 358 via UpperHungary. Transylvania, possibly to whoarrived been aforeigner had master the that stated Vincencius, painter. Roth,while Hermannstadtthe to commenting on altarsthe attributed andpanels study Roth.Hededicatedand aseparate person to the wasVictor Vincencius, gemachtenMitteilungen,” 357 collection. Brukenthal Brukenthal Museum, Csáky,mentions Miklós also the piece inhis tothegalleryguide the of thoroughly presenting the stylistic features backthat uphis attributions. without book, in this Vincencius to panels other several attributed he also works, signed corpus retablesmaster,inhis of much-quoted on Transylvanianthis Additionally the altars. to his history Transylvanian art from 1914, aswell: in back cameresearcher inhis work the to of tangentially overview-works Vincencius in by 1980s. the Richter Gisela out carried century repaint, to and prior cleaningfrom the described eighteenth altar, retable predellathe of the the historical individual important a study wherestudy heinterpreted datawith – tothe reference who owned the predella of the altarpiece for a short period. for ashort of altarpiece thepredella the who owned Sigerus, Emil of pen the from predella)the on (concentrating retable Heltau already detached Wenrich, W. by complied artist-names of list in a master this of region,the includingfrom through Heltau. this samealtar hea trip keptof in records he saw objects art of the description fairly providedthourough a thepainter’s name. inscription of containing predella the suggested Renaissance, the Transylvanian inher dedicated historian work to Balogh.art Hungarian The the same master. She was of the opinion, that many of Roth’s attributions were mistaken. In Balogh 1943, 214-216. Roth1916, 137-140; Idem: “Erdélyi oltárok,” (Transylvanian altarpieces) Victor Roth, Victor Roth, “Der Thomasaltar in der ev. Kirche zu Gross-Schenk,” Victor Roth, “Der Hermannstädter Maler Vincencius,” Maler Hermannstädter “Der Roth, Victor Miklós Csáki, W. Wenrich, “Künstlernamen aus siebenbürgisch-sächsischerVergangenheit,” Emil Sigerus, “Die Predella des alten Heltauer Altars,” Heltauer alten des Predella “Die Sigerus, Emil Károly Pulszky, “Iparm Ludwig Reissenberger, “KurzerBericht über dievon Pfarrern inSiebenbürgen überkirchliche Altertümer by Jolán many points on been contradicted has his opinion later, A fewdecades 366 that it was impossibleattribute to all the paintings mentioned by Roth to one and Beiträge zur Kunstgeschichte Siebenbürgens Führer durch die Baron Brukenthalsche Gemäldegalerie 362 Siebenbürgisch –Deutsches Wochenblatt 361 Ħ The author also dealt with the altar from Gross-Schenk in another in Gross-Schenk from altar the with dealt also author The vészeti jegyzetek,” (Notes on arts and crafts) However, the very first researcher who payed adequate attention to attention adequate payed who researcher first very the However, 11-12 (1904): 125-141 364 112 and more thoroughly,also presenting other Korrespondenzblatt Korrespondenzblatt . (Strassburg: Heitz und Mündel, und Heitz (Strassburg: . , 6Nr. 53 (1873): 102. 357 358 A few years later, Károly A Károly few later, Pulszky years Korrespondenzblatt des Vereins für Archeológiai Értesít We next come across the name . (Hermannstadt: Selbstverlag des Archeológiai Értesít 359 363 22 (1914): 117-119; (on page 28 (1905): 158. 360 and in a description ofthe andin adescription The well-known Saxon well-known The Archiv Thelate 365 22 (1889): 70 Ę 1914): 45. . 13(1879):273. custos Ę 37 (1917): oeuvre of the of CEU eTD Collection Kriterion, 1981),23-26. 16. Jahrhunderts. Zum Werk des HermannstädterMalers Vincentius.” 372 1991), 69-86, especially 71, 75-76, 80. Biserica a Germanilor din Transilvania Studii 371 370 369 (1936): 253-254. templomban.” (Artworks of inestimable value have been destroyed in a reformed church from the Arpadian the from church Period) a reformed in destroyed been have value of inestimable (Artworks templomban.” 368 (1937): 123-132. 367 century. sixteenth in the countries two the between relations economic and cultural the analyze briefly to opportunity of altarthe from Großschink. Analysis of artalsoVincencius’ provided him with the an master to detail architectural link theprincipality through artof the Romanian southern the of painter.the Gathering the known historical information on Vincencius, Nüssbächer tried to totheir restorations. pieces onthe referring information date Andrei Kertesz in his mentioning of articles works Vincencius, -complemented with up-to- chapter. relevant inthe he assesses that opinion 9ăWăú Virgil Although Roth. Victor of writings the all above and publications, saxon old the on -withoutany masters, is referring literature, quibbles. Romanian to thetopic,usually based Vincencius two the of works the to dedicated paragraph in a Balogh Jolán of lines the quotes corpus quoted of Dénes Radocsay, panel on paintings inmedieval Hungary. calledhas Vincencius,been in adopted later Hungarian literature – the especially inmuch the newspapers. 1936. in building undertaken the on of some reparation works deterioration duringa partof these former inthe on heropinion wall-paintings the 1520s.Shethe expressed to paintings also dated parishof the churchaltar fromsame name, Vincencius. She argued – on stylisticTaterloch,the basis had – that itwho was impossiblemaster that younger the authora and elder an been ofhave might there that suggested she turn Salzburgdated to 1508, could be ( the same person as the master of the Gernot Nussbächer, “Künstlerische Interferenzen zwischen Siebenbürgen und der Walachei zu Beginn des Beginn zu Walachei der und Siebenbürgen zwischen Interferenzen “Künstlerische Nussbächer, Gernot Andrei Kertesz-Badru Andrei V Radocsay, 1955,184. Márton Merhán,“Felbecsülhetetlen érték inTransylvania) donors (Hungarian Transzilvániában.” mecénások “Magyar Idem, ăWăú ú 367 ianu was aware of the opposing arguments of Jolán Balogh and Radocsay, itis Roth’s andBalogh of Radocsay, Jolán ianu opposingarguments the wasawareof i cumunic Keleti Újság ianu Besides Victor Roth, Gernot Nussbächer also dedicated a separate study aseparate person the Nussbächerto dedicated Roth,Gernot also Besides Victor The opinion of The opinion Jolán of Balogh on supposedexistencethe ofmasters thatboth two were The unfortunate event was also referred to in some articles of contemporary cultural of contemporary in articles some to was alsoreferred event Theunfortunate 1959, 797-800. 368 ă ri . 2. Galeria de art . 19 (1936, június 7): 5. ; “Elpusztított m ú , “Noi contribu , “Noi 372 ă , (Sibiu 1979), 163-170.; Idem, “Altare , (Thaur bei Inssbruck – Sibiu: Wort und Welt – Muzeul Brukenthal, – Muzeul Welt und Wort – Sibiu: Inssbruck bei , (Thaur Ġ ii la cunoa ii la Ħ m Ocna Sibiului, Vízakna Ocna Sibiului, Ħ kincseketel pusztított a gondatlanság egy Árpádkori ref. ú terea picturii de panou Transilv panou de picturii terea 113 370 Ħ The sameof point view wasfollowed by kincsek .”(Destroyed artworks) Aus Urkunden und Chroniken 371 ), with the occasion of the ú i sculptura.” ă nene din sec. XV-XVI.” dinsec. nene Hitel . (Kolozsvár) 3 (Kolozsvár) . Catalog. 800 de ani Pásztort 369 Radocsay . (Bukarest: Ħ z 16 CEU eTD Collection Rechnungen1880 ”SimonSchniczer den28” (Bruchstück einer Hermannstädter Thorhutrechnung aus 1485 und 1486), 375 painter. this to referred also data this if uncertain very ein ort.” (Hermannstädter Provinzialrechnung des Georg Sartoraus dem Jahr 1492.) Ibidem, 135. However, it is However, this form is associated with the word “master” rather than “Moler”: Item masterVicens Rechnungen flor 12 und 374 373 Simon (Fig. IV.25.) right side of the predellain Taterloch, the earliest altar attributed to Vincencius, dated to 1508 years.these Amore interesting from detail hislife can be deducedfrom inscription the on the during Hermannstadt of city in the painter a taxpayer already was Vincencius that us informs from book in account Hermannstadt. apartially “Vincens Moler” preserved seriousdoubt reason tothisis identification, mention a from 1500by around a certain no is there and in point, master the with identified be unequivocally could which name, the of Thefirstoccurance issparse. Cibiniensis master Vincencius life the person of and order to demonstrate why this is a reasonable theory. The information from written sourcesin arguments different chapter will on present This master. andthesame of one oeuvre to the belonged by considerVincencius, thatall works a certain Transylvanian signed preserved the who researchers itself align those logically with will of dissertation The problematic this Vincencius are mentioned in the book: one from Taterloch and another from Gross Schenk. to attributed workshop of -only Lutheran Bishopric, retables conservatorthe of two the piecesin being Saxon in preserved 1980s had in beenchurches the and which restored the used in procedure inKronstadt. theirHowever,workshop asthebook only deals with the always referring toprevious literature and addingshort bits of information on the restoration including dictionary-likedescription iconography, pieces,the the short, of explanations of is mentioned assuch in many discussions of Transylvanian retables. AcertainSimon Schniczer ismentioned in1485-86 in a partially preserved accountbook from Hermannstadt: “Vicens Moler lot. 5 debet”. (Bruchstücke vonSteuerverzeichnissen ausder Zeitum dasJahr 1500) Richter 1992, 153-159; 240-247 375 The text, written in minuscule, shows that the altar was completed by a sculptor called by a sculptor wascompleted thealtar that shows in minuscule, written The text, octavo” domini Millesimo Quingentesimo Anno Cibiniensem pictorem Vincencium Simonem generum sculptorem et suum “ The book by Gisela and Otmar Richter represents the latest literature on on topic, and the literature latest the represents Richter by Otmar and book The Gisela Perfectum est presens opus permagistros presens opus est Perfectum and his son-in-law, the painter Vincencius from Hermannstadt. By the end of the 1880, 270. There is an earlier mentiondated to 1492 of the name in this same formof Vincens. : , 111. The same partially preserved account book mentions “ Simon Snyczer den 28”. Ibidem, 28”. den Snyczer “Simon book mentions account preserved partially same The 111. 114 373 The authors offer a 374 This only data CEU eTD Collection common guilds became differentiated. became guilds common insidethese variousiseven the fields .Infact,how it when and not territories clear speaking written sources at this stage in the research. However, the promisingly large number of still of large number promisingly the However, in research. the stage atthis sources written 381 képe és egykori selmecbányai f látjuk.” (The bequest of the artist: as we see it today) sculptor. time, sculptor’s guilds mustalready have been organized in common in at Hermannstadt that guild. local the member of became has inlearnedVincencius anative wanderings who Hermannstadt, thetrade of or Transylvania as having worked both as documented painters were masters andwhere as Hungary sculptors. medieval from See: examples are Miklós there because Mojzer, “A fest Isay theoretically, trade. which branch of commonthe guildthey wanted to belong to had and to proove their mastership in thatexact However, known the guild’sstatutes show – that at least theoretically – the masters were required to decide to sculptor as he belonged common tothe guild and his workshop was capable of executing both types of works. think that Vincencius’s father-in law, Simon, in certain cases called himself a painter entry with the name of and a certainin painter other called Simon.(“Simon casesMoler lot . a 3 debet”). It would be tempting to 380 workers is mentioned in1523. (See:Nussbächer-Marin 139-141.) 1999, in the case of the guild inKronstadt where the common guild of the painters, carpenters,could also belongedhave sculptors tothis same one. (See: Vlaicu 2003, 264-267.)and We glass also know about asimilar example also shows thatthe guild functioned incommon. sculptors The very probably did not have aseparate guild and 379 to the fact that hints ourperhaps master and came unusual fromquite was distant this time lands.the at Transylvania In retable. the signs Vincencius that usual all at 378 377 wirdselten mehr alsein Name in denSignaturen genannt.” 1967,Huth66. 376 be imagined. 126. It cannot be decided definitely if this master is identical with the father-in-law of Vincencius, but can easily in accepted guild. the from exempted a seriesof –mainly to obligations connected tax paying he –after hadbeen a guild master widow belonging orthe of was a to married daughter the someone who advantage of a well-known of point inalmost all statutes according guild period, which that to have andpartner Thus,Vincenciusevidently to amembertaken seems workshop. the of contracting Simonin thattheeldermentioned ismastersculptor wasthe placesuggests first the party, the one who undertook the commission, while his son-in-law was his even rarer that there should be more than bemorein name than one should signature. that there even the rarer on the work. However, it is notat all typical, that sculptors signed themselves as such and itis indicated be should altar-piece an tocomplete worked who people several of names the that observed be may tendency increasing ageneral, century sixteenth the of beginning fifteenth, Forexamples see Huth. 1969, 73-76. The page of the account book from around 1500 where the name Vincens is also mentionned contains an contains mentionned isalso Vincens name the where 1500 around from book account ofthe page The The statute of the guild of the painters, carpenters and glass workers from Hermannstadt from the year 1520 Being a young master, at this point practically a beginner , working as a colleague of the elder Huth 1967, 11. Simon, it is not ”SignaturenvonBildhauern, diesich ausdrücklich als solche bezeichnen, finden sich sehr selten, (…) ganz 379 Unfortunately, is this all we candeduce personof aboutthe painterthe from the if a painter could gain his acceptance to the guild by marrying the daughter of if of tothehis acceptance bymarrying a daughter gain the guild a paintercould 380 The common-type of isnotguild atall unique in history guilds in theGerman- 377 Whether he was a stranger who came to Hermannstadt Whether whoduringhe wasstranger to came a his Ę oltára. (Budapest: Magyar Nemzeti Galéria, 1997), 9-25. 381 378 The inscription Thesuggests painters’ the that and also Magnificat anima mea dominum. MS mester Vizitáció- 115 Ę hagyatéka, ahogyan ma 376 The fact, that the that fact, The CEU eTD Collection painting signed byVincencius in thechurch of Salzburg ( Schenk/Meschen, panels the from Heltau heldin theBrukenthal Museum and the wall from Gross- retable the Taterloch/Seiden, from are theretable context inthis be discussed to works The period. altar-production the the makeof general about conclusions me some to the methodspermit willalsolife,painter. Such of and the origin closer, only education not to and technical analysis paintings of the attributed masterto the will leadunquestionably us The last known work). usevarious historicaldated of art methodssuch as iconography, style of works Vincencius thislong covers afairly his (betweenhis period first and1508 and1525, the For role. larger a play will preserved been have that works the of analysis the that means lackhow these historicalabout The functioned. sources workshopsandguilds of present gives thatwith us hope Transylvanian moretime canbelearnedabout painters, sculptors, unpublished historical from data in period the collectionsthe variousof inarchives Romania, style-critic methods. style-critic by mainly using tothesameworkshop willhavebeen, be attributed or that be considered will pieces additional certain However, master. by the works signed known areall the these 116 Vízakna, OcnaSibiului ). Sofar, CEU eTD Collection 382 tummultuous Reformationtummultuous period. master has Simon’s activity alsocompletely disappeared,most probably the during gable. lateGothic original information theno retable’s is its on There both ends. deep arch on a upwardsfairlyto which predella, high widens mobilea seton wings, stable a pairof and common for awingedis one retable, still central The obvious. shrine isflanked byapairof deal.a good to piece of the character original modifications, Baroque additions andeven repairs,numerous later whichhavechangedthe century. beginningat the of nineteenth churchthe the Taterloch and of to sold Taterloch, although it wad originally ordered for the community of the neighboring from Seiden as altar the in to literature the referred is cinsistently Vincencius, master of known work altarpiece Seiden/Taterloch The painted induring the restoration. were that -losses figures, the of eyes out poked and faces scratched the showing photos by the documented also is extent acertain to altar the to damage caused enthusiasts Reformation ofthe reactions overheated first the places. their from removed been already had sculptures the time by this that suggests 385 identification. must havefront-baldachin) and the placementhosted of the two imprints exactly underthe first two arches suggests that the shrine imprint covered. three were background the on of shrine-sculptures of the twoprints figures. sculpturespaintedoverduring the restorationwork, shrine’s the on original, three-arched vaulting-architecture and also Unfortunately,the the of the background, photo-documentation of the Kronstadt restoration-workshop.part the Whenoriginal brocade-pattern onthe background of shrine central was photo, the archive an on be observed could the structure shrine original number weof thedo baysnot384 (justhave of the asnext restoration orthe dismountingany it should be possiblethree-arched to observe what type ofinformation gable belonged to the altar. 383 structure638. thatof the would help us in their some kind of significance of these two saints in saints Seiden. of two these kindsome of significance may insome befound local cult, perhaps very representations lastm, not these wide-spread choice for of the explanation Demetrius. The of St. another Valentine and of St. scenes, that Annunciationdepictionstwo half ontheupper to wings,related the of life the Virgin,the of the andThe each other. to related evenclose inner arenot side the on of representations the themes the Coronation, are followed on the lower section by two martyrium Fabini,2002, 736; Hans Hermann: ”Eine Entdeckung (Altarbild in Taterloch)”. The date of 1584 scratched in the background of the shrine at head height for one of the former figures former the of one for height athead shrine ofthe background in the scratched 1584 of date The As mentioned below in the detailed descriptionof the retable, imprints of the formersculptures and of the occasion the On gable. of type the indicating ofjoints, traces some preserve sometimes can board upper The 383 The altar nowadays presents a somewhat odd impression at first sight, because of the of because sight, first at impression odd somewhat a presents nowadays altar The earliest the from Taterloch, church of the chancel the decorates presently that The altar The iconographic program of The iconographic wingsimpression.program a painted the of gives random rather The The sculptural decoration of shrine the of decoration Thesculptural (Fig. IV.4) 385 117 (Fig. IV.1) 384 that wouldbeen the have for only evidence (Fig. IV.2) However, its basic structure, a very Although the photo only shows the Die Karpathen (Fig. IV.3 ) 382 The fact, that fact, The . 7(1914): CEU eTD Collection 387 here. be mentioned could der Gotik Kärntenin Filalchurch St.Lambertus in Lampsberg, dated to around 1490, reproduced in:Janez Höfler, German Paintings. 1350-1550 Inzigkofen, near Sigmaringen- reproduced in:Isolde Lübecke ed., Bogeschdorf) by Hans and Jakob Strüb, dating from 1505 from coming originally those to from Augustinecharacter the Convent in of similar (very panels orthe 114.; 2005, Schultes in: reproduced Kremsmünster), 386 archangel on an identical the engraving topic, In comparisonstatic. to Dürer’s on very moment of the arrival,hand that appears rather stiff.In spite of the fact thatthe the painter has portrayed themotion angel at the is not energicThe him Virgin receives behind of kneeling anastonished aprayerstool, with herleft gesture at all and the angel’s position is quite retable. onall Taterloch of the panels the detected of technical indeficiencies his drawing of and knowledge painting. can Thesefacts be clearly becausemainly creations, intoinclude his own these ablehe toorganically wasnot elements, have “fashionable” seems and several patterns madeuseof pictorial to solutions, of a number he Although the anatomy correctly. human reproduce and perspective adequately present thisthat masterwasnotableapply. to In addition , Vincencius alsoconstantly to struggled asmodels were used that compositions inthese details many therewere delicate However, period. in the scene certain that for solutions compositional well-known were arrangements type.Such simple common mostand the be traced, cannot source pictorial concrete when their stool, with inminuscule, inscription the words the with of angel: the prayer the behind (?) curtain green the of function The school-bookish. is rather however The result perspective. aspace with create intended to painter the that show all behind, behind such from curtain as the Virgin, wall the off brick closing details space white the red the presenceof figures, the two between the prayerof stool the placement The is missing. Taterloch gives the same impression as a seated person. The form was adopted but the content way (one can almost feel how quickly he has entered the room), the Gabriel on the panel from IV.6.) asin well. countries -speaking German found be can examples similar of a series while arrangement, same the display Transylvania The retables from ( from Braller The retables in very eightnot only inbutpanels widerpraxis. also isa common Transylvaniaprogram, B 83 (132) and Adlwang in (preserved 1490 around from Waldneukirchen from altar ofthe wings the See where in in theangelis similar but a very much represented position morea dynamical The angel of the Annunciation scene comes into the room from from room left. the into scenecomes Annunciation The angel the of The compositions used by the painter are not very original. Most of them are, even The closed retable with the series of sixteen saints arranged in pairs decorating the in decorating arranged pairs saints of withsixteen series the retable The closed . (Klagenfurt :Verl.Geschichtsverein für Kärnten, 1987), 143.And many otherexamples . (London: Sotheby’s Publication, 1991), 380. Or the wings of a retable from the Brulya, Bruiu 386 ), and from Bogeschdorf ( 118 The Thyssen-Bornemisza collection. Early collection. Thyssen-Bornemisza The Szászbogács, B Ave gra(tia) plena Ave gra(tia) Die Tafelmalerei (Fig. IV.5.) ă gaciu 387 (Fig. ) in CEU eTD Collection among Hungarianthe but also among European representations of saint’s the martyrdom. representation – depicting the executionwith a sword, placed instead of a prisonHungary) in Budapest:Balassi open Kiadó, 2007, 158-204, air – here especially unique183-184. Terdik considers not typethe only of Tóth Péter ed. above hishead followsunquestionably Dürer’s St. Sebastian stamp his with hands adeadtree to The figure tied many martyr the Dürer. of of on passion scenes hides hislefthand inhis This coat. figure is a clearallusion Pilate’sto figureas represented He histurban his leans boots. cap and a handcombined on staff with with and rightred red largedecorated with a white fur along white a green Demetriuscoat collar, scene, wears during in century St. man Theelderly theafterwards. fifteenth whobearswitness and the martyrdoms saints’ various as as well on representations passion several on encountered same applies for two the conversing, elegantly dressed menin background,the who may be The scenes. in martyrdom character is awell-known head his behind hands his both with misdrawn)liftinghis is Valentine,sword head-position of executioner grotesquely (whose St. were wide-spread andpaintingsmotions period. thatthe of engravings on the legs of Christ, his cloak covering the knees follow the anatomy in an unnatural way. he tries hideto the problem with dark shadow spots. The same uncertainty can be observed on knees, Virgin’s of the depiction front-wise with cope correct not the Hecould representation. frontal of with difficulties the clearly painter fought In thisin joined case,the hands prayer. her with representations, of types these on kneels usually frontally, depicted Virgin, The them. above form a dove of in hovers Spirit Holy the head,while Virgin’s the on crown the putting athrone, on other each to next sitting usually Son the and Father the God ceremony: during thefifteenth century. period, By this all divinepersons three theirintook place the versionsappeared inseveral Thevarianton this centuries. the developed Taterloch over panel Saint in Hungary, see most lately: Szilveszter Terdik. “Szent Demeter a m 389 388 withthrough a large sword. forwards,is leaning in hisbeingDemetrius shown a natural reaction to stabbed decidedly position. saint’s the of modification slight a with iconographic pattern. iconographic it whetherisin sceneor place open taking interior the air. dom(in)us tecum On the panel representing the Maryrdom of St. Demetrius, on the iconography and representations ofthe representations and iconography the on Demetrius, of St. Maryrdom the representing panel the On B 55 (71) The compositions of the two martyrdom scenes are also comprised of figures and The composition of the Coronation-scene nevertheless followed awide-spread nevertheless of Coronation-scene the The composition Szent Demeter Magyarország elfeledett véd , is, left unexplained.The makes background it uncertain whether this is an (Fig. IV.7.) 389 The representation-type of the Virgin’s Coronation 119 Ę szentje (Fig. IV.9.) . (St. Demetrius, a forgottenpatron saint of Ħ vészetben” (St. Demetrius in art). As compared to Sebastian, to As compared 388 , dated to 1500/1502, dated to , (Figs.IV.8, 10.) The CEU eTD Collection of the Man of Sorrows was the model for the central its with similar figure wasimage, inthe central for model the the of Man the Sorrows of and he clearly put the greatest effort into painting this part. ( painting this part. into effort greatest putthe heand clearly although was mostthis part important considered the obviously of by retablethe painter the in front it. “acting” figures merely of scenery the of with theatre are reminiscent of imagecase. in hills various background The an components isalsoobvious and trees this missingmentioned betweenthe However, above problem the the of organic connection sky. asunset-coloured landscapesunder asmountainous arerepresented closed retable the dating make it possible to speak about a direct connection between the two. (the woodcut was ordered from ordered was woodcut Düreronly (the 1512)in two. the between connection direct a about speak to possible it make dating their nor Taterloch from that and Dürer-figure the between differencies the Neither B23(181). toDürer): marks 391 390 while and there is the same problem with Dorothie’s and Catherine’s left. twisted, Servatius arestrangely St. arms and hands. The left arm of John the Baptist ismuch too short, the left elbow and wrist of in hisof depiction is present can also representation anatomical hadwith correct painter the noeachother.The mentionedwith difficulty independentpreviously organic connection to ablewas not apply to convincingly. method this The figures represented appear tobe quite Vincencius intention, this show clearly other, each face they way the panels, Taterloch the on andof Although saints arrangement gestures the the whatwould to be enumeration. asimple row of on followingvivacity of iconographicsaints this addinga touch retables thus program, shown intogether is pairs obvious. This usual loosen was the way to up the otherwise rigid his left knee. The same gesture can be observed on the representation of St. Catherine. details, such gestures motionas the Andrewof ofliftingSt. uphisholding mantle, itabove the large “Ehrenpforte” representation. large“Ehrenpforte” the figure of St. Gregory, some early study,made perhaps for the figure of St. Arnulf, standing on of of Onophrius, Dürer’supper row) engraving, aroundto 1502 showing dated same the as thecompanion saint of the panel third (on the Baptist John the figure of St. the For sources. pictorial concrete the saints follow standard representation types and incertain cases itis even pinpointpossible to The The Arch of Triumph: B 138 (149), a separate detail of bishof’sthe figure ( attributed only with question B112 (139) The relation is similar between figures and background scenery scenery background on predella, figuresthe is and between The similar relation martyrdomJustas in caseof of the thepaintings two the scenes, backgrounds on the The intention of painterthe todepict some personal between connection figures the Similar features can be observed on the paintings of the closed retable. Thepaired retable. theclosed of paintings the on be observed can features Similar 390 has been used. It is probably some early print of Dürer that is copied in the is copied that Dürer of print early some is probably It used. been has (Fig. IV.17.) 391 Vincencius repeatedly applies certain favourite applies certain Vincencius repeatedly 120 thehand left of ismuchGregorius long too Fig. IV.21 . ) Dürer’scopperplate (Fig. IV.18.) CEU eTD Collection appears on the left hand paper, telling posterity peopleappears ontheleft namehand the paper,telling posterity about two the of whoworked as mentioned on panel.endingsboth the signiture paper, depicted beingstuck of The already didactic emphasisof asort topic, the of interpretation textual a special of because character by its didactic on the image: Inscriptions iscomplemented Taterloch predella the on image of the character devotional the one, popular a very also is angels two the with can representation of be type this readAlthough body. very Christ’ on painted imitationsthe wounds of pieces of Christ of character Eucharistic in the chalice of multifoldthe representation types of the Man of Mass.Sorrows, the one applied here has an accentuated Thus, the beingperiod, closely to transubstantiationthe related taking onthe altar. place From Eucharistthe art, ismedieval late in shown images devotional Eucharistic issuing from point of view. The on. later bediscussed therefore presenceshould of be thepossiblethe left side. The shield has a cross-like signto with splitidentify ends on it. The heraldic representation with predella. on the hangingon heraldic Atree stands of itsone branches a red dead shield with the help crosses numerous sides on onits mountainous andthe both of landscapetop representations of a later panel by the master. The panel will 394 wing. ofthe and body ends angel’s side the right of the part figures: a larger surplices, angels’ the angel’s for side left except itself, composition the affect not did interventions these However, restoration. during completed then were that surfaces predella, of the corners lower both on missing were 393 392 sarcophagus. – almost above – the grave, while angel other the kneels by leftthe end, behind open the of front in is placed side right the on angel The objects. foreshortened in depicting knowledge his to test attempt simple tomb - aquite the on issetperpendicularly which sarcophagus, stone the of lid the on is sitting Christ intention. playful a certain mirror least at foreground painter Sorrows sittingto inhis flankedsarcophagus, by angels.two This composition allowed the play withused as in Man figure the half also of context wide-spread composition: the of an otherwise the challenge anatomy of make nakedbody the this clear.is full-figure transformed However, Dürer’s and complete the drawing of way the and head the of position the wounds, the showing hands, of perspective; the arrangement of the figures in the Studies. topic. See on the topic: Dóra Sallay: ”The Eucharistic Man of Soroows in Late Medieval Art Medieval Late in ManofSoroows Eucharistic ”The Sallay: Dóra topic: the See on paint-surfaces large that shows restoration its preceding Richter-workshop the in made photos ofthe One B 20 (42) 392 (Budapest: Central European University, 2000),45-80. The choice of the topic for the predella panel is very iconographic is from very The common the predella panel of the for topic choice the (Fig. IV.22.) 393 In the center of the background may be seen the Golgatha, recognizable by recognizable may beGolgatha, the seen background Inthecenterof the 394 Christ’s upper body clearly follows the pictorial source, the raised , provided by the presence of the two angels from blod by the gathering two the , provided presenceof the Vir dolorum 121 is wide spread on winged retables of the on a predella, the most popular of all (Fig. IV.23) .” Annualof Medieval CEU eTD Collection 397 andere Studien zum christlichen Bild ‘ ed., Suckale Robert Schmerzensmann.” als Erlösers des Darstellungen Rechnung abgeschlossen. Der Mensch kann nichts mehr ändern;”Rudolf Berliner: “Bemerkungen einigen zu also der Ton auf dem gegenseitigen Verhältnisse von Erlöser und Mensch, so ist ihm innoch möglichsei, dersich das Wirksamwerden StundevonChristi des einmaligenSühnetod Gerichtes für ihn verdienen,zu liegtda die litt ich für dich – das leide ich für dich – was tustdu für mich” und zugleich inihm die Hoffnung erregen, dasses Bedeutungen hatten.Sollen die ersteren für das Gefühl eine Ansprache Christi an denBeschauer enthalten: verschiedene „Das Richters des als und Erlösers oder Leidenden als Schmerzensmannes des Darstellungen die 396 that you cultivate the right, always the pious, thus the eternal joys of Heaventerriblewait for bondsyou. of Death, see, Ihave given my open arms and I have sweetly bent my face for kisses, do therefore 395 education. humantist high of a person author their was nor representation, the message of interpret the was usedhereto that a classical quotation not Nuremberg master can only be faintly felt on these paintings of Vincencius. The most obvious the of influence stylistic the ofDürer, works the back to be can traced panels the on details a number of compositional that fact the of In spite Taterloch-retable. the panelsof the painter. this aspect of law?)in aretobemadetheepigramm important for as well. another responsible This reveals father his (and Vincencius that is plausible it of retable, the masters tothe refers side leftthe out. leada good endchance to hislifeto ifhe by way being responds following theright pointed a crossgavethe spectator/reader the on fact Sacrifice the the that isbasedon relationship asSorrows Saviourhis and informal the spectator, humanthe relation to being.mutual Their messages role imageincludingthe twoimportant emphasize devotional of the of of Man the The words bespeakingmeant visible, withhisto gesture. a was mouth Christ, teeth of uttered by the Saviour himself, afact that is also emphasized in the depiction. The half opened lettering on the retable. The right side inscription contains an epigramm, written with the same type of Ihave to thank Dr. Ágnes Ritoók Szalay for comments her on the poem. dass bleiben, bewusst dessen sich muss ”Man comment: Berliner’s Rudolf see image of the meaning the For Look at me, I have suffered such mortal punishments for you, so that you have the power to escape from the 396 The lines in are written low quality a rather verse metrical thatit which was suggests Generally speaking the following can be said about Vincencius’ style based on the on the on based style Vincencius’ about be said can following the speaking Generally The verses clearly refer to the representation of the Man of Sorrows Sic perhenniamanebunttegaudiaceli” and the words are Fac igiturrectum colassemperque piumque Dulciter genasquemeas ad osculaflexi Valeres: eccepatenciabrachiadedi Mortalis: nexusutmortis diros fugere „Aspice quitantaspro te sustinui penas (Fig. IV.24.) : . (Berlin: Lukas Verlag, 2003), 192 – 212. 122 395 397 Considering that the inscription inscription the on that Considering The Freedom of Medieval Art’ und CEU eTD Collection Hunyad andpartly of that city the and church parish the of Hermannstadt. Bogath. von Petrus certain are alternately documents, from 1320s From onwards. beginning the of fifteenththe century, twovillages the the property of the provost of Hermannstadt, the city of Hermannstadt or a in theage of Hunyadis), the (Budapest: ÁKV, 1986 (Reprint)) Vol. 5,89; Ub V/501 Seiden in Küküll contemporary retables of Transylvania, itis unique with its Renaissance rosettes and birds. decorations of late gothica prominent characterusedon panels of period.the Among is from Thisornament very foliageof foliage decoration the different panels’innersides. the winged retables, got a general Renaissance way. elaborate touch throughlittle experience thewith this latter method, a methodpatterns that will turn up in his later works in a more of the tunicVincencius hadvery spots on St Peter’s still show, appliedgreen and orange illogically gilt floral and However, was used.each inthewaylight of nextto givingtheimpression changes other, as details like the cloak of St. Andrew with its dark green shadows, or the 400 399 Litaraturverlag, 1997):194-196 called“changing colours” ( muchvery fashionable apply technique a glinting folds,the tried healso onthesurfaceto of show the light highlightsusedthe to Inaddition the to garments. of modelling surface the of following the anatomy ofto the ground.bunched The very thick, folds are setoften flat cloak near portions, closely the falling figure.when or together drawn shown are they Lightwhen wrinkles nervous rich, andform represented shadow effects helped aswell, in determined works The garments the more only executed a much technique. artist to show the in his later thatwill be present continously of Vincentius apictorial characteristic apparent, is innew thedrapery-ductus wayof places, depicting a instance.other Yet figures for bishop- of two the feltin thegarments be can The sources were used. that sources pictorial See: Ilse Hammerschmied, wide-spreadin panel painting of period. the Dürerspeaks of its role and usage also in theoreticalhis writings. 398 In certain details, the late gothic the In certain details, style. drapery transitional somewhat astill transmits altar the of decoration pictorial complete The image. predella the on Christ naked half the of body the drew he way in the is similarity Dezs Ub Vol. 4, 220; Ub Vol. 5, 72 The technique of the so-called ”changierende Farben”, “Schillernde Farben” or changeants is absolutely is orchangeants Farben” “Schillernde Farben”, ”changierende so-called ofthe technique The Ę As already mentioned above, the Taterloch altar was bought from the community of the of type gothic late well-known the follows construction its in which altar, The Csánki, Magyarország történelmi földrajza a Hunyadiak korában Ę county. The place often figures together with villagethe of in Bulkesch Albrecht Dürers kunsttheoretische Schriften 399 changierende Farbenchangierende In twovillages1453, the figure partly Johannes de of property ductus of foldsthe isfollowed, partly adapted from the 123 ) based on the use of complementy colours . (Eggelsbach /Frankfurt: Fouqué . (Historical geography of Hungary 400 At beginning the 398 CEU eTD Collection 85. 403 402 401 production production have would been specially educated. its initiated who person the suggestthat the program retable the does of nor in particular anyone to point to exists data historical or representation heraldic No retable. the who ordered but from the workshop of a master from Hermannstadt. However, nothing else is known about Schässburg, much closer otherwisefrom Mediasch atthe, or commissioned not a workshop Hermannstadt.issurprisingstill belonged it Thus, to that retableforthe not church this was gothic hall-church from fifteenth the century. a chancel is thatwas the onthesubjectthere literature partof suggests Whatpoor building. present in the past medieval the of remains wall northern in the asacrament’s-niche with chancel square small,inthe Only Seiden. thechurch history of concerning thearchitectural in Hermannstadt. church parish by completely the owned being as mentioned are villages two the 1469 In Gyulafehérvár. of cathedral in the buried Transylvania for messes be forto celebrated salvationthe hisof fatherandbrother, both of King 1460s,the in Matthias theparts donated his father’sproperty the Chapterto of church’s tower. the on work construction ongoing the visit to Waal Johann Senator sent Hermannstadt activity around thebuilding century, sixteenth the beginningof ontheat architectural works church other or church seems to have lasted until the 1520’s. In 1520 the Magistrate of Georg Adolf Schuller: ”Vor vierhundert Jahren.” Fabini 2002, 695. Ub Vol. 6, 394. 403 This latter information shows that the property of village time atthis information the theof property latter showsthat This Kalender des Siebenbürgischen Volksfreundes 124 402 Although no concrete dataexists no referring Although concrete to 401 There is not much information . 51 (1920), CEU eTD Collection 406 same. the were names their that fact ofthe spite in person, same the and be one not could retables two ofthe painters the - that earlier mentioned -as consider, to Balogh either. 405 ”Vincencius-retable” to the belong not does obviously and century fifteenth the to dated be can John, and Virgin the among Dolorum of theVir the representation with predella larger the while period, catalogue annexed tothis thesis, the richly decorated abundant framing of the retable belongs tothe Baroque CentralCommission zur Erforschung und Erhaltung der Baudenkmäler Radocsay 1955 See: Meschen. from altar the presenting when wings those of iconography the describe to appears Radocsay and page particular the on described is Radeln from retable The point. on this confusion some is there indicates reference the However, point. this regarding Müller by Friedrich astudy to Herefers Meschen. in remained wings the while of Gross-Schenk, community the to century eighteenth in the sold was of retable the part central 404 space, polygonal an creates elegant wall. Vincencius background semicircularon the arch a the space through indicated vaguely whileDüreronly Transylvanianimage, on the in neck backgroundthe elements architectural being playamore role similar.important The the at string athin with fixed is it way the only with Dürer’s from different basically is thus cloak of the andleghis knee. The composition right Christ’s partof coveringcloak upper the by butthe golden occasional the woodcut, the arehidden similaranatomical difficulties to is rather still legs the position of being The moremuch frontal. have beenadopted gestures figures, especially that of Thomas is completely different. Christ’s apostle position,individual although the of the main setting The crowded. more is impression the disciples represented are arrangedin groups two on both sidesdue but ofChrist, to larger the number of The apostles painter. the of andcapabilities preferences artistic model tothe adapted the was it. of imitation as its source, woodcut usesDürer’s Christ Resurrected IV. 27) composition. crowded rather although balanced, is aclear, Thomas, scene of Doubting more practiced hand canbeobserved on paintings.these a since his style of phase mature the hasreached painter the that impression the already gives above andanunusuallylow, predella. rectangular set lunette panel, a large central of a consisting type structural Renaissance different, entirely Gross-Schenk. It differs by retable known may name the beof it village the where from found,presently retable the essentiallyyear following 1508when he finished Taterloch the retable. His nextcommission was the from the winged altar in Taterloch because altarpiece Meschen/Gross-Schenk The it was of an B49(120), around 1510. Jolán caused that Taterloch from panels to the comparison style in in difference noticeable the precisely is It Radocsay describes the altar in his Corpusas having a pair of wings. According to his informationonly the There is an unexplained gap in the oeuvre and life of Vincencius Cibiniensis in the The general approach of the composition and especially the central motive of the of motive central the especially and composition the of approach general The , 394. and FriedrichMüller: “Die Vertheidigungskirchen inSiebenbürgen.” (Fig. IV.28.) A closer examination at the painting leads to the conclusion that conclusion the to leads painting the at examination Acloser 125 404 (Fig. IV.26.) 406 405 although it is clearly not a servile not clearly is it although . 2(1857) 269. Asexplained in the The central image, depicting the depicting image, central The At retable glance the first Mitteilungen der KK (Fig. CEU eTD Collection 407 hand in friendlya fashion on the shoulder of St. Erasmus. Achatius and Cyriacus lean close to his StBlaise Thus each puts with other. havingrelationships personal quite impression of the give saints somethe of postures, of variety in a represented ends, the towards crowded formal requirements. these of halffiguresperfectly decorations. Theseries auxiliary saints’ shown suited fourteen as the looks shoulder andtwisted much large,too while his rightarm is extremely long. left behuman arms saint.of the His reproduction onthe again can observed of the anatomy hadhisChrist inthecorrect artist sittingshoulder. Child Certain ondifficulties the that radiantred cloak thatis shown flutteringbehindhim, motive athat recurson figurethe of the in three-quarters. The size of his body gives an impression of even toemphasizeorder his heismuchdimensions into theforeground andpulled greateronly represented size because of the woodcut on a similar topic from from on a similartopic1511 woodcut (Fig. IV.29.) FACIEBATVINCE(N)CIUS 1521. VIDISTI CREDIDISTI BEATI QUI NON VIDERU(N)T ET CREDI(D)ERU(N)T. THOMA DEUSME(US). ET QUIA MEUS inner onthe majuscules edge:DOMIN(US) with written both of thesignature painter, the John 20:28,29and from depictedscene the taken figure of the scene. However, the basin chiefly functionedmain containthe to the quotationemphasizes and referring to a sculpture of plinth the to alludes legs Christ’s of front in shown part central its semicircular with depression basin-like rectangular The side. right the on disciple backmost the of gesture in the apendent, like repeated, is head his to hand his lifting Vincencius. Similarly,forlikehave something form, seemto apuzzle inforeshortened pozed represented the gesture The hands from him, taken oflike asketchbook. behinda pattern over Paul?) standing the apostle standing with downwards is palmturned – the found figure with the (perhaps again of Apostle the most to the backencountered on Taterlochthe Thelefthandinpanels). of kept Thomas, heightof histhe hip, on the left side, already image onthe (aphenomenon certain gestures repeats as thepainter theeye catches It rich. very been have to seem not does Vincencius of vocabulary artistic The perspective. in very abilities strong againhisnot once for test him anopportunity to presented architecture Themountainous landscape. the towards opening and windows pillars with Renaissance B103 (136) The measurements and The measurements theform predellathe limitedof the havepossible obviously The topic of the lunette-panel did not offer much scope for compositional creation. The huge figure Christopher of St. – a certainto inspiredextent by Dürer’s (Fig. IV.31.) 407 - is set in front of a broad landscape. Grouped more loosely in the middle and more 126 (Fig. IV.30.) In CEU eTD Collection Königsrichter durcheinen Kayserl.Reuter vonderBildhauer professionfür rfl. 100 verfertigen”.) zu Christophori S. fabula die ist sehen,drüber sie oben bezahltens mit fl.praesentiert, 32. Das Aus-Werk Thomas Ap. den um diese Tafelbesonders und lies Titl. Christi H. Martin Sutoris,Auferstehung damaliger weg stund war, derselbe kahl, hierauf kauften dieGroß-Schenker Altar von dem Meschen aus die mittlere dieses Als Tafel, welche worden. die gebracht Clausenburg nach welches lassen, zu folgen 1722 A. selbiges wurde Ihm wurde es zwar abgeschlagen. abererbedachte denStuhl mit übermäßiger Einquartierung, bis man genötiget verschiedenen maln Tith. Graf. Sigismundus Kornis, damaliger zu Gubernator des Siebenbürgischen antiquität schöne Fürstentums. eine als verlangte Bild Dieses hielt. Kreutzlein silbernen einem mit Hand rechten der in auch Reichsapfel einen welches haltend, Arm demrechten auf Jesus kind das Grösse, Manns langer in uralter Altar nach väterl.Weise mit 3 Thürmen ausgeführt, in derMitte stund einschönes höltzernes Marien Bild 409 LCI8, Vol. 546-550. See fourteen. the among included often are Nicolas orSt. Wolfgang of the St. Florian, person St. as such the or saints commander, territory the on Depending unique. not is of replacement kind This lunette. the on separately represented by being emphasized was Christopher while Nicolas, of St. that with replaced was person 408 frombought was it the that is certain It communityGross-Schenk. in retable the of history the about known little of Meschen in the yearsources although there are noindications about1722. who he was on the retable itself. There is very inwritten information maybesomewhom there about retable, the ordering person with the for supposed iconographic program the retables in the of connected havebeen general would is as representations, of the choice The pieces. Transylvanian preserved the on characteristic not unusual on winged altarpieces of the period; however they do not seem to have been very elaborate. Taterloch,from panels the on way tentative in a present already were techniques Both is stronger. light but where colorof same methodthe cloths, the of on surface using lightnuancesof the the their applicationand “Schilcher”, the colors, changing of the use the beobserved: techniquescan Two cloaks. gowns and onthesurface represented the of lightandshadow by effectsof isincreased colors on the bythe created impression the Additionally, altarpiece. the of characteristic striking most richly draped cloths of the retable is now more according to the register – by Sigismundus Kornis, governor of Kornis,according governor inperiod register the – by Transylvania – that to Sigismundus least –at type.a gothicgableof well-known Virginthe wastaken The three-towered from derived altarpiece the of appearance general Child. The the with Virgin representing the itregister, wasmost probably a winged possessed in retable) awooden sculpture its shrine in old of the (asdescribed community altar-piece, register the from the Gross-Schenk, recognize. easy to arestill colors radiant shining, mostfashionable clothing and in spite of the very thin andfrayed layer of paint the once inthe depicted are figures non-ecclesiastical The discussion. a private asifhaving each other The The general iconography fourteenof the auxiliary saints includes figure the of St. Christopher. In thiscase his Matricula Scholae Nagysenkensis The iconography very are The iconography altarpiecethe represented isnot of special. three topics The . 316. (as mentioned in Roth1916 127 408 409 Actually, the vivid palette is perhaps the is perhaps vividpalette the Actually, As is related in the school and parish , 141: ” Es war allhier in der Kirche ein CEU eTD Collection 417 Meschen and years previous whoin was also a deacon inthe community Mediasch-chapter. Carl ofthe Römer, priest parish the been have to we know whom Johannes, Plebanus of Erhaltung der Baudenkmale in Siebenbürgen”, Kirchen ”Mittelalterliche Steinmetz und Baumeister derSpätgotik”, Siebenbürgischer – Ein Lapicida „Andreas Fabini, by Hermann presented as Hermannstadt, of Archives the 413 412 1970s. and decorated with asculpted baroque ornament that was removed workshop inthe layer of brown GiselaRichter a simple, with inthe overpainted was predella the that fact by the be explained can This saints. auxiliary fourteen ofthe representation its with piece bought newly ofthe predella the mention Roth of Victor that which he could still decipher the year 1500 and the words the and 1500 year the decipher still could he which sacristy. ofthe entrance 416 and sitting-niche sacrament-house, carved superbly the but also church the of 32. In the same article, Fabini suggests that Andreas Lapicida was the masterof not only the late Gothic vaulting of construction the on worked the churchhas who in Großau ( Hermannstadt, from Lapicida of Andreas works the about Hermannstadt Mwsna” (Ub Vol. 7., 297-298). He is still parish priest of the community in 1498, as he reports to the Council of 415 Karpaten Rundschau 414 altarpiece. purchased newly of the height the increase to order in preserved was and retable, this to belonged have could of Vincencius altar the under placed presently we can only tentatively state (as has already beensuggested by Richter 1992, 241) that Gothicthe predella 411 churchof Klausenburg has had asimilar history.It is knowntoday even as the Kornis-Crucifix. Krauden shrine-sculpture from Mühlbach – representing the Virgin Mary as well –was moved to Korod ( 410 priest. from 1283 it forframework for another 100florins. baroque 32florins anew, for ordered and from Meschen bought retable community the Johannes of in priest period. parish Johannes, the community the this within literature person of the wereassociated the works today.construcion exists The still that hallchurch imposing and large the into transformed was community the of basilica followingand Mediasch Stühle”, Birthälm. “Zwei inthe community powerful most third economically the was locality the (tax-units), right to hold an annual market. the obtained in 1495Meschen that fact the is upswing economic the A clearsignof century. the of end very the from especially and onwards century fifteenth the from locality prosperous two the Stühle”, “Zwei of socalled the form to inKlausenburg.hispart of own collection Ibidem. 20. CarlWerner, “Geschichte der zwei unter Stühle Wladislaus II. und Ludwig II” 1283 “Petrus plebanus de Musna”. Ub. Vol. 1, 145. In 1857, Friedrich Müller describes two tombstones, one of which bore a very much worn inscription from inscription worn much very a bore ofwhich one tombstones, two describes Müller Friedrich 1857, In de ecclesiae plebanus …ac nostrae ecclesiae canonicus ”Johannes as 1481, in mentioned already Heis Meschen”, Marktgemeinde der Gechichte der Aus –Handwerk. –Handel “Hattert Nussbächer, Gernot Thus, Gross-Schenk. from altarpiece old the of predella the mention not unfortunately does description The former The count. by way the a similar in collected were that sculptures medieval late several about Weknow 417 ) into his family chapel. The Crucifix presently standing in one of the side chapels of the Franciscan ofthe chapels side ofthe inone standing presently Crucifix The chapel. family ) into his . (Mediasch:. Druck vonG.A.Reissenberger, 1912), 70. Alexander can very probably be identified with that Alexander de Muschna, who has died in1500 412 although isincreasingthere information an about economically well developed, . (1978.05.05): 6. Christian, Kereszténysziget 416 . 2(1857): 266. Based on these data, Carl Römer suggested that the grave was that , and was followedby a certain Alexander. in his position of a parish 413 At the beginning of beginning Atthe of 27Marks with century, sixteenth the Österreichische Zeitschrift für Kunst und Denkmalpflege Mitteilungen der k.k. Central-Commission zur Erforschung und 411 ) and also in the church of Meschen. (Inventory nr. U.II. 627 in sedes Meschen belonged to the upper-, or Mediasch-part upper-, the Meschenbelonged to 414 128 (Fig. IV.32) . Its first mention in the written sources dates sources inmention written the . Itsfirst It is naturally in this Itis inthat earlierthe period naturally this plebanus Aus Vergangenheit und Gegenwart der Gemeinde 410 After this reduction of their altar, the Neither the description of the register nor register of the description the Neither and decanus. 415 As far as is known, See: FriedrichMüller, Archiv 12 (1875):296. Coroi, , 31 (1977): plebanus CEU eTD Collection Press, 1995), 73. Ort”. Michael Baxhandall, Michael Ort”. ein heimlichen an sonst oder cruft die ”in bestored to had objects the Besides, Türen”. beschlossenen mit und 425 424 de…Mwsna…applicuisse confessor,1481: in 423 7 m width of the church’s ca. the to chancel,compared However, theon it. 181 painted cm Thomas width of Saint of the a retablerepresentation had have appears should century rather small.sixteenth 422 also see 26. 1981, ofAlexander Nussbächer donorship supposed the For Mediasch. neighbouring ofthe rival a constant Meschen, of community the in aretable completeted painter Hermannstadt a that surprising less is it Thus, aprecedent. had the end of the fifteenth century, the commision of a Hermannstadt master for certain works at Meschen already421 Müller as having yearthe 1525 carved on it as havingbelonged to Alexander.Römer 1912, 70. 420 datum. this 419 mention not does Tonk Meschen. from priest parish later the as same the been may have person this that He suggests 1492, in University Vienna - the at Meschen) was originally destined for the chapel or was put aside there after the Reformation. retable decide, the whether into study the this point be at will possible not It same retable. withtempting agree indeed altar-pieceto Römer that the in dismantled 1720has been this Nagysenkenis the to according that fact The century). eighteenth in the collapsed and fortification church surroundingthe it was includedinthe wall that chapelexcept about the Meschen. of time judge atthat Binder, of Johannes order the in 1720at was dismantled from Meschen from retable chapel is the the that a note where there priest in Waldhütten ( 418 church. information number possibleand of secondary concerning the existance altars inthe sure weather the retable decorated the main altar of the church or not of church mainthe or the altar retable decorated the sure weather in 1485. studiedViennaof University the on 1521, was very 1521, wasvery in probably time,ordered Alexander’s perhapsby himself. of name tothe is connected entrance, including sitting completion niche the richly the of carved sacrament-house, andsacristy- largeWhileof works in construction the hall-church the 90s, the 1480sand probably tenth Leo the Pope of to complaint he aletter signed Mediasch. In 1520 of Johannes) deacon predecessor his (like became he also Later, law. Roman and canonical both of doctor a as Mediasch of We know that the Council of Strassbourg had determined on the removal of images Römer in1912, 1524, 57. but ”in derstill the in made altar an that exclude itself in not Mary does Virgin the to dedicated was church the that fact The After Andreas Lapicida from Hermannstadt was commissioned to work on the construction of the church at Based again on the data transmitted by FriedrichMüller, Römer considers the other tombstone Römer1912, 21. mentioned by Tonk1979, 200. Carl Römerknows about another mention of a certain Alexanderde Hermannstadt, parish The only mentionof altar,an is the referrence to a certain altar dedicated (quite unusually) to St Nicolas the 423 Carl Römer mentions an interesting data from the town-protocole of Mediasch of from town-protocole the data aninteresting mentions Carl Römer the Vincencius retable was purchased from the Vincencius from waspurchased inretable makesMeschen it 1722, 419 . Itis thoughthe died in 1525 andwasburied in church the Meschen. of Valchid, ”…transtulisset et easdemres altari beatiNicolai confessoris in ecclesia parochiali t” Ub. Vol.7, 297-298. also Entz 1996, 391-392. The Limewood Sculptors of Renaissance Germany Váldhíd ) - a village belonging to the same upper part of the two plebanus 418 129 In 1505 he turns up as procurator of town the as procurator up heturns In1505 Johannes, the Vincencius altar-piece dated to dated altar-piece Vincencius the Johannes, 424 , (New Haven: Yale University Yale Haven: , (New (There is not much known Matricola Scholae 421 422 sedes We cannot be Wecannot there is no there 425 as 420 CEU eTD Collection divergence between the Hungarian and the Saxon burghers regarding the nationality of the of nationality the regarding burghers Saxon the and Hungarian the between divergence Hungarians from Hungariansfrom 15 the Fehér county. 1350to around the Province of Hermannstadt and the so-called from Salzburg of separation attained who family Vizaknai were the theland of The owners Romanian territories the through ( and Székely the through inSalzburg extracted salt the transport to Ages Middle influenced from its beginningsby localitymining.salt The held the privilege the throughout 430 1467. See Ub Vol.1, 34 , and Ub.Vol.6, 3365, nrs. 3432, 3554. 429 Vol.5., 526) 428 176. Társulat évkönyve család származásához.” (Additions to the origin of the Makray family) geneological tables) (Pest: Ráth Mór, 1860) Vol. 4.,272-274 and Albrecht Amlacher, ”Adalékok aMakray Magyarország családai czímerekkel és nemzedékrendi táblákkal the family. Martinus is not even mentioned ineither of the works among the family members.Albrecht Iván Nagy, Amlacheroffer any data on the person of Martinus Makray in theirworks dealingproperty, with also theusing history the latterof in their names (Makray de Vízszentgyörgy). Unfortunately,Makray family was neither an important Iván Nagy noblenor families in Hunyad county, with Felpestes and VízszentgyörgyKraszna (1525) and Hunyad (1532). However,as shetheir does not offer any details tosupport her suggestion. The 427 naturally Ages, Middle the not only throughout in Transylvania, but generally in thisperiodcommissions inEurope.of types several fulfilling of painters problem the with along 426 time an that andat already of Hermannstadt immediate neighbourhood the PER WINCE(n)CIU(m)P(ictorem). 16 (1893) 82-83. ( its inscription, commissioned in 1522 byMartinus Makray,agent of saltthe treasury were different from what was thought to be their daily routine. hadpaintershandcustom often try to their that attechniques morethat general, European the also but Transylvanian the of example another represents he Thus, walls. on executed was Sibiului a commission inof church ( the Salzburg carried out Meschen, Vincencius Vincencius asawall-painter racionista Friedrich Schuller: “Über die Lostrennung Salzburgs von der Hermannstäster Provinz”, Hermannstäster vonder Salzburgs Lostrennung die “Über Schuller: Friedrich The right was first given to them by King Andrew II in 1222 and was later renewed by King Matthias in Although in1403 it was menioned as JolánBalogh mentions that Martinus Makray may have been a relative of Valentinus Makray, archdeaconof dissertation, in this earlier discussed was indeed, occurance a daily be considered could altar-commissions If The wall painting on northern the wall of churchwas Salzburgparish the according to of community for the retable the of completion the following year In thesame ). Besides his panel painting, thisweknow isthe onlywork offrom Vincencius that ): MARTINUS MAKRAY RACIONISTA WYZAKNENSIS 1522 FIERI FECIT 1522FIERI WYZAKNENSIS RACIONISTA MAKRAY ): MARTINUS . (Annual of the HIstory Acheologyand Organizationfrom Hunyad County) 11(1900). 153- per th terram Siculorum aut per terram Blacorum autper terram Siculorum century onwards, a fact that also led at a certain point to some 430 The oppidum was inhabited and run by both Saxons and Saxons both by run and inhabited was oppidum The civitas 427 , later it clearly figures as The life and development of in of situated The locality,the life and development 130 Königsboden . (Families of Hungary with coats-of-arms and HunyadmegyeiTörténeti és Régészeti oppidum . Thevillagebelonged thus from 426 . (Ub. Vol. 3., 294, Vol. 4., 60, ), without payingwithout tax. ), Korrespondenzblatt oppidum, Vízakna, Ocna 428 was 429 . CEU eTD Collection 1959, 800. offigure Judasthe departing in background.the Balogh. 1943, 116. sameThe identificationfigures V in 435 Újság templomban.” (Priceless art works have beendestroyed in a Calvinist churchfrom the Arpadian Period), Merhán: ”Felbecsülhetetlen érték ”Felbecsülhetetlen Merhán: ”Elpusztított m 434 1921), 120. 433 432 light-blue Herheadhasand Her inalong,robe. been completely dressed destroyed. radiant herhim face joining right next inato Motherof wasshown to herhands despairgesture barefoot and be will is provided here.The centerof composition the occupied bythehugefigureChrist, of dressed in a long, dark gown. He turns back towards the three women. His 431 identified in as literature previous a detail of Crucifixionthe on. point this from in common church the used Saxons Lutheran the and Hungarians him. The Calvinist to servedclose deacons or preachers Saxon Hungarian, while being priest parish the by resolved was question the century sixteenth the of half second have in century been Saxon priestandalthough the schoolmasterseems to the parish the the arch of the vault, from console to console. to console from vault, the archof the surface upperpart the limited by of of wall,his occupyingcomplete northern the the Mother, not. masteror from same the it work was another whether sameperiod, was from the if decoration this destroyed certain itis iteven in year describedmentioned that with not andnowas so connection or identified, wasnot scene The RA(cio)NISTA WYZAKNEN(sis). L(itte)RAT(us) GREGORIU(s) very similar to the inscription, onthisthere wasan worded literature event, containing reports the According to one that has been preserved,triumphyal was connected the above 1930s,namelythefield the church the until musthave decorated painting to arch.this scene:revealed) FIERIAt FECITthat is (respectively preserved decoration interior theoriginal of scene one Unfortunately, only time, today. due A wall paintings werecommissioned inall endat the probability of construction-phase. this seriesto its century. fifteenth endof pooratthe the of Turkishassault the after vaulted and partly rebuilt articles state ofcontain preservation the information it was destroyed.that at least one otherfirst priest parish (the priest). wall The scene has been incorrectly identified by Jolán Balogh as a detail from the Crucifiction, combined with the with combined Crucifiction, the from adetail as Balogh by Jolán identified incorrectly been has scene The Balogh 1943, 296; Idem, Friedrich Teutsch: Binder, 1982,159. Binder Pál. 19, (1936, June the 7 The fragmentary but still preserved painting depicts the scene of Christ’s Farewell to Farewell Christ’s thescene of depicts painting still butpreserved The fragmentary The church of the community, a basilica dating from was period, Romanesque the basilica The church dating of community,the a Közös múltunk Ħ kincsek”.(Destroyed artworks) Geschichte der ev. Kirche in Siebenbürgen th Magyar mecénások Transzilvániában ),5. . (Our common. (Our past) (Bucharest: Kriterion, 1982), 152. Ħ m 431 Ħ kincseket pusztított el a gondatlanság egy árpádkori református egyárpádkori gondatlanság el a pusztított kincseket During the fifteenth and in the first half of the sixteenth the of half first the in and fifteenth the During Pásztort 131 (Fig. IV.33.) Ħ z . (Shepherd’s fire) 22 (1936, 11), 253-254; Miklós . Vol. 1. (Hermannstsadt: Hermannstadt Krafft, , (Kolozsvár: Glória, 1937), 126; D.J.: As the scene has been incorrectly been has scene Asthe 435 , adetailed it description I of 432 ăWăú 433 Keleti The ianu. 434 CEU eTD Collection painting. German the through filtered Transylvania but reaching art Italian from coming – motifs Renaissance than opinion inmy more nothing is this Vincencius, of style the in considered been has influence Italian the as far As master. Hermannstadt of the paintings the with relation concrete ontheir tobemade statements permitsecure not does condition present their However, Vincencius. of works the far from not style in even and indate indeed are fest olasz gyulafehérvári jelleg (”Stílusában engravings. sajátságosand módonwoodcuts keveredik az German olaszfrom festészetborrowed hatása a németmotifs metszetekbwith style his in mixed being painting Italian ofthe influence the Gyulafehérvár, from painter ofthe disciple a been have must Vincencius that opinion frescoes in the Gyulafehérvár cathedral , a master considered by her to be Italian. She was generally of the 437 436 striking the including as well painting wall the on apparent clearly are painter the panels of (earlier)on present already characteristics The general painting. the dating the of well as as commissioner the and master the about us informs that majuscules in written inscription landscape was originally painted there. The lower right corner shows the already mentioned against his right leg.against his right a light green figuretunic abearded One and inaviolet altarpiece. clad them, panel of Gross-Schenk the of cloak, turnsall wear thinback laced in They preserved. poorly israther green violet, clothing pastell-nuanced blue, Theircoloured, sandals, the directionof a type alreadyis background,the agroup of departingthe badly depictedalthough very apostles preserved. seenof onthe thein Christ behind image, the side of Ontheright preserved tower. disciples andabetter house damaged farewell depicted scene.women,in remains the background, the of a town representation can beobserveda on with the central His tunicLamentation, fits close from Vincencius usedDürer’s early very graphicsprobably representing the adetail herfigure ground composition aroundthe folds her.For the dress fallsinabundant, softof to crouches in theleft of corner her hands scene,foldingthe herknees. around Her draped richly woman,infashionable dressed green andclothing wearing aribbed, hairdress white the surface of the on whitelight-spots modelledis with drapery herback. cloak thick, soft The covers vivid redcloak and with blue A her hanging from belt. acertain extent to be –canstill recognized costume housewife’s changeants on the ofa in asthecustomary accessories period the represented often - agroup of objects sleeves-folds of hergown, held together at his waist bya dress.thin belt. Remains of the purse, knife and probably keys, A third andadark headdress Shewearsawhite her from drops trickle eyes. tear face.her Large flanking persons. A second woman stands behind the Virgin, with also her hands clasped near with the drapery falling to the ground exactlyher figure nextto of and woman Christ between the the standing fillsthesurface long dress following the contours of the cloaks of the two Jolán Balogh considered this apostle, identified by as her Judas, a figure adopted from the painter of the B 13 (117), 1498-99 Ħ , puha, red 436 Ę kezelését,egyes fejtípusokat– mint például avízaknai freskó alacsonyhomlokú Júdását –a in spite of the differences in the costume. ĘWĘ 437 l vette át.” Balogh 1943, 116) The frescoes in the northern apsidiole of the cathedral of the apsidiole northern the in Thefrescoes 116) 1943, Balogh át.” vette l The green color of thata behind of suggests background the Thegreen color them 132 Ę l átvett motívumokkal. Renaissance (Figs. IV.34-35.) Behind the Behind CEU eTD Collection Victor Roth foundVictor in the lunette 1914 intheFerula of church parish the of Sibiu. 1881, andonlybecame partof collections ofthethe Museum ashis in donation 1912. Brukenthal Museum.first predellathe Instead, possessionthe came into Emil of in Sigerus itto the take intended to it they was dismantled, later year When one Heltau. churchof the 443 442 from Schaas altar the to similar very was thealtar-piece of structure original the that conclude to possible ( arttrade. the in and of lost twists turns the of panels was the the trace baroness Melanie Pach, born countess Csáky,in Pozsony (today’s Bratislava). Afterwards, central panel and two of wingsthe alsodescribed by came into possession the Pulszky of 441 440 439 entry. catalogue corresponding the in way 438 Severus lifeof from the scenes representing St. of altar fragmentary,predella the is although a former, lastpart of 1525. the by knownwork inscription One of dated an Vincencius, of to panels the room room of a muribund. ( Heltau from altarpiece The altarfrom Heltau differencies may be seen between his works. minor why explain may this and works his of some on seen be may hands helpers’ his of in and most there.Theworkshop trace probably Hermannstadt several employed apprentices into independent by his that Vincencius consideration probably was own time running this shouldbe taken It thus painter’s stylistic circlethan works. earlier influence of the Dürer the In particular, theof apostlethe back is faces turning very similar tothe Gross-Schenkthe on depicted retable. women representedface The of Vincencius. vocabulary artistic the belong to all colors, for changeant predilection on the left anatomybody, lightand role of the inmodelling of the dressesand shadow the the side of the composition palette, soft,the thick combined folds flat with surfaces of clothingthe closely that follow the display a stronger Ibidem 150 - 151. Roth1916, 152. Emil Sigerus, “Die Predella des alten Heltauer Altars“, Heltauer alten des Predella “Die Sigerus, Emil Károly Pulszky, “Iparm section. catalogue corresponding the in pieces ofthe description exact the See No. 1219/a-b. Inv. detailed ina legend to his referred I have ofweavers. saint patron and of Ravenna bishop was Severus Saint On basis the of form the and measures preservedof two the details, itbe would When Károly Pulszky described the inaltar 1879, Two panels of Museum,Two Brukenthal inthepossessionof parts an originally 438 . The other one was formerly the lunette of this piece and depicts the interior of the of interior the depicts and piece this of lunette the formerly was one other The . ù ae ú , Segesd 439 Ħ (Figs IV.36-37.) vészeti jegyzetek” (Notes on arts and crafts), Cisn ă ) orto another Vincencius retable from Gross-schenk. In both die, Nagydisznód 133 ), are recorded in ashavingbeen recorded literature ), are the Korrespondenzblatt 440 it was still in its original place in place original its in still was it Archeológiai Értesít 28 (1905), 158. 443 Ę , 13 (1879): 273. 442 The 441 CEU eTD Collection Szent Miklóst. Kívül ábrázolvák keresztel ábrázolvák Kívül Miklóst. Szent Antalt; ez Martin Schongauer ismeretes metszetét juttatja eszünkbe. Szent Severust; remete Szent Pált;ábrázolva tolentinoi Lukas Kranach modorában. Ezen képet két ajtó fedi, melyek kívül bel have beentotally foreign in Transylvania. The possibility that the wing-pairs were added later to the altarimage andshould just a short section of stationary the wings. However, thiswould result in an altarstructure that would and the predella – which was approximately the same width as the lunette - also supporting only the central 448 gyertyávalkezében; ágya fejénél Szent Mihály a áll mérleggel.” Pulszky 1879, 273. VINCE(N)C(IUS) PINXIT”. Az oltárképet fölülfélkör alakú táblakoronázza. ezen egy haldoklót látunk balsarokban fölültaláljuk a fölírást: ” D.O.M. DIVOQ SEVERO EP(ISCOP)O életéb RAVANE(N)SI Severus Szent 1525 látunk jeleneteket lapján alsó kanyaruló, szélesedve fölfele oltárképnek Az bíbornok. János Patmoson; s az 447 feast-days on are the25 her in Eichstätt), church Walburga St. the example for (see Bavaria. in typical mostly was Walburga Saint commonTransylvanian altars. 80-84cm,not among the known something cm, imageflanking around approximately 40-42 of predellathe a central wingsof presuppose of that and lunette the of width The dimensions. small rather had have must it then Pulszky by suggested ifa wingedone as conclude was retable the that from forces usto get Pulszky wings. stationary the decorated cardinal saint an unidentified Depictions of St. Aloysius, St.Joseph, Joseph Patriarchthe in the well and arepresentation of surfaces. on their outer were represented Evangelist the of and Martyrdom Pathmos the on Evangelist the John St. Beheading, his Baptist, the John St. of Birth the of Scenes Nicholas. of the mobile wings were decorated by figuresthe of St. Antoine, St. Severus, St. Paul and St. Cranach” and wasflanked by a pairof stationary and a pair mobile of wings. The inner sides Lucas “in of manner the theBaptismof Christ panelrepresented central him, altar’s to the Halaváts Gyula. “A nagydisznódi ágost. ev. templom.“ Heltau at Pulszky the described altarpiece in 1879 on occasion the his of Walburga’s visitof St. church (Heinrich Wittstock, authors, byseveral to is referred and 400) 4., Vol. (Ub. deHelta Walburgis ecclesiae parochialis portionarius 446 Pulszky 1879, 273. Severus). ofSaint life the from scenes are there curve ina upwards widens which altar of the panel lower 445 Heltau (178 cm). from Schaas (182 cm) and Großschenk altarpiece of the (181width whole cm) The remainsregion. the in common extremely quite was that a type , close above to the described type dimensions the of was of the lunette from actual form, originally it could have beenat most the same width as the lunette) would also suggest that the altar 444 by to Pulszky. referred shortly also information volute-type, mentioned, above the to belongedindeed predella the that suggests, clearly ofpanel, corners the on it. set lunette by aRenaissancecornice and in both volutes thesides andclosed upperpart on Renaissancecases isin on a predella flanked bypiers,standing panel central ending the two One could also consider the possibility of the lunette being placed only above the central image of the retable, ofthe image central the above only placed being lunette the of possibility the consider also could One ” a nagydisznódi szárnyas oltárkép három részb három oltárkép szárnyas ”anagydisznódi The The somewhat unusual title of churchthe figures in a document of 1430: “Capellanus Michael Mathaei életéb Severus Szent látunk jeleneteket lapján alsó kanyaruló, szélesedve fölfele oltárképnek ”Az The width of the lunette from Heltau (178 cm), but mainly the dimensions of the predella (135 cm in its 444 The curved imprint of the former frame of the Heltau predella, visible on both lower both on visible predella, Heltau the of frame former the of imprint curved The 446 although his description is not consistent with the above supposition. According supposition. above the with consistent not is description his although Aus Heltau. Vergangenes und Gegenwärtiges Ę martyriuma. Az oltárszárnyain Szent Alajos; Szent József; József a kútban (?); szent th of February and on the 1 Ę szent János születése; ugyanannak lefejezése; evangélista Szent evangélista lefejezése; ugyanannak születése; János szent st Ę of May. See: LCI l áll. A középs áll. l 134 Archeológiai Értesít Ę . [Hermannstadt:. Franz Michaelis, 1883]; n a f a n Vol.8, 585-588. Ę helyen Christus keresztelése van keresztelése Christus helyen 447 Ę 34 (1914): 232-240.) The image of the retable we retable the image of The Ę l díszítvék. Bel 445 It is known, that is known, It 448 This suggests Ę l látjuk Szent The cult of cult The Ę l;” (On the (On l;” Ę l; a l; CEU eTD Collection des Mittelalters several manuscripts of the period throughout the whole in German-speaking spread region. (See among others: “Speculum” the century, fifteenth the during area South-German whole the for important an was center Vienna intellectual of University the As sources. Vincentius’ of ofview point the from of importance be perhaps might that afact work, Gerson’s of influence the through circles university Viennese in being into came Dinkersbühl, von by Nicolaus work a possibly moriendi”, bene artis “Speculum The moriendi, arte “De title 450 togetherwith St. John the Evangelist. 449 completely unlikely. the to only not well so corresponds topic of the central wing-pairs imageof these but also to the program usual arrangements iconographyic of the medieval retablesHowever, this supposition seems be considered. also him, while several demons, representatives of hell, flee from thewhile hissoul is by an room.taken angel.A priest (sometimes alsoa nun)holds a candle infront of The beasts standing at dying manisin hisrepresented deathbed. Thecrucified Christ appearsin front his of eyes, over Evil. The representation on the lunette from Heltau can be identified with this scene. The The last, the eleventh givenresist thesupport by the temptation. pairFaith image temptation,to whileits represents image, certain a depicts man;standsregularly image one dying of the soul forthe hell heavenand forces of alone. It shows severalFive instances between struggle the the with showed ofillustrations pairs a picture. the hour of of block-printed andhand-pressed versionsdeath, are known. Each page of textwasillustrated the the victory laymen.A series numerous possession languages, they of came into the vernacular European of Faith into block Once books. translated they assisting dying. the appeared asillustrated Later, technique well,dying of the the on of treatises appearanceof the a series led to century fifteenth Ages inthe Middle role in of the life inthe everyday importance of death increasing The series. illustration meant tobetheclosingimagethe of sceneisclearly deathbed. The the depicts Michael the bedroom footThe lunette person.St. atthe a dying painting. of of stands description provided by Pulszky. possibly duringinverted mounting. alater Thiswould, toacertain explainextent, the standing probably could on havebeen saints retable.the movable seen The wingswere scenes taken from of from life Severus. the scenes taken Baptism of Christ on of perfectly view representation pointmatch of the the they sides. From iconographic the theouter their centralnot and inner wings’ the decorated actually Johns panel, St. both of lives the from scenes and they are also the that suggest representations such of order characteristic logical connectedand the arrangement to the predella As iconographic in for the Heltau. church asthe of retable the altar that served a secondary and the The most often cited of these is the “Opus tripartitum” of Johannes Gerson, the third part of which bears the bears of which part third the Gerson, of Johannes tripartitum” “Opus the is of these cited often most The represented occasionally is Severus “self-burial”, the legend, their in point common animportant to Due The iconography used on the preservedtwo panelsis uniquein Transylvanian panel [Stuttgart-Weimar: Metzler, 1999] Vol. 1, 1040 ) artes moriendi LCI . Vol. 8, 341. 449 When the wings were closed, a series of eight 135 . 450 These first served to instruct the clergy in Ars Moriendi Lexikon CEU eTD Collection same function. Cranach, when working on his Leipzig panel with the same topic, although it did nothave the 453 Jericho. in man blind ofa healing ofthe story 452 451 unquestionably theepitaph as of Heinrich Schmitburg. of wing an altarpiece. astheleft have served supposedto miser. isThe panel thea concretestory of through framework to details pointing into amoralizingisbut fitted from ArsMoriendi, the clearly derives representation “Death Miser”the Bosch. paintingsHieronymus famous isthe of and topic on the mostly known As Gothic generally. mentioned, painting has already of been depictions the as book-illustrations: use of iconographythis on an isaltarpiece extremely rare, notonly in Transylvania butin late of the scenelast of the example late afairly from represents Heltau lunette the records ofwoodcuts the contains probably head deathbed, of the atthe dyingvolume represented large the just scale,the as man’s acts, or to otherthe book, onethe on soul is in shown deceased the kneeling andpraying.Thebook of beminiatures. evaluated a with seen is a demon holding, is he scale the of dish one On in bedroom. in the set thesculpture hour of his death.One By likeThe figure isolated. look on apedestal isbeinghemade strangely placed is to a ofhand. right his in balance the a with panel, the of half left the on represented is veryMichael St hell. of few panelbe arepresentation to of is meant imagethe and in corner left the becan observed Leviathan 1994), 301-302. Maler-Unternehmer aus Franken. 457 456 (Oxford: Phaidon Press, 1977), 66-69. 455 Collection1952.5.33 454 balance. ofthe plate one on case inthis represented Hour of Our Death possessionof this book orpublic notice which he brandishes vehemently to claim his due.” Philippe Ariès,and the devil are consulting the book at the head of the deathbed. But it looks as if the devil is the one in connection between Cranach’s crowded composition and the panel from Heltau. However, the face: two inscriptions abovehis the footthe of deathbedthe havebeen by defeated faith the moribund,the of expressed alsoby the crucifixthe in background: the :In the ”Et Iesus dixit illi: ”Respice! Fides tua te 38) 18, salvum (Luke mei” fecit” miserere David (Luke Fili Iesu 18,dicens 42). clamavit Both ”et quotations are taken from the See on the panel: Claus Grimm, Johannes Erichsen and Evamaria Brockhoff eds., Brockhoff Evamaria and Erichsen Johannes Grimm, Claus panel: the on See 1518 (?), oil on panel, 93 x 36.2, Leipzig. Museum der bildenden Künste. (40) ca. 1485/1490, oil on panel, 93 x 31 cm. Washington, The National Gallery of Art, Samuel H. Kress Colin Eisler ed., artes moriendi 456 . (New York: Knopf, 1981), 105. The beast in possession of this book is probably is book of this possession in beast The 105. 1981), Knopf, York: (New . Paintings from the Samuel H.Kress Collection. European Schools Excluding Italian The inscription surrounding the semicircular end of the panel identifies it identifies panel the of end semicircular the surrounding inscription The of the fifteenth century the drama takes place in the bedroom of the dying person. God person. dying of the bedroom the in place takes drama the century fifteenth ofthe (Kronach-Leipzig: Festung Rosenberg – Museum derbildenden Künste, FIDES TUA SALW(um) TE FECIT IESU FILI DAVID MI(sere)RE ME(i) 455 136 Bosch’s composition knownby was obviously 457 Obviously, there is concrete no Obviously, there . 452 Lucas Cranach. Ein The mouth of the of mouth The 451 ars moriendi respectively respectively near ars moriendi 453 Thus, the Thus, 454 . . The . The The are CEU eTD Collection 463 Vol.1, (Bukarest: Kriterion, 1981), 108 – 109. 462 461 der Heltauerder Pfarrer“. Chroniken 460 by two bishops” See: V V inwhich misunderstanding the to led also This procedure. canonization the and consecration bishop’s the between confusion a representation: 459 speaking aboutan stamp series of Master E.S used by Vincencius, something that should be the first thing to think of when 458 them. hadgranted been John Baptist the St. of Decapitation privilege of holding an annual-market on the feasts of St Peter and Paul and on the feast of the 460 in parish several highly during community worked discussed period. the priests this educated century. Itis known several that persons from Heltau studied atVienna andCracow and culturally flourishing, infirst livelyand community economically the decades of sixteenth the wasa thatHeltau indicate sources Written historical data. be with explained can Heltau lie near them. The inscriptions above and under the grave explain these events. he moved could by miraculously sothat aside The skeletons themselves daughter Innocentia. panel.the felt AsSeverushis near, the gravedeath heopened ofhis andhis wifeVincentia side of right isthe on shown death bishop’s The be elected. should Severus weaver called the points to the pigeon, a symbolSeverus bowed kneels head, byclerics.with surrounded Afigure wearing miter abishop’s of the Holy Spirit in the bishop’s on The sceneelection. left background the the side represents depicted that panel. the of according truncation the to victim fell has that altar an of front to in shown the probably very was legend indicated that isSeverus seen left kneeling praying on and the a pigeon above hishead,–Originally, with he background,the from scenes followhis lifearerepresented that narrative the his legend. of prayer. to joint hands his with altar-mensa, an on sitting shown is saint the scene the of guild. Heltau was known from the Middle Ages onwards as town from guild.of astown wasknown Heltau Agesonwards Middle the weavers. weavers’ the of activities tothe related mainly itself, was situation economic outstanding conceptionmoralizing-didactic general, image,the of emphasized by several inscriptions. in the or in style either Leipzig in one the from different very not is panel Transylvanian mention mention of guildinthe Heltauis as late1513 Rehner 1931, 46. Alt-Heltau“. in Sichelschmiede und ”Wollenweber Gernot. Nussbächer, See: Hermann Rehner, Gernot Nussbächer, “Studierende und Akademiker im mittelalterlichen Heltau“. The fact that the saint is seated on an altar instead of a bishop’s cathedra, shows some kind of confusionin the Cranach’s painting clearly did not serve asconcrete pictorial source forour painter. Nor was thewell-known The locality’s good economic situation is also mirrored in the fact that in 1500 the The presence of scenes from the life of Severus, patron of weavers, on from altar the on of weavers, patron lifeSeverus, of from the scenes of The presence theconsecrationof bishop The predellaRavenna.Severus, In foreground the of shows , vol., 2, (Bukarest: Kriterion, 1991), 143-144 ; HeinrichWittstock 1883;Franz Zimmerman, ”Katalog Ars Moriendi Heltau, eine Monographie Korrespondenzblatt ăWăú ianu 1959, 799. representation. ăWăú ianu identified the scene as “St. Severus sitting on his tomb, being adored being tomb, on his sitting Severus “St. as scene the identified ianu 2 (1879), 106. . (Hermannstadt, 1931), 13. 137 463 , but there are good reasons to suppose that reasons good to are but there , 461 This privilege, as well as the Aus Urkunden und Chroniken Aus Urkunden und 462 The first The 459 458 In . CEU eTD Collection Studies at CEU in this research. stage the at be resolved cannot questions these However, function. have another to planned originally panelwas the happen, that may also It of course of iconography Death. to the scenes related includes decoration the that characteristic is not it of testament, the in thetext specified also MáriaLupescu Makó: ” in: gathered been already has topic the to referring of sources and literature the of choice A considerable Studies. 468 bildendender Künste, 1994), 301. Cranach. Lucas eds., Brockhoff Evamaria and Erichsen Johannes Grimm, Claus See: Schmiedburg. of Heinrich son by the epitaph an 467 466 465 (Bukarest: Kriterion, 1981) 109. 464 guild in Transylvania. at (1594) records known Heltau presencethe tax register largest of itmaking the 182 weavers points in testaments of notabilities, of various in testaments points many of similar examples known are There retable. of commission andthe the altar of the mayguild-principal, who have made a deposition in a withconnected testament founding the it was present here much earlier. here present itwas epitaph. an was really panel whether the to as questions havebeen there that bementioned also program of an epitaph, as was done by Lucas Cranach in his Leipzig panel. However, it must still strange andunexplained. Theiconography bewould unambiguously tofitintoeasier the commissioned and supported by the guild been of the localhave weavers.must and Heltau in church the in altars secondary the of one probably very was Museum, in theBrukenthal preserved partially altar, the above, lightof the In the Baptist. the John St. of Beheading feast of the the on was held weavers, the to importance of exceptional program seems to be connected with the fact that one of the annual markets, that was no doubt could also importance be from of this pointof view. from the life of St. Johnsupposition thatthe the guild commissioned theBaptist altar seems to be quite plausible, while the scenes on the inner saint. astheirwas venerated patron aweaver himself,weavers’ guild.Severus, being side of one wing and tothe isrelated predella the of The iconography on altar. the into consideration relation the central image Mária Lupescu Makó is dealing with the problem inher PhD dissertation tobe defended atCEU – Medieval Some reserachers consider that the panel was already finished by 1515, not in1518, when itwas ordered as The relation between saintthe and guildthe has already been shortly discussed by RothRoth. 1916, 152. Ibidem. Gernot Nussbächer, ”Wollenweber und Sichelschmiede in Alt-Heltau“. in Sichelschmiede und ”Wollenweber Nussbächer, Gernot However, the choice of an Ars Moriendi representation on the lunette of the altar is altar the of lunette the on representation Moriendi Ars an of choice the However, 467 One possible suggestion is that the Heltau-altar may be connected to the death may death beconnectedtothe of isHeltau-altar a One the that possiblesuggestion Vol 7. (Budapest: CEU, 2001), 161-186. Ein Maler-Unternehmer aus Franken. Item lego 465 The importance of guildthe obviously needs be to takeninto …” Gifts forthe Soul in Late Medieval Transylvania.” 464 Its role is clearly indicated by the fact, that the eldest the that fact, the by indicated clearly is role Its 468 138 but even in cases when the iconography is iconography the when cases in buteven (Kronach-Leipzig: Festung Rosenberg –Museum This choice of the altar’s iconographic altar’s the of choice This Aus Urkunden und Chroniken Annual ofAnnual Medieval 466 . Vol.1., The CEU eTD Collection dismembering of the altar, before Sigerus became owner of the piece. Sigerus 1905, 158. 1905, Sigerus piece. of the owner became Sigerus before altar, of the dismembering was hispossession in between1880 panel and 1912.the Thus, the predella must although have beentruncated during the inscription, the seen never has he that relates Sigerus inscription. of this remains date the only Optimo Maximo Divoque Severo Episcopo Ravanensi 1525 Vincencius Pinxit” 469 Heltau-retable seems tobe arecurrentasmotive in the oeuvre Vincencius.of wellis It present on the predella ofthe as on Christ’scovers black altar the that pattern, with brocade, contoured golden The delicately Heltau. cloak on theA similar altar fromuse of Gross-Schenk.draperyfollowing anatomy a very figure,of the atechnique whichleadsto the dynamic drapery work. can be Althoughobservedflat portions,cloak closely near areset bunched folds Thick, technique. more determined bothon the gowndrapery. The same works betendency aswell can later followed in on executed but a much of St. Michael technically lessbut developed, shows already tendency ona clearly indelineated style the the of the lunette fromway in the rest of Vincencius’in earlier,folds aprecisequite arerepresented with Ashasbeennoted approached caution. works. His early state the of panels the blurredand the of character folds, aspect must this the work of the be work, such as the to Due drapery. retable the of representations between the be drawn can comparison stylistic Another from Taterloch, isapostle standing of the that to resemblance bearclose features Vincencius. Severus’ behind to attributed earlier works the left shoulder and Heltau from with panels the characteristics Faces havecommon master. to this attributed of Christ on works inthe earlier the beobserved already could sameproblem the to approach A similar central panel from besatisfactory. considered completely renderperspective cannot master’s ability to time, the Gross-Schenk. samebefigures Atthe placed skillfully. to and secondary scenes wouldspace but alsopermit inner only not divide the Piers usedto are behindthe other. setone planes scene inseveral of vaultedthe hall, dividedin naves demonstrate it, but so does the arrangement of the central space only large Not the on predella. the is visible especially This of planes representations. different employing spaces various depiction inof in the interestperspective, unquestionable is his characteristic observable clearly One of painter’s the works. earlier Vincencius’ link which them to certainfeatures thereare However, master. of their style education and PINXIT”. VINCE(N)C(IUS) 1525 RAVANE(N)SI EP(ISCOP)O DIVOQSEVERO „D.O.M. master. According him to the predellaattributed thefollowingbore inscription: to the by panels were description these Pulszky, quoted often on the andGross-Schenk. Based sight that the paintings can be attributed to Vincencius, master of the altars from Taterloch The inscription is mentioned as suchby Pulszky 1879, 273. completeThe transcription would be Neither the style, nor the artistic quality of the two preserved panels suggest at first 469 The actual state of the two pieces make it rather complicated to comment on the 139 As mentioned above, to date “Deo CEU eTD Collection belonging to the inner circle of master. the innerof the circle to belonging as the work The markauthenticates his workshop. but himself, necessarily master the not of members. are and Hallmarks signatures generally as accepted a proof of authorship although differring stylistic solutions canbe very on written probably accountof the workshop-the developmentthose offrom and from Taterloch thepanels thebetween differences stylistic the that clearly demonstrates also the It work. samelast and first 1520’smaster’s the between link clear a lies there symbol this In master.Vincencius. can be consideredPartly, I atsay, least because partly theon theresult other of the hand natural many stylisticof the branches of adeadtree. of branches predellathe for mentioned been already has sign same the of version executed elaborately more in Taterloch,A bifurcations. of is these between three set a dot split, and are cross of the ends extreme in the left corner, on a red heraldic shield hanging on one of the Mitarbeiter. – Neben den Ehren hate er aber damit auch die Veranwortung für die entstehenden Mängel.” entstehenden die für Veranwortung die auch damit aber er hate Ehren den Neben – Mitarbeiter. sonstigen oder Werkstattgenossen verbleibenden Anonymität der in seiner Leistungen die Namen seinem 470 predella on the basis of front in grave. predella on basis of the column the Severus’ of directly By careful examination, be to the1520’s. 1508,cannot dated sameastheof author the dated all works the Taterloch, a cross-like master of the from that altar the by Jolán problem tothe argued, She Balogh. response raised sign can bethe listed worksobserved was all of one and the painter samethe person. that Thus,affirm itis expressly also to possible wants one to give when a convincinginconsidered be should thethat and now right corner ofterms of their attribution.the There ishowever, one specific detail thatHeltau remained unobserved until inthehistorian art the embarrassmentto could cause that features potentially display certain also they although clearly quite painter the of style personal the define that elements stylistic minor problems in his earlier it works, is apparently forgotten quite here. Althoughdisproportionate. his anatomical seemesknowledge tohave presented him with only the of in terms weaker is somewhat panels Brukenthal two the on figures human of representation way the master, the of works later and earlier between similarities many Besides works. the Vincencius’ of all of characteristic general a as times many out pointed colors, of use bright anatomicallively, the hintMichael to gown of St. red light the hose, red the of Severus, coat green the and the thick layer lacquerof covering them produces a general yellow-brown dominant tone, panels formerthe haveunquestionably from centuries, altarpiece the Heltau during darkened problems are resolved. The figures depicted are often On the signature of the master see Huth. 1969, 67: ”Als Meister und Leiter der Werkstatt deckte er mit er deckte Werkstatt der Leiter und Meister ”Als 67: 1969, see Huth. master ofthe signature the On Thus, the signed works of master Vincencius from Hermannstadt present a series of (Fig. IV.39) It is reasonable to interpret this sign as a hallmark of 140 470 As has already been pointed out, it is very is it out, pointed been already Ashas (Fig.IV.38.) The i CEU eTD Collection episode. Bulletin 476 Princeton University Press, 1961), 359. 475 Mitrale 474 473 with. work 472 long-lasting our treated have they patience their for and examinations these out carry Ferenc. At the sameMihály time, conservator I have the thank to to thank Ihave the program, direction full inhis panels and Heltau staffof the at the examination Brukenthal infra-red the Museum forpermission to panels could have beenexecuted – after adraft by the leading master– by apprentices. For theeffort of including initial plan, only the originally drawn halos of Severus have beenomitted. Thus, it is still plausibleministrants that standingthe two behind the altar. Not many details have beenchanged on the painting in comparison to guiding outline,the which is thoroughly prepared only certain thin, for facesfine, very –like a that ofobserve We can Severus and the two underdrawing. detailed elaborated, lines, determined reveal do not panels Vincencius’ personal degreeof the role in reflecting the finalizing information ofimportant provided a panel. have could The underdrawing, panels infra-redonthese the used photographs methods analyzing preparation that the taken fact of the of merely aware I am the two Heltau-although , thesis this for research of my years the during 471 Vincencius. of atleast workshop the theperson or – with considerations – based stylistic literature on thwe Other works associated with theVincencius-workshop anditsinfluence apprentice-collaboration. but of result the master, the of “autographic”work of notexclusively works werealso Vincencius The later father-in-law. and between son-in-law thecollaboration of resultwas the from Taterloch altar-piece the that is known it Thus, workshop. his of members in the brought but own, his on commissions probablein that his period in mature work 1520s,Vincenciusthe didnot on such important popularity popularity subject,the of shaping the iconography mostof ofits illustrations. Pseudo-Bonaventura’s that latedevelopment). relatively Apparition a an of description (although formulation of was the apocryphal a self-contained, writers in of ecclesiastic texts the mirrored hadwas place taken such ameeting that belief The Resurrection. his after Son her seeing of honor the deserved Virgin the that natural and isepisoderecorded in not any canonicalof gospels itthe although obvious was considered his hisResurrection. Mother after to Appearance Christ’s representation of exclude them from his oeuvre. occurrence of the topic became more common from the second half of the fourteenth century half from of more second topicof common fourteenth became the the the occurrence James D. Breckenridge, “Et Prima Vidit’ The Iconography of the Appearance of Christ to His Mother”, to ofChrist Appearance the of Iconography The Vidit’ Prima “Et Breckenridge, D. James Isa Ragusa and Rosalie B. Green, Ambrosius, 1990 no. Inv See: Roth1916, 137-140; Balogh1943, 214-216; Kertesz 1998 altarpieces relevant the all on reflectography infra-red tomake thesis possible not was it Unfortunately, VI; Ludolf vonSachsen, 39(1957): 9-32. The article is an important contribution tothe literary and iconographic history of the There are a number of retable-fragments, that have been associated in earlier studies in in studies earlier associated been have that of number retable-fragments, There area A large predella in the collections of the Brukenthal Museum in of Brukenthal the collections A largethe predella 472 Liber de virginitate These will be taken into consideration here, in order to include them or them include to in order here, consideration into betaken will These Vita JesuChristi Vita Meditationes Vitae Christi 474 3,14; Rupert vonDeutz, Meditations on the Life of Christ From From historical an art view,itis of point accepted, generally cap 70 fol. 236 etc. As referred to in LCI Vol. 1. 667-671 141 De divinis officiis 471 , 96-97. 475 (Paris BN, Ms.it 115) (Princeton: was primarily responsible for the for responsible primarily was VII, 25; Siccardus Cremonensis, 473 , shows the remarkable (Fig. IV.40.) 476 The pictorial The Art The CEU eTD Collection no. 4 479 Breckenridge, 16.) am.” (modernized English text of 478 University Press, 1953), 262-264; 460-464. 477 this is more reminiscent of a simple offer of his hand his of offer simple a of reminiscent more is this – hand mother’s her holding Christ showing depictions certain exist there when Even wounds. liftingChrist his hand in ofbenediction,greeting or –as already mentioned – showing his depict examples of me.the Most to known representations the of any itfigure on does nor motive ofChrist’sholding the Virgin’s in betweenhis hand doesnotoccur palms texts, the The panel. Transylvanian the missing from is completely This gesture gesture. a recoiling iconography. on these However, pictorial Christ showshistypes holdinghis wounds, in hands important an has played that an interpretation altar, hisMiraflores on episode the of intrepretation rolethat is also one of the iconographicin components of Rogier van der Weyden’sthe complex Amotive me basedupon ‘Noli tangere’. the a iconography was generally spread wide already there popularization century fifteenth in the this. contradicts that hands touching the of detail the is exactly it impression of an allusion to the ofpictorial arrangementtraditionthe of The the chest. ‘ her of front in hand ofleft her topicholds theand headdress two awhite wearing persons,mantle, especiallyand theshoulder. The Virgin, infront kneeling of looks him, herSon.upwards to Sheis inablue clad suchposition of the a Virgin,hisleans right to scenes, Ressurrection of attribute the a tremendouscharacteristic banner,otherwise at first sight givesbe so may seen.Thetriumphal thathiswounds arranged red cloak, aradiantpalms. Hewears the effectmother. Christ, approaching from the spectator’s left holds the hand of his mother between his on narration Pseudo-Bonaventura’s conforming to itsabsolutely – and her greeting is who Son, her of front in knees her on fallen already had Virgin the when moment the seized painter Transylvanian The representations. of types the predellavivid fromthe to and correspond completely Hermannstadtaffecting versions both although used, widely more became has version narrative doesof Pseudo-Bonaventura. prayers. inher absorbed deeply his whowas to Mother came Christ Ressurrected not belong the when Apparition, of the moment to very the of presentation favoured apparently countries The either version ofof the Other these each other. andSonembracing Mother depicts territories, inGerman-speaking scenemainly depictedtwo widely on onwards, andimportant types two of shape. represantation the took Onethem, of popular distributed Christ Appearing to the Virgin. Paris, Bib. Nat., Ms fr. 9196, fol. 203v, referred to by Breckenridge, image ”And therewith she kneeling down honored him; and He also kneeling beside hersaid: My dear Mother, I Erwin Panofsky, Early Netherlandish Painting. Its origins and character The Mirrour of the blessed lyf of Jesu Christ lyf ofJesu oftheblessed The Mirrour 142 478 - is also about to kneel down before her 479 , than of the tender way he holds her holds he way tender the of than , Noli metangere’ . (Cambridge (Mass.): Harvard , Oxford, 1908, as mentioned by scenes. However, scenes. 477 This last This CEU eTD Collection more like outsiders on the scene on the Spanish panel compared to the Transylvanian predella. Angels are also are Angels predella. Transylvanian the to compared panel Spanish the on scene the on outsiders like more 485 followers. immediate his and Rogier to back betraced can also it to connected episodes 484 (Salamanca: Caja Duero, 2006), 244. collections of the Staatliche Museen zu Berlin, Gemäldegalerie. See: Pilar Silvia Marolo, 483 woodcut B 83 (132) dated to 1503. 482 481 Breckenridge, image 6.no. Christ appearing to hisMother. Cambridge, Fiztwilliam Museum, Cod.52, fol.26 v. As referred toby 480 the representations of the scene from 15 from the of scene the representations the are eachother. shown embracing two the type when representation the between andhisrelationship Christ canbeperhaps Mother of consideredanunusualvariant predella. hand Hermannstadt the on parallel parallel in theiconography topic.the of completely butnot without unusual, issomewhat episode the of group angels witnessing bediscerned. can Resurrection, to the connected scene cave, another the of front in women three the to appearing Christ side, left the On landscape. mountainous a view both sides and on both offers a towards behind sidesof space room the the on from forehall, which may or may not be indoors. sort of a transitional a panel The Hermannstadt represents followPseudo-Bonaventura. of text to considered the solution since it places canbe Virgin’s insideroom, the place of Apparition the scene that the representations the scene in the front position be of can Christ linkedwith of of approchingthe archangel’s. position the the room, in a kind ofEven the aim. this serving on tablethe aredetails openbook the the or room side of rightthe interior of in room the backgroundof the Hermannstadtthe image with blackthe baldachin on Christ’s own announcement, to his mother of the fullfillment of that Incarnation. that of fullfillment the of mother his to announcement, own Christ’s parallelsepisodes: between the twoheraldingthe of Incarnationthe by Archangel,the and general in Apparition depictions of periodthe and results from desirethe emphasize to the borrowing of compositional The Annunciation. the sceneof the to makeclearallusion representation Hermannstadt schemestextual ofreferrence one type to theknownor whiteanother clothesalso of worn fromthe against hisby rightshoulder on Hermannstadtthe predella, is Christ clad inhismantle, vivid red ChristAnnunciation the when sceneshe appears. was Other ofquite thedetails resurrection of the (and first used by Rogier), in spite of the The above-mentioned example by Juan de Flandes presents a similar detail, although the angels appear much appear angels the although detail, similar a presents Flandes de by Juan example above-mentioned The ofother depiction the as well as scene, ofthe background the in resurrection the ofdepicting tradition The Asimilar solution is knownfrom the For the positionof the legs including the composition of the drapery, see especially Dürer’s Annunciation Breckendridge 27. Onother examples Mary, fallen to her knees, kisses the hand of her son. See: Workshop of the Rohan Master. Although donottexts referit, thetriumphal to banner of Resurrection the appears on oeuvre 480 of Juan deFlandes –on panelhis dedicated to topic,the in the This sign of the intimate, personal moment in the moment personal intimate, the of sign This 485 All in all the iconographic composition of this of composition iconographic the in all All 483 143 th century century onwards. Besides the bannerleaning The parapet wall made of broad stone, limits stone, wall madebroad The of parapet 484 The presence of the of presence The Juan de Flandes 481 482 , The The CEU eTD Collection were only part of the general stylistic features of the period. Balogh 1943, 215.Jolán Balogh was of opinion the that charcteristicsthe the predella had in common with works of Vincencius 488 30-72, Image no. 36. writings. Vol. 3,. German and Austrian Art of the fifteenth and sixteenth centuries 487 486 Bouts and Joos van Gent present on the version by Albert Bouts. See: Max J. Friedländer, pictorial pattern in Dürer’s pattern pictorial panel inpainting general and of as Vincenciusthe well, workshop search for to directthe would bereasonable, knowing the most of usualsource sixteenththe century Transylvanian It representation. the of variants several from motives employing complex, fairly is panel greyish incarnate employed by the artist and the facial types represented, -especiallyand employed facial incarnate by the represented, greyish artist the the types pale- the Allinall, Taterloch the predella. figure of the VirDolorum to isclose represented figure. The anatomy half-nakedChrist’s body, of upper is wayhismusculature the combined with surfaces – as on Christ’s right leg – that closely follow the anatomy of the style. and conception its in both image Hermannstadt tothe is muchcloser early period master’s the belong to Benesch to byOtto considered and Lucas circle to Cranach’s attributed Adrawing predella. on the used asasource not was it iconography, this of dissemination in the moment important a very also was type kneeling atherbutfacing prayerstool Although Christ. version Dürer’s of representation the Nuremberg master Master Vincencius. Master quotation the not, is Pseudo-Bonaventura’s referencea direct to or conscious However, itself. source written the knew master Transylvanian the that proof considerwouldnotnot onscene,I the this often of do pictorial occur the representations Bonaventura: SALVE SANCTA PARENS. In spite of thefact that the words of the episode Pseudo- room to according entering Mary’s lips left his when words that theexact containing mouth, towards refferred inscriptionthe directed infront of Virgin the Christ’s to: and representations. links two also the of Christ, especially that formed, is figures the of anatomy the way The models. netherlandish distant of speaks its furnishings interpretation general wooden barrel-vault backgroundof room, the that its and by model, sphere.Thisissuggested some the perhaps inacommon common educational in may havetheirroots images both however, painter, Tansylvanian for the source concrete Victor Rothconsidered predellathe to be awork of Vincencius personally (Roth1916, 153). Inopposition, Florian)”. St. in Bilder (Die Cranachs. Lucas Anfänge “Die Benesch, Otto B 46 (120) The overall stylistic characteristics do place the predella in the immediate proximity of proximity in theimmediate predella the place do characteristics stylistic The overall yetbeen has not is and ofimportance that predella detail the of is another There 486 488 . (Leiden: Sijthoff,1968), 116 no. 55. belongs to a comletely different tradition, presenting the Virgin still Virgin the presenting tradition, different a comletely to belongs The most The striking linkliesin rich the infolds the draping, softthick, oeuvre . However, the version of the scene created by the great bythe created scene the of version the . However, 144 Early Netherlandish painting 487 The drawing obviously notthe was Meditationes. Eva Benesch ed., Benesch Eva . (New York: Phaidon, 1972), . Vol. 3, Collected Dieric CEU eTD Collection was painted in the manner of Vincencius. publication(Kertesz, 1992, 76) he put pointhis more cautiously,suggesting that the panel from Hundertbücheln 494 493 492 1955, 184., V panel of the Brukenthal Museum, theBrukenthal panel of Százhalom) 491 influences. ofRenaissance signs bear clearly all workshop Vincencius the to related twenties) the to dated (those works later The winged-type. 490 489 that from Gross-Schenk, in the second decade of the sixteenth century. and altar-piece Tateloch the of creation the between a time to be dated should panel the that Taterloch panels frommost his eyes, tothelittle areperhaps similar face with highforeheadand Saviour’s round the works of Vincencius presented so far. the altar-piece from Niemesch ( tobein has literature partof Andrei circle. Kertesz discussedthe panels from the Vincencius’ considered panels other of number a are there However, workshop. Vincencius the to belong These are the is totheworkshop master.panel be of that consideredawork can closely the connected quite works that his in newcomparison to something arealso apostles the plate-halos of based on panels angularstylistic bunchedseenonpreviously folds Vincencius. The presented of than thick, the more harder, aresomewhat in Mediasch predella of the anddraperies cloaks foldscriteria of the sho, the bythemaster, aswell repeatedly used isameansalso textiles the lightsurface of the on of in my opinion, twopiers,the from already all Althoughworks known are elements of effects the Vincencius. be considered,behind Christ and the similarly decorated drapery alandscape brocade golden-black viewthe image,side of the leftthe the on towards gownto of the apostle sitting on style, theRenaissance of by piers surrounded leftalmost room the space, the of composition general side between both ends of the table – are details repeatedly encountered on signed works of the master. The white of bearded on apostles two those likethe misdrawn – arms anatomical representations, in the difficulties Minor Heltau-panels. the faces of with certain or altar Gross-Schenk with on figures the apostle the stillbeclearly connected either can deliberately destroyed, is it they were clearthat Thefaces,although style. artistic of Vincencius’ reminiscent (Fig.IV.41.) Supper. Last the in Mediasch, depicts church the of highaltar-piece the on mounted Kertesz 1998, 97. He considered these panels to be works by the master himself, while Inv. No.in 1896 his other Hermannstadt Rumänien, in A.B. Kirche Evangelischen der Museum Landeskirchliche Das in Today The piece has been placed within Vincencius’ circle by Roth. Roth 1916 Roth by Roth. circle Vincencius’ within placed been has piece The This earlierdating is also supported by the predella type that suggests that the Although retable the wasangels of the alsoGothic, have their parallels in the figure of Saint Michael on the lunette from Heltau. A predella with volutes on both its ends with a Renaissance-style frame, presently ăWăú representing St. Anthony and St Paul, the hermits the Paul, St and Anthony St. representing The figures of the table sittingfeatures obviously around apostles the present ianu 1959, 798. Neme 493 as possible works theVincencius workshop. of possible works as ú , Nemes 145 ), the panel from Hundertbücheln from panel the ), , 137,Kertesz 1992, 76; Radocsay 492 489 andlarge dolorum Vir a This similarity This suggests similarity 490 oeuvre . All in. all,the (Movile, 494 The 491 CEU eTD Collection characterstics found in Albrecht Dürer. Albrecht in found characterstics on dependence stronger a observe wecan where Salzburg, from painting wall the in corner left the in figure 496 Cranach’s woodcut B 39 (282) 495 arestill asmere work used landscapes in Vincencius’ The different. entirely are conceived nature-representations the the but school, Danube the of those to inferior technically only not areobviously landscapes these Though, “Donauschule”. of the firstof paintings at sightthe skies,landscapes, remind sunset-colored us background for Hislooked elsewhere. the altars’ reflect the influence of the Nuremberg master. Nuremberg the influenceof the reflect primarily not does His style sources. mere pictorial as works Dürer’s have used to seems Vincencius to thevery However, the sixteenth dated century. beginning of Dürer-engravings, shown, the panels of the Taterloch altar-piece, dated to 1508, already reflect the knowledge of been Ashas of Dürer’s. heisthat from chose model-repertory basic the that above, presented has duringIt become hepatterns obvious life. usedthroughoutanalyses through the hisactive provideworkshop, his hints as what schooling,influencedto to him collectionand, tothe of century.fifteenth datedquarter firstof the works to the painting of period, -somethe isbe workshop of for influence indeed Vincencius’s postulated panel the on imprint its left for is attested workshop his interval long The period. the of can that unquestionably tohim,be attributed is something that uniquein Transylvanian the art Conclusion. The workshop of Vincencius. Style and historical certitude Vincencius. of circle the from details andmany is imrpression other a of panel that the general quite unlike works produces colorit the drawing, of the ductus folds, the of the much harder arrangement the conceived, clearly separate that characteristics of series a contains panel Vir dolorum Finally, the Donauschule. the thisof phase elaborated the towards painting oriented strongly more much and “handwriting” Vincencius’ and those of Vincencius.from very different are drawing the fineness of the faces depicted, the but Vincentius, The way panel from Hundertbücheln is againthe unquestionably contemporary with activitythe of figures themselveselder are by the Cranach Lucas represented direction compositional stylisticand the follows clearly style this hardly of opinion. itthese from panels supports Theretable although Niemesch, It is perhaps in the way of drawing the naked body onthe Taterloch altar and certain details like the female follows undoubtedly predella ofthe composition The retable. the to referring entry catalogue the See 495 Thus, the works presentedThus, works here toVincencius the andattributed his Cibiniensis and signed number inthe works dated, of lies The significance obviously Vincencius of , is The haveinfrom very the , works. we itsVincencius on details seen differentwhat 146 496 The concrete sources of his style have to be to have hisstyle of sources Theconcrete CEU eTD Collection thus possibly,thus from1501-1502, perhaps after the painter’s arrivalfrom Vienna? only partially preserved. We do not know its exact date but it is published as a literaturedocument is fromreported as dating from the year1500. Actually, the tax list which mentions Vincencius’ name is 501 ofCranach. workshop the in executed works on encountered often - atechnique features, facial the very fine drawing (mainly those of the more important figures). Fine, thin lines compose the hairs, the beards, 500 499 498 497 very first years of the sixteenth century. havespentaperiod inViennaduringfeatures suggests that Vincencius the may Cibiniensis of these all Thecoincidence influenced by indisputably Dürer. works of were Cranach early that accepted is generally it sametime, Atthe in literature. the been unquestioned not initiators of the Danube school. His influence on Altdorfer, the main master of this school, has of one the in Vienna, his activities have through been to is considered years.He also these spent acouple ofyears in his between Vienna earliest1500-1502/3, known datingfrom works have Cranach isknown master. to German of clearly the influence most the reflects retable famous Thewhich works. master hashisfirst central the executed panel Gross the of Schink little preservedCrucifixion panel in MuseuminVienna. Kunsthistorsches the with a donor Valentine includingtherepresentation first on St. of Cranach’sare encountered works Vienna by Vincencius applied like those solutions Vienna Drapery period. earliest, Lucas Cranach’s contouring some body findparts, parallels their closest belonging onagroup of works to scenery. of theatre in arereminiscent partsof hillsandtrees the nature; background the the constitute forbackgrounds arenotdepictedthe sake of itself.nature figuresnot Vincencius’ do Transylvania. to even latest hisreturn after works, have Dürer’s acquired seems continuously to master butthe from Taterloch, panels onthe obvious isalready impressions use of early the woodcuts and in probablyalready engravings, in common The theuse workshops. Viennese latest Dürer’s toobtain able been have also Hewould school. Danube the later called of newthe initiatives style, first of as the cameas well out Cranach’s early works circles that thedrawing of characteristics ascertain well as gowns brocade like Facial-types, period. forof predilection those the golden-black apostles, Vincencius’s several other details in the work of Vincencius that are linked to the art of Cranach’s early The suggestion is even in accord with the first mention of the master in Sibiu, which only in the secondary with faces certain display above mentioned already Heltau from panels of the taken photographs infra-red The around 1500, Oil on Panel, 58.5 x 45 cm, Kunsthistorisches Museum, Vienna, Inv. 1502, No. Paper, GG 6905 32 .2 x 15.1 cm, Staatliche Museen zu Berlin – Kupferstichkabinett, 1502/3, Inv. Oil No. on 170 panel, – 1929. 91 x 49 cm, Wien – Gemäldegalerie der Akademie der bildenden Künste. Inv. No. 549. His dynamic draperies, painted in thick, bunched foldsbunchedHis flat painted portions, in cloak draperies, on dynamic thick, 497 , (Fig. IV.42) the St. Stephanus woodcut from the Missale Pataviense Missale the from woodcut Stephanus St. the 501 There, he may have become acquainted with he may acquainted There, havebecome with the 147 500 point to the environment in environmentto the point around 499 There are 1500, 498 orthe CEU eTD Collection lay patrons belonging to the middle-layer of the local society. local the of middle-layer the to belonging patrons lay a fair for quality aworkshop workingobviously not for the “high society”for parishes but and notdo represent highest the level Transylvanianof paintingin sixteenth century, the butare of Theworks of and incomposition colorit. Vincencius also solutions but beautiful perspective level of these paintings, as we have seen, is variable, presenting deficiencies in anatomy and preserved. thanthose certainly larger The amuch number of paintings workshop, produced in workshop Hermannstadt thefirst throughout quarter of sixteenththe century.This and very last known work, presentsfirst a so far very his unpublished both on proof to the fact,present that the masterfortunately ran a hallmark the Additionally, Vincencius. to attributed works late linkand the features early the concept and technical stylistic, of large amount gained in the very first years of the sixteenth century in Vienna. In spite of the divergencies, a experience suppose they that master’s concrete by can encourages usto be explained the together, impression manycreate the general they of characters, coincidence so of these the However, style. general period’s ofthe characterstics in right own their considered be perhaps should light of on textiles of the the surface play effects the the with Vincencius, Most of the elements listed above, justinmany works. later earlier and Cranach’s areof solutions Similar as encountered together. also the often mentioned use of the changeantmoralizing aspect from of lunette the Heltau achieved through attachedthe inscriptions,colors allfit by strong the from Taterloch, of predella the intention cleardidactic own.The master’s the stress themeaning image, that were the of inscriptions scene isand especially the composed, responsibility intentions. Thelikelymoralizing use iconographicmost of representationswas certain the of the commissioner. However, the emphases expressed through the way the he wasareal and worked here leftand aclear imprint on the Transylvanian painting of the period. Thus, decide this Themasterquestion. lived more than a quarter of a century inmarried this land, to important nottoo is It local member probably later of becamea the guild. who master a already or famulous a as either Transylvania to came aforeigner who or Hermannstadt Vincencius, who called himself Cibiniensis, was a born Transylvanian, a citizen of A remote connection to Cranach’s works could also explain Vincencius’s obvious It is notpossible presentstage given the still of decideresearch whether to pictor Cibiniensis , an authoritative part of Transylvanian art history. art part of Transylvanian , anauthoritative 148 CEU eTD Collection the Schässburg church ”on the hill”. have heldthe post of (inmayor, 1490and between1496-98) – based on aninscription on the triumphal archof Schässburg. Tereza Sinigalia, “Pictur Sinigalia, Tereza Schässburg. 503 436) 1996, Entz (See town. ofthe representative influential period. ofthe documents and inscriptions the in reflected known, well is century Jahrhundert.” 1981, 104-107.) their role in the administrative life of Schässburg at the end of the fifteenth 502 and especially beginning the and of at century. especially sixteenth the fifteenth endthe the of at be traced already can development adynamic where Schässburg to in contrast decades, following the and these in Mediasch and in Birthälm crafts and should be located obviously thisworkshop that suggest donors, thesuggested in of persons asthe Birthälm well as one of these settlements. density small geographic triangle in between such paintings of Mediasch, and the Schässburg Unfortunately,workshops in which these pieces were produced can be localized, a question still veryremains. The little or workshop Wherethe masters. local with in worked collaboration masters foreign several is known about arts that diversity show they produced inwere notlikely asingleItseems workshop. most that their tendencies, stylistic thesame display pieces the fact that the of In spite Schotten-master. bythe Viennese influenced of characterized andpaintingsstrongly by group the altarpieces in pronounced of century, lastquarter the fifteenth the whichcanmostly be aperiod continuously in from theregion this became on.Artistictime production muchmore middlecentury the atand a very shortly after fourteenth the of images waspresent date, early show however, that thisthe point identify to workshops or localize claimthem in one town or another. The surviving pieces to decoratefrom this periodchurches as well as the first half of the andfifteenth centurytheir comedoes not permit altars researchers from at withthe fourteenthpainted or sculpted century, underwhich circumstances survivingpieces wereproduced. the the small numberaltarpieces. of written and upon lighta number questionable previously of or of unresolved aspects Transylvanian material data available Additional aim was to offer thus also a more complex overview of the Conclusions and future tasks. Tereza Sinigalia has also suggested that the workshop of the Birthälm retable may possibly have operated in operated have possibly may retable Birthälm ofthe workshop the that suggested also has Sinigalia Tereza Even ifpainters were not organized in guilds,(see Nussbächer, ”Das Schässburger Gewärbe im 15. General observationsworkshop onTrasylvanian connections Despite the fact that the earliest sculptures and altarpiece fragments that have survived have that fragments andaltarpiece sculptures earliest the fact that the Despite The case studies on retables discussed above and the conclusions drawn have drawn shed conclusions the and discussedabove The studies on retables case Matthias pictor ă , sculptur ăú i art is mentioned in a series of documents as a highly 149 ă decorativ ă 503 la Biertan.”, (Painting, sculpture and sculpture (Painting, Biertan.”, la Valentinus pictor is known to 502 CEU eTD Collection workshop. Radocsay 1955, 181-184. Roth’s ideas. Thus, he also suggested thatJohann Stoss might have played important an role largein this Reu Schässburg, Radeln, Schweischer, Meeburg, from a altarpieces the of spoke operated Healso have to Schässburg. known in workshop Stoss, Johann of name the with group this to belonging pieces of the most connected grosse Altargruppe) was produced. He considered that it was not possible to localize this workshop. However, he 504 no.1 (1992): 28 – 36. decorative art at Biertan) at art decorative the case of one single retable. Thus, one should not think that these late medieval late these workshops not think that should Thus, one case retable. the single of one various evento workshops in in often details piecesconnections point the various andtheir clear. indubitable of spite In links betweenthesediversity the the stylistic retables, of the St. Martin, on the to dedicated Schässburg, other from retable so-called handandthe one on Schaas altarpiece from hand. However, of which could behipothetically linked toSchässburg,fall into groups, two around the the picture of altarpiece in in separate workshops production the Altarpieces, sameperiod operated the two town. this production Theat knownfrom surviving altarpieces. andinaround retables that least suggest Schässburg is still not that of features thatdiscuss provide hidden rich in information certain animpression the those personalconnections will be eventually possible through a thorough stylistic analysis through and observationartistic broader even of differentiation precise more Krasser, Harald of writings in the as well of as and Radocsay Roth by both formulated correctly very was influence artistic of direction all the surviving altarpieces and sculptures. Here, I will shortly of the Veit Stoss son, Johann was particularly suggestive in this regard. suggestive inthis particularly son, Johann was of Veitthe Stoss andthe presence literature, inearlier had beensuggested already in town this large workshop sixteenth century details on the Birthälm retable. atHermannstadt, end the fifteenth of the andbeginningof sixteenththe century. The possibilitymajorsignificance in ofaltar-production Transylvanian Schässburg towns, two and of the existence of special the delineate clearly a characteristics stylistic and their singleobjects preserved the aninventorizingof pieces geographical the itbeseen after the work of can distribution that stage, actual atthe already However, relations. andworkshop altarproduction Transylvanian produced in Vincentius’saltarpieces preserved from flourishingthe of period early sixteenth century besides those workshop, the analysis numberis of alarge of There course century. of sixteenth in the firstquarter the respectively of which will contribute fifteenth endthe the of at of production altar characteristics basic the studies present two to a full image of Viennese and Schotten-master of Master theVincentius workshop These in Hermannstadt. Victor Roth has suggested that there was a workshop where the so-called “large group of altarpieces” (Die of altarpieces” group “large so-called the where a workshop was there that suggested has Roth Victor ȕ dorf, Schorsten, Braller and Pretai as belonging to this large group. By and large, Radocsay followed Stylistic connections with a Schässburg workshop were already present in the in present already were workshop Schässburg a with connections Stylistic The two cases used as examples in this thesis concern the work of the followers of of the followers of the work the concern in thesis this cases usedasexamples two The Buletinul Comisiei Na Ġ ionale a monumentelor, ansamblurilor 150 ú i siturilor istorice 504 Although the Although 3 CEU eTD Collection 55 /2(2006),223- 246.Here especially 240-243. Martinus Niger alias Marcin Czarny, painterthe of VeitStoss’s high altar inCracow), f Krakkói Stoss Veit Czarny, Marcin 505 often referred are most that The sources misunderstandings. a series of leading to each other, briefly adopt authors, matter, historicalVarious mentioninginformation and from the data compared to the preserved pieces of art that may be considered works by Johann, Veit youngerthe andthe original Martin, written the sources still need tobe thoroughly Veit Stoss sons. supposed Transylvanian origins and his to three mentionedsons aslivingin Transylvania, Veit Stoss’ thatrefersbriefly to literature is considerable there Although importance. its to corresponding research, extensive will further, deserve matter This production. for altarpiece in playedleading lively environment sources, role athis mentioned inwritten the sixteenth ormore, of but autonomous collaboratingtwo of inSchässburgthequarter first workshops century. theexistence indicate altars, same betweenthe relationships stylistic tothe correspond not do cases incertain Naturally, connections technical the fact that the linksand these Schässburg, Schaas and pieces by canbebasically the around style grouped very high two quality from retables it stands the Evenif altarpiece. onthe Radeln as well as andtheBogeschdorf retable Székelyzsombor to reason isthe similar very on shrines the foliage enclosing while the andaltarpieces, Radeln that identical Niemesch of shrine-background Csíkmenaság, seen in the on pattern almost the the workshoplink be may Another and retables. Csíkmenaság the on Székelyzsombor related closely the of relatedJohann to identicalStoss, theon the Székelyzsombor and Csíkmenaság altarpieces,frames both of which are closely Kund on the Schässurg Martin’s altar. The type of superstructure is also The pattern on shrine-backgroundthe is identical Bogeschdorf,the on Reu the inapparently direction workshops. of that the retablesbe canalso Schässburg point grasped same,the hypothetical Aseries several Schässburgworkshop. of other technical details on in place took altarpiece Birthälm the and Schaas the Bogeschdorf, the on work joiner the that workshop-filiations. of existence the between workshops, these the cross-relations alsoshow features technical palpable more more concrete, In additon, of altarpieces. groups mentioned above inboth traced represented closed workshop-communities. The hand of several can painters obviously be See most recently: Miklós Mojzer, “A történeti MS mester Sive Marten Swarcz seu Martinus Niger alias Niger Martinus seu Swarcz Marten Sive MSmester történeti “A Mojzer, Miklós recently: Seemost ) and also the Székelyzsombor retable. The pattern of the wing-frame decoration is decoration of wing-frame the pattern The retable. Székelyzsombor the ) andalso It has been shown that the sixteenth century details of the Birthälm retable indicate Ę oltárának fest oltárának Ę je” (The historical master MS, Sive Marten Swarcz seu Swarcz Marten Sive MS, master historical (The je” 151 0Ħ vészetörténeti Értesít ȕ dorf ( dorf Cund, 505 Ę . CEU eTD Collection Schässburg, Nürnberg andSchässburg, even Cracow. been a goldsmith. Atthe one 1530s time, also preserved. been not has hewhich figuresmentionAnnunciation, the of representation asthe a citizenname of a ofthird withMediasch son of andVeitmention later Stoss, as a Martin,citizen of whoof appearsone toof have his works, the so-called “Englishes Gru imagine. is to easy Walachia this and Kronstadt between relations trade active contemporary the groups of retables, other pieces connected to style of Veit Stoss should also be considered. be also should style VeitStoss of to pieces connected other of groups retables, be of suspected sons. works thesurvivingto Stoss art, Schässburg Besidesthe of Veit pieces The historicalcould part benicely then with complemented stylisticanalysisa detailed of the data. archival unknown still reveal may information, quoted often above-mentioned, the for 508 Teisler, 1912) , 161, note 477.no. 511 510 509 512 information. forthis source their Wirklichkeit”. und Legende Siebenbürgen. und Stoss ”Veit Krasser: Harald and 116 1984) Vertriebenen, deutschen der Vitus who worked at the church in Curtea deArgein church atthe Curtea whoworked Vitus guild regulation in 1523. known haveto been a leading sculptor in Kronstadt by the time of the formulation of the local is younger the VeitStoss ‘s widow. Johann havemarried to seems who also assistant, eldest Based ontheperiod’s regulations, the workshopguild was byhis his after taken death over Researchers have therefore concluded thatJohann must have had ina workshop Schässburg. Emerich and Georg, to the stepfather of the children, the painter Christian from Schässburg. whodied in his coming and 1530 andthe parts to widowMargareta his threesons,Franz, inpay The letterasks Schässburg. council of the to of Nuremberg inheritance-part the Johann, mentions the name of Johann, son of Veit Stoss, who according to the document was a painter master, Nuremberg 1534, following great death of to the the dated Schässburg-council 507 1875. Quellenschriften für Kunstgeschichte und Kunsttechnik des Mittelalters und der Renaissance.Vol. 10) Anmerkungen daselbst aus dem Jahre 1547. Nebst derFortsetzung des Andreas Gulden nach den Handschriften und mit 506 to were firstto by published G.W.K. Lochner Lo Christoph Machat, Nussbächer 1981 Nussbächer-Marin 1999, 139-141. Lo Max Lo Max Des Johann Neudörfer Schreib- und Rechenmeisters zu Nürnberg Nachrichten von Künstlern und Werkleuten ȕ ȕ nitzer, 1912, 161, 1912,nitzer, note no. 477. nitzer 1912,nitzer 164. A investigation careful of topic,the which would finallyexamine originalthe sources 510 ȕ nitzer, Researchers like Harald Krasser and Chrisoph Machat have also been have been concerned Machat also Krasser andChrisoph like Researchers Harald herausgegebenvonDr. G.W.K. Lochner Stadtarchivar Nürnberg. zu (Wien: Wilhelm Braumüller, Süddeutsche Vierteljahresblätter Veit Sto Veit Stoss. EinDeutscher Künstler zwischen Nürnberg und Krakau ȕ . Die Herkunft seiner Kunst, seine Werke und sein Leben 509 He was also identified by previous researchers with a certain with by researchers identified Hewasalsoprevious 27 (1978) 24-30. Unfortunately,either of these authors referto 512 152 506 andMax Lo ú in Walachia. Taking into consideration into Taking inWalachia. ȕ nitzer 511 ȕ Documentsdating from ”, probably a sculpted . (Leipzig: Verlag Julius 507 . A letter from the . (Bonn:Kulturstiftung 508 CEU eTD Collection Albu, family before the seventeenth century. (An identificationwith the Haupt-blazon has beensuggested by:with the Ion blazon of Hermannstadtthe family Haupt, the identification is not likely. There is no information on this identified so far . In spite of the similarity of the other heraldic shield – showing a deer emerging from 516 a crown – 138. patronage in MedievalTransylvania – HermannstadtThe Poliptych) Ars Transilvaniae 12-13 (2002-2003), 123- thesis by Uwe Friedrich Hienz, Ciprian Firea, „Art 515 (Vienna: Unteres Belvedere, 2005) präsentiert. konserviert, Gefährdet, Kunstwerke Bedeutende Österreich. und Stoss Veit ed., Saliger Artur 514 Augsburg2005. in Babe the at Defended Mühlbach) from poliptych (The 513 known in Kolozsvár, Nyárádremete ( Nyárádremete known inKolozsvár, now located in Korniss the ( chapel inKóród altarpiece, Mühlbach the decorations of The sculpted been seen at first glancet, that he was a master at using motifs fromDürer’s prints, -the prints, using fromDürer’s motifs at he wasamaster that glancet, first seenat been can besides what master altarpiece, the of the is about presently known Nothing assumption. attention. special deserve also Lulay formerhigh altar of supposed parishthe church of character The the in workshops other of Hermannstadt. parallel existence suggest the master, clearly variety the surviving pieces character, tothis the of in dedicated chapter the out pointed been already has as However, workshop. Vincencius’ to in addition here existed workshops that determinenotallow do numberof Hermannstadt theresearchersto exact linked be to surviving piecesthat can probably inresearch,At numberof this the mark. stage oeuvre in unified The Transylvania. operated thewaysuch workshops example of agood represents localitythe in ofMasterVincencius around 1400. Theworkshop this delineated thesis, in for flourishing art the necessary circumstances the already assured Thesefeatures thesis. toin economic Its been has androlethis referred already cultural century was Hermannstadt. of altarpiece production at the end of the fifteenth and during the first decades of the sixteenth Transylvania. the anddelineate circle stylistic tothis objects preserved other attribute also to possible be now certainly will it paintings panel and sculptures Of the two heraldic representations on the predella of the altarpiece, only the coats-of-arms of Lulay has been has of Lulay coats-of-arms the only altarpiece, ofthe predella onthe representations heraldic two Ofthe Later researchers have tried to demonstrate that the retable was not part of the high altar of the church. See: church. of the altar high ofthe part not was retable the that demonstrate to tried have researchers Later Artium Historiae Acta Wien”, in Kruzifix Hermannstädter ”Der Radocsay, Dénes Recent literature concerned with the altarpiece, the BA thesis of Ciprian Firea: Altarul polipitc dein Sebe dein polipitc Altarul Firea: of Ciprian BAthesis the altarpiece, the with concerned literature Recent Inschriften der Stadt Hermannstadt aus dem Mittelalter 516 of of Vincentius could befinally based reconstructed on identificationthe of his hall- The nature of the preserved altarpieces and historical data indicate that the other center other the indicate that data historical and altarpieces preserved of nature the The , mayor of Hermannstadt in the years when the altarpiece was executed supports this in supports altarpiece wasexecuted , mayoryearswhenthe the of Hermannstadt ӽú i patronaj artistic în Transilvania medieval Der Wurzel-Jesse Altar inMühlbach, Siebenbürgen 12-13. 514 After having the Transylvanian catalogued altarpieces, wood Remetea 153 ú Coroi -Bolyai University in Kolozsvár, 2002, and the MA the and 2002, Kolozsvár, in University -Bolyai ) and in sothe called “Alserkirche” in Vienna . (Sibiu: Hora Verlag, 2002): 35) ) is one example. The group of of ) isone group Crucifixes example. The ӽ 515 513 . – Polipticul dinSibiu” (Art and artistic , commissioned partly by Johannes by partly commissioned , the original Virgin-figure is of which oeuvre of the Veit Stoss sons in . Defended at Universität at . Defended 6 (1959), 283-298 and ú CEU eTD Collection historical background of the altarpieces. of the background historical Broos. and Mühlbach 522 Hermannstadt, Schässburg, to refers 1376 from 521 520 Landeskirchliches Museum called Kultur- und Begegnungszentrum "Friedrich Teutsch" der Evangelischen Kirche A.B. Rumänienin – 519 518 517 has same altarpiece survived. also Additionally, depicting Christ amidstapostles, apanel most the probably imagecentral of the region, clearly point in this direction. However, a more thorough moreinvestigation of written thorough a the in However, point region,direction. this clearly (unfortunatelythe very not numbergreat of) andfragments altarpieces preserved in the towns Saxon smaller other and Broos Mühlbach, in crafts proximity each to naturallyother leftmutual imprints on each other’s works. inworkshops to operate workshopsoperatinginparallel. Understandably, these close allow several to numbercommissions of and thenecessary background economic cultural and also offered necessary the Hermannstadt JustasinSchässburg, geographical considerations. museum can be also attributed toHermannstadtworkshops, based on stylistic and Museum representation of the Man of Sorrows between two angels,in the collections of the Brukenthal Hundertbücheln, Anthony Paul, St. Hermits the depicting and St. Virgin the of Death the of representation The canmost be local with the predella workshops. probably linkedto Hermannstadt, in Museum Brukenthal the of collections inthe mainly objects, other of A number master wasobviously one of leadingthe painters working insixteenth century Transylvania. its and region in the painting panel on influence an had clearly altarpiece quality high The Passion series. copper-plate smaller, of compositions Dürer’s arebasedon wingpanels the archives joiners’painters’, and glassworkers’ guild from 1523 that hasbeen preserved in the regulationscommon the of of town, the importance andeconomic trade The production. in altar Transylvanian considerablemust role Kronstadt haveSchässburg, also a played of mastersisfrom inaddition that andneighboring IttoHermannstadt towns. clear the work was altarpiece Mühlbach elaborate even the that idea the lead to have considerations workingsculptors inhereor by localities.on altarpieces or Stylistic produced craftsmen these The regulation as well as the role of the town has been analyzed in the chapter dedicated to the social and social the to dedicated chapter the in analyzed been has town of the role the as well as regulation The dating regulations guild to Transylvanian referring document mentioned previously earliest the that Note Muzeul Na so- the Hermannstadt, in Church Lutheran of the Museum ofthe collections the in presently is panel The Muzeul Na Muzeul Na In spite of the fact that documents show the existence of a considerable number of number a considerable of existence showthe documents fact that the of In spite 522 520 , the presence of Veit Stoss the younger in the guild as well as the fair quality fairin of as younger quality the guild aswell the the Stoss Veit presenceof , the and a series of and and of sculptures other ina series held retable fragments presently thesame Ġ Ġ Ġ ional Brukenthal, Inv. No. ional Brukenthal, Inv. No. 2667. ional Brukenthal, Inv. No. 1895. 1896 518 Another panel located in the parish church of church parish in the located panel Another 517 has the coats-of-arms of the town in its corner. 154 521 , nothingpainters is known about 519 the large panel with the with panel large the CEU eTD Collection 523 of the altarpieces from the Székely region. Gyöngyi Török has already dated the Csíkmenaság styleSzékely be The obviously should in revised idea future. the is tothe dating also relevant with the Saxon relations workshop links) stylistic the to territory. (additionally indicate clearly shrines, the andabove Thus, panels on the foliage ornaments the closely patterns, related identity of shrine-background the the earlier theory The area. in Saxon the produced altarpieces to stylistically related clearly are Székelyzsombor concerning from or from Csíkmenaság altarpiece as the such region, in this Certain altarpieces a clearly definable Balogh as Jolán described. local workshop, of large single one products they are the that Saxon and chance is little basis. There a stylistic on defy grouping that variability great display preserved Thehavebeen piecesthat local workshops. pinpoint particular make to very itproblematic fragments and sculptures altarpieces, surviving these of characteristics the of Csík. However, region Catholic in clustered continuous isthe part pieces of better preserved although the the most tooperate workshops mightthat level possiblyhave social permitted development of the that hasconcluded been It data. historical mainly on any aboutconclusions workshops the in towns.these draw moment to the possible isat soit fragments not altar preserved asconcerns represented has survivednothing town, in the operating workshop(s) in local out carried been have of must commissions the pieces once manythe produced signs alively suggestthat that developedcrafts-life important here and that of in spite Unfortunately, chapter. here.introductory in the to referred been already has Thelocalities, territory of astheseSaxon sameimportance the of a town approximately Kolozsvár, of contribution the counties isin area. this been preserved has sculpture single no factor panel of the that very poorly a produced that numberin during fifteenthaltarpieces the of century, the spite sixteenth and corresponding and craftsmen commissionsBistritz alsosuggest that must havehad workshops Kronstadt. in climate artistic image of the aclearer create help should sources written these pieces with of preserved careful Together the the beanalysis carried needsto out. still joiners and sculptors local painters, of activity reflect the that and,commissions accounts town sources, Only the Only stallthe and woodenthe reading-pulpit in parish the church of pointBistritz inthis direction. The Székely region has also briefly been presented from this point of view, based of mentions the and Ages Middle late inthe town the of importance the Similarly, 155 oppidum of Marosvásárhely hada Marosvásárhely of 523 The CEU eTD Collection 525 éve táblája Csíksomlyóról” (Saint Emerich – outer panel of a wing from the Csíksomlyó altarpiece) Gallery) galériában. 524 Mediasch altarpiece in the years that immediately followed. It can be considered a rarity on can be ararity followed. considered It immediately that in years the Mediasch altarpiece usedonthe were master period, of the “fashionable” most the Meckenem, van Israhel by even 1480 around endof 1470sor the atthevery produced Transylvania, sheets printed images in century number fifteenth the of aconsiderable for sources servedgraphic as have may Schongauer of plates the Although neighbors. western its with art Transylvanian already of hint compositions contemporenity at the Transylvanian paintings panel of also by other aspectsneighboring countries, although is this contradicted by above-mentionedthe examples and of the research the to than later arrived trends stylistic most the of where aterritory long considered presented medieval Transylvania historians to generally approach in was art. art of the Transylvanian in this thesis. Prints used as modelsCsobotfalva ( for the last decadesin paintedthe doubt retable the was that to reason isa later noserious time, there at together mounted been have only may pieces the stylistically, retablepanels the on paintings the offrom the fifteenth completely differ As predella the paintings on the 1470-1480-s. of andthe Franconian art However, the character of the central panel and the wings clearly points towards the Viennese centuryproduction. art Székely late-coming of arepresentative stylistically century and considered for sixteenth of the firstdecades the datedto was a whole as altarpiece which the to predella due the parish is of onthe It of Kolozsvár. museum inarms very Jagellonian coat presence the the probable bythe bought was comefrom samealtarpiece the to church thought thepredella, century, while museums from nineteenth of the end the Budapest andwanderedbetween the to retable came of Csíksomlyó,( Csíksomlyó the dating and the artof influenced of to the even Transylvania Europe territories of locatedin as paintings latercompared toart being German-speaking the generally sculpture and in Saxon from altar production considering 1520s.Similarly,the of custom Székely the of fits, character the within indeed perfectly retable Csíkmenaság the from Székelyzsombor, anaylsis of the panel considered result repainting.of the inscription A Török itself. a later shrine the thorough paintings should 1520s, the altarpiece to also lead to the conclusion that, just as the altarpiece For a more detailed explanation of this matter see: Emese Sarkadi Nagy. ”Szent Imre. Oltárszárny küls Oltárszárny Imre. ”Szent Nagy. Sarkadi Emese see: matter of this explanation detailed a more For Gyöngyi Török, Gyöngyi , (Thousand years of Saint Emerich) exhib. cat. (Székesfehérvár: Egyházmegyei Múzeum, 2008) Múzeum, Egyházmegyei (Székesfehérvár: cat. exhib. Emerich) ofSaint years , (Thousand This feature production This feature datingslate beof art for Székely should actually revised (Budapest: Kossuth Kiadó-Magyar Nemzeti Galéria, 2005 (Gothic winged-altars in medieval Hungary. The permanent collections of the Hungarian National Hungarian ofthe collections permanent The Hungary. in medieval winged-altars (Gothic Cioboteni ù umuleu Gótikus ) altarpiece in literature.previous The central panel and awingof this s ). zárnyasoltárok aközépkori Magyarországon. Állandó Kiállítás aMagyar nemzeti 524 525 in basedinscription spite of on earlieron the 1543 the dating the 156 ), 23. ), Szent Imre ezer Ę CEU eTD Collection 526 role of guest-masters was more important while the thealtar production century of thefifteenth first decadesthe of the throughout that likely it make all sources historical the and towns as forwell as here time local of amounts various spending masters foreign incoming for craftsmen. work continuous The a numberthrough number of has shownthatcase studies, this region apossibility offered for of preserved pieces, the economic development of the responsible for the joiner-work of certain altarpieces. of certain joiner-work the for responsible Reichmut, ajoiner a whoproduced series of Transylvanian stalls was very alsoprobably in. like wereproduced Masters Johannes thealtarpieces samejoiner-workshops related to the wooden church-stalls,doors and, decorated rarely, pulpits as reading well are obviously altar-producing Themotif workshops. onthelargecollection numberofsixteenth century of Transylvanian image develop amore complex to in order be examined of should retables andinvestigated demonstrated. Poland. but still needbe Theexistenceof seemslikely these connections to thoroughly into onwards towns its through and Hungary Upper of direction the in mainly regions, other towards andart alsopoint relations trade However, madeinthis dissertation. observations influencesViennese rapidly Transylvania madereached has already been clearby Stylistic observations merchants thatcontinuously betweenVienna. Transylvaniaandcirculated Nuemberg,through obviouslyat the Vienna by University copperplates,and and books woodcuts, otherprints broughtin by reflect thesemovements mediated were also through largethe numberof studentsstudyingTransylvanian cultural their although themselves masters wandering the by time short anda very within arrived economicprobably relations.Neither did this influence diminish in stylistic century. sixteenth the The up-to-date trends The fact thatcan be traced in Transylvanian paintings from middlethe of fifteenththe century onwards. schools Viennese the to relation a clear dissertation, this in shown As panels. Transylvanian century sixteenth for models feasible most two the comprised clearly school Danube the of influence by andthe Dürer Prints in Transylvania. style-characteristics school of Danube the Vincencius’ paintings are good examples of this phenomenon and for the very early presence followed onTransylvanian panels years only a couple of after their production. supposed canbe graphic-sheets these manycases, In conceive compositions. the usedto were Dürer Albrecht of copperplates or woodcuts the than other models when panels century sixteenth Research by Zsuzsa Eke will hopefully produce considerable information on the stalls. the on information considerable produce hopefully will Eke by Zsuzsa Research An overview of late Gothic and Renaissance altarpieces of refined of Transylvania, late GothicRenaissance altarpieces and An overview of In furnishingsgeneral, wooden of andchurches publicbuildings as well the as analysis 157 526 CEU eTD Collection suggested by scholars.previous were able to host a majornumbertowns in that pieces clearly shows Transylvanian surviving variability the apparent of workshopswhen for guilds sculptors painters, andjoiners werefinally The stylisticconstituted. great operating in parallelforeign in contrastmasters toby evenif by founded local were they workshops, century was mainly characterized sixteenth whowhat settled has been here, such as the sons of Veit Stoss. It was also in this period 158 CEU eTD Collection thesis) Arrangement: CircumcisionAdoration Gate Golden the Meeting at Catalogue (Transylvanian winged altar-pieces andfragments ofaltars analyzed inthe ( 1. Berethalom, Biertan Present location: Feast-day Feast-day side: Predella Wings (with frame) Shrine: measures:Main Material and technique: Dating: Provenience: Retable dedicated Retablededicated to the Virgin Mary in Birthälm Magi of the Virgin the Holy of Birth 1483, 1515 Birthälm,former parish church dedicated to the Virgin Mary Temple in the Presentation with Joseph Betrothal Thaddeus Judas Simon Zelotes, Barnabas, Alpheus, Minor, Jacobus Mary Jacobi, Augustus of Vision original ) , pine, tempera. Birthälm, presently Birthälm, presently a Lutheran church w: 331(211), d: 31.5 h: 179.5 cm, w: 73 cm h: 179.5cm, cm, w:147.5 d:36cm century) Sculptures from the 15 Crucifiction(Group of Joachim, Joseph Joachim, Anne, the Virgin, Jesus, The Holy Family: Saint CrucifictionAllegory 159 th Egypt Flight into Jacobus Minor Jacobus Zebedeus, Evangelist, John the Mary Salome, Annunciation of VisitationBirth Ezechiel of Vision Temple the Jesus in old year Twelve Christ Baptism of Jesus CEU eTD Collection gilded. This surface was later, mostgilded. probably Thissurfacein waslater, theReformation, during with painted an the large halo, under of this andfoliage. The central situated part decoration, was vine-leaves swirling presenting originally covered pattern, brocade iswith background of decorated a pressed, golden shrine central the The workshop. Richters’ the in by removed were these the of All well. as panels the sculptureof rest the of the on restoration the to previous noted were shadows, and lights their of interms shrine way another in quite handled and folds the with manner, has different extemely in an draperies thusthe repaint to not been cloak part thrown over his arm before and after the restoration is obvious. The same tendencyfolds of the the between Thedifference modified. greatly Joachim was of cloak the andcolor of Joachim and Anna Basedat on the photo documentationthe Golden Gate,in Richter-workshop. the in same period, the were removed of panels the repaints earlier the mantle of St Annafrom of predellaprobably spots have andgablepanels repaints, work 1980s.Several the was painted in some century fifteenth the sixteenth century andthe gablethe Both panels well preserved. equally dark and is framework the with stable, bemoved. Thecan hardly construction restof retable the present conditon is the fact that both of its large wings are warped to such an extent that they Work a’ day side: The retable is speaking in condition.generally good The most alarming partaboutits of State conservation,restorations: Ambrose Augustine and Saints Emerencia Stolanus, Joseph Sebastian, Michael, Rochus, Saints Catherine, Barbara Saint Margareth, Dorothy, Augustus of Vision (Figs. III.55-56) (Figs. Elisabeth Baptist, the John Saint Zacharias, Crucifiction of Allegory Vision 160 Servatius Saint Memeliy, Emyu, Anna, three Marys three Anna, Virginwith Child, Saint Helen, Agnes Helen, Saints Mary, Elisabeth, on the panel representing the Meeting the representing panel the on Ezechiel Afra Esmeria, Hieronymus and Saints Gregory CEU eTD Collection winged altarpiece. The central isby apair wingedpanel flanked Thecentral movable and altarpiece. apairofstationary of a of in itself is that of predella the construction The each. onelargepanel of only consisting areundivided, stationary The side. wings onthe exterior arrangedhorizontally panels two, into and interior on the four panels into is divided movable wing Each these. to attached fixed areandflanked by Both the movable wings stationary the panels. a pairsuperposed, of is shrine central The pieces. earlier partly several, from century in sixteenth the unified them cannot be read at first sight. of some that, so renewed, partly been only have persons certain to belonging inscriptions and werepokedout).Thus, of Zelotes, Simon small repaintingspots canbeidentified, the Reformation’s interventions can be observed here as well. (the eyes of the children, Barnabas radically changed. in mannerwere this with facesdealt of the personal features the sothat inpainted-repainted wereroughly losses These during Reformation. the scratched-out faces werealsodeliberately the Anumberof beforerestoration. part the most of worn retable the the perhaps panels were on these represented figures The Michael). of St. cloak the with example (for here. observed 529 528 527 with modification mentioned already butthe century, eighteenth in the over-painted not were wings movable the of side outer The Kronstadt. in workshop restoration Paul.cleaned andwas also Peter inthe painting St. This over in Neuhauser, 1822byFranz completely painted Fathersover were restoration in restoration and1972. completed lossthe originals. of the Similarly,John the missing of hands the were Evangelist before document workshop the of photos The restoration. Richter- the of results are fingers Christ’s many in and crucifiedthe places. of Theendings in group completed wasrestored shrine the pressed vine-decoration. Thus, Capitals the of inscription the visible.are still Crucifixion The During the last restoration, surface was the gildedagain, reconstructing without however, the becan still archive photos on that observed inscription, 3,16)- Bible(John a quotation Fabini 2002, 68. Richter 1992, 61. thesis of this chapter corresponding the in presentation precise the See Late Gothic winged retable with its rather unusual andLate Gothic its with unusual wascomposed rather winged retable construction Description: of traces the preserved,better although panelsweresomewhat The predella The stable wings of the retable, today displaying the four large figures of large four the figures of Church today the of The stableretable, displaying wings the (Figs. III. 43-46) 528 161 changeant 529 with a representation of witharepresentation colors could colors also be 527 . CEU eTD Collection Both his legs are slightly bent, the right knee somewhat more strongly because his right foot because hismore right strongly bent, theknee right somewhat his legs Both are slightly sharply. out stand ribs his of ends the of row V-shaped The in. sunken is deeply abdomen His waving, His curly locks. eyes are open and his mouth closed. in shoulder. the over His roughly sculpted parallel arerather hair,beardandmoustache mop blackleanshairare notbent.head Hishisfalling a thick of shoulder, ontheright curly thefingers completely horizontal, His palmsareopenand not the butslightly upwards. the on nailed arms his with is crucified Savior The a tree. of branches the like arched symmetrically The stem presents the stubs of the cut branches of the tree, the horizontal arms of the cross are living cross. a green, on crucified is aswell.shown Christ back surfaces on the their details original decoration of the shrine. The three figures were sculpted all around, worked inout all presently The Crucifixion-group theshrine that part notof wasobviously decorates the linked Virgin.the a representation to unusually large,golden,halo sun-like originalthe – belongedsculpture clearly to perhaps that isblue coveredby an dark the there upperpartof paint on the shrine thissurface, the central above Right observation. careful with through shows still lettering the however, gilded, later surfacethis undecorated paintedwas over with an inscription. As mentioned above, this was during Reformation, the presumably Afterofdecoration, theremoval sculptural the sculpture. isvine-pattern most missing.This hidden by was probably part the shrine original the analogies) is presently painted over with red. A rather wide, central surface of thebackground based andgold on insilver probably painted (originally curtain, the of imitating the fringes lower band the while edge, withthe on stone-imitations precious decorated characteristically imitatesthat its stars. a nightsky The with golden curtain is golden the upper edgeof painted over withwas later blue decoration background of dark upperpart shrine’s the the pattern zone was originally presented in formthe of a curtain; the upper bar with the hangings both fruits sides. Thegold each andcurly on tendrils vine-leaves, to with other alternating set parallel are Vertical runners pattern. invine-foliage gold an engraved shrine aredecorated with startingribs polygonal from in consoles The corners. the background andthesides the of foliage of type.late decorative a Gothic,shrine The has asimple gold, openwork cross-vault, and narrow, polygonal bases and end in small similar capitals. The two columns encorporate is flankedby columns,two their spunfrom trunks, andgold darkbluestrings, stand on high decorated by gable-work, gothic, finials stepped pierced andfoliage. gablets, triptych -a image,central flanked stationary by by surrounded two panels – latea complex a simple of eachside.Thegable consists arch on byalarge,deep wings. areframed These The central shrine of the retable was repeatedly rearranged. The opening of shrine of the The opening rearranged. repeatedly was retable the shrine of The central 162 CEU eTD Collection to which the wings of the retable were attached. Thus, when the wings were opened, six opened, were wings the when Thus, attached. were theretable of which wings the to The shrine is flanked,has as beenmentioned, by already a pairof fixedsuperimposed, panels, long robes. the under observable clearly feet are bare knee.His of the theanatomy following leg, closely left shifted the of mantlethe coverstheleftarm, also dark blue showing the by lining edgeand the covering hisitsarm, inner right nipped edgeis underhis hisarm and pressedto body. wing Theother covers mantle the of wing right The chest. his over strings thin two with fixed is mantle The down his back. Heis clad in a long green by covered gown, a goldlined mantle, in blue. dark of rows ringlets again two back side,forming waveson the in parallel face, hisaround and hisis His hair in givea arranged face. dark,curly sunken to cheeks expression painful ringlets hisslightly leaning headhis andshoulder.and the towards eyes right The eyebrows oblique with chest his over hands his crosses He leg. right the on borne body his of weight the bent; slightly forward, is shifted leg left His cross. the of left the to stands Evangelist the John St. The ends of the drapery are lifted and held tight inarms. her her rightboth hand and on her breast.shoulders her covers cloak The back. her on folds parallel long, forming herheadin figure, the breast. whole Along,and lined dark-blue,covers on cloak,her gold rests hand right Her it. with tears her dry to intends obviously She hand. left lifted her in held is which endof the shawl, white by another is head-dress covered chin. tight the up to The a long, dress.Herheadis red awhitealso her tightly head-dress covers with that coiffed neck right and John on the left of the Savior. EvangelistThe Virgin, looking standupwards towardson the her oval broad, face, athick nose andSon, rotund aprominent, two chin. Mary The Virgin and Johnthe wearssides of the cross. leftCharacteristically, shoulder and head-dress fanlike with Mary folds aboveher forehead. The long of end head-dressthe coversher falls is positioned in front on the face ofherby Herhairsides is of base onboth along andcovered cross. braided white the of her the at rocks the also but legs, right her only not covering folds, in abundant shoulder, ground the to falling similarly of little golden A buttons. mantle colouredgold with a dark-blue lining covers herback, to a mop of hair.golden belt atthe waist. The tight sleevesShe of the dress are decorated on the forearmhas with a row a a with areddress Shewears looking upwards. backwards, lifting herheadand leansslightly She hand. left her with wrist right her grasping stem, the around hands her clasps woman an iron band right above the hands of Mary Magdalene kneeling at the footright of the side,cross. The parallel to the body. The crossnailedishis ontoThe long leftfoot. blue of ending dark-gold,the loin-cloth stem,winds along his made from two pieces, is fitted together with 163 CEU eTD Collection with a Gothic trefoil. A little wash tub sits on the bench along with a neatly folded white folded neatly a with along bench the on sits tub wash little A trefoil. Gothic a with decorated is which of base the bed, the and her between stands bench A long child. the for reaching herarms, Shelifts head-dress. with a white head around belt.to the iswrapped Her fur. A long, narrow belt encircles her waist with a pack of keys hanging on her right hip, fixed its with neckline white both shoulders the and on at long, reddress, edged dark blouse a and a near richly stands draperies.Amaiden bedflanked byheavy in folded, the clad green two, bed, the of head the at hangs curtain brocade A gold breast. and shoulder right her over falls of which end a with the shawl, iswhite head covered fine, white fur.Her edged with neckline, aV-shaped bluerobe with bed.the a dark wears standingnext to She maiden the thick, red cover. She holds thenewborn childin her arms, just previous to handing her over to in theforeground, set Annaobliquely. St. ishalfsitting, half lying onher bed,covered with a The nextfollowing panel depicts the Birth ofHolythe Virgin street. onthe of balconiespassers-by andacouple “Fachwerk”-decorated houses, tall with seen, be can detail street A Jerusalem. representing town medieval a into étage. The building ends in a richly decorated main cornice. Through the gate one gets a view the on lancet window andacoupled floor its ground on facade,a gate with an ornamented attached to the left side of the gate displaying aloophole and anarrow window on its side and jamb. An stands gothic Its openingof building form the elegant takes agothic of ashlars. built itself, the gate depicts background the side isby right of gilded.occupied sky - The the and the small detailGolden In backgroundthe Gate. behind may them a footpath be meanderingseen in hills the from a fortified town.when Anna’s husband was his of told and meetwife’s pregnancy sent toin front her of the The surface is left This moment on the the aboveside. is represented Angel with the Joachim of The meeting this landscapeabundant, hardfolds fallingdown his side. right Thebackground is sections. intodivided two that should be covers his left shoulder but has slid hisoff right one. It is thrown over his right arm and forms under this Hiscoat. back is covered by a large mantle, red lined yellow. with Themantle beseen can darkshoes fur.is pointed His with edged coat the of Thelower edge dark coat. baldin along,bearded, halo.man,isclad Joachim,a whitepartly is by surrounded a golden mantle fallsground in to folds.abundant Herheadis tightly in coiffed a white head-dress and dark blue dress, her white mantle,lined with just sliding red, off her back.The end of herlong The elderly Anna embracing inalong, is eachother. couple wears foreground depicted the The first panelof depictsthemeeting the cycle of Joachim atthe and Anna Golden Gate first on the complete upper row, continuing on the lower one afterwards. following narrative the shrine, the of sides onboth displayed life were Virgin’s scenes of the 164 . The birth-bed is represented . CEU eTD Collection dark hat on his head, ornamented with a row dark hatonhis with andisof stones head,ornamented a row faceprecious His framed pearls. his left hand almost touches Mary’s. His long His Mary’s. touches hand almost his left and, arm Joseph’s on rests hand right His couple. the behind right image, the of center the at bald. The small amount of hair above his ears is grey. The priest, in sitshood behindhishead onhisback.He tobe appears eleganta middle-agedman, already partly vestments, stands shoulderright and cutupalonghisside. wears darkshoes. right pointed He Alarge,black cloak coveredby a large,redcoat with a greenlining. The coatis gathered together on his and edgeof the with hishis coat hand left his under arm. Hewearsalong,right brown dark front of her, putting his with decorated Herhead stones. precious is and in by pearls surrounded Joseph a halo. stands right hand into the Virgin’shair right ofhand. theHe is lifted upandreachesheld tightbeneath herleft arm, her pressed to body. Thelong, blond, curly Virginout for his stickhem are all edged with white fur. Adark blue mantlein lined red covers lefther back. Its edge falls over edge of andits neckline, lower The the dress breakas dress’sleeves floor. the they reach the her shoulders Joseph. dress, extends foldsrightto her Thelong, her(unnaturally of hand short) parallel priesthandsthe moment TheVirgin, inalong, clad places ineach goldtheir brocade other’s. and back and she wears a fine gold crown, Mary: her The third panel, the first of the narrower, fixed panels, shows a scene from the life of the adult with halos aroundtheir heads. A dog sleeps at Joachim’s feet. Itis only St. Annaand the newborn child who are represented a large at table. Sheets pens and arearrangedon the book. inkstands of table,paper, readinga is and by made Joachim, sits man, Anelderly very of thefloor covered stone. wood probably right side is lightunusually since its surface is by broken large three Thewindows. ceiling is the gothic vaultingside room, probably A a kitchen.small windowcanbe observedon backgroundwall the and of the room can still open roomsonto two separate in A background. the woman stands nearthe stove ontheleft be discerned to semicircularand Two aredblanket. doors sheet with covered a white becradle can observed, a certain extent. bed,alittle by white Behind the headThe head-dress. abdomen. iscovered a turban-like Her room on the folded back,lining displaying dark the whileawhite apron kerchief hangs or her infront of is left of dress the herbends sleeve and The forward knee. foldsleans abundant she –as bench.lightlong, wearsadress’ She grounddress. The inhard, hem fallstothe green the water, holding a can in her left, while another, larger can stands on the floor, right near the temperature of the water in the tub in order to bath the child there. She puts her right hand into Another maidenkerchief. stands byleaning bed, foot of the the bench,above the testing the Betrothal Betrothal with Joseph . The crowded composition. Thecrowded showstheyoung couple atthe 165 alba is covered with a black pall. He wears a CEU eTD Collection her abdomen and dress,covered withbrocade a vividlining.a darkbluemantleat with left on handred Her rests the same time theholds gateof in front meet theof Elisabeth, and Mary women, an edgepregnant two The elegant, images. pictorial oftraditional her medieval mantle town.and depicts the out-of-doors, place taking of narrative, The fifth the scene theThe foldsVirgin ofis herclad, inlandscape front of dressa gilded background. as on previous images,Mary’s prayer in stool.a gold A castle-like is book placedon open another, lie behindthem,while closed books on table the room. Two building on the top of a hillred wax. Curly, hair golden his surrounds face,hisround large wings barely fit in the small can in be times seenthree sealed in annunciation, the of theletter the holds distance,he hands left his in while greeting, a of of lifted angel.inthe Hisrighthandis shirt agesture mantle coversthewhite long, the ornamental edge of neckline.The histhe fixed alarge,goldfixed to to with clasp, chest is mantle The legs aswell. his backand covers mantle that light-green large, the seen dueto be cannot motion exact the although him of front in lifted probably is knee right His position. golden halo. The angel, comingfrom left,the close stands to the Virginin a rather undefined abovelined it with red. The mantle also covers her legs and lap. Herhead is by surrounded a just ason previousthe image dress,a gold-brocade edged with fur and adarkblue mantle arriving angel,lifting her right handin front ofher breast in an astonished gesture. She wears, stool,holding in abook hand. herleft backher She turns head body and upper the towards her at prayer- kneels with blind-tracery. Virgin The wallgothic a parapet decorated on sit all around thevault columnsthe supporting remainderof marble columns. The probably red landscape. The background the towards arches semicircular with vaulting, opened ribbed badly preserved, entrance to bya room,covered place space a chapel-like event The takes inof inthe right upperrow. the the space is a The semicircularscene of the Annunciation inthem, front of goldthe arch background. behind shown is a tower standing of detail The lyre. a of strings the touches one another while violin on a pair of what inobservedof front a gold background.Onthe side right manelegantly an dressed plays the are leftbehindside asegment-arched opening. Behind town them buildings be elegant can the on flute the play youngsters Two a parapet-wall. behind celebration the assist instruments view to theA be hanging wall.behindwhite priest decorating thebackground can brocade observed the town ismen his elegantlyon right andtwo, dressed standwomen onhis leftside. Ablack-red and offered Two both sides of on priest. the beard. aregathered by Theweddingguests a two-pronged on both sides of this carpet. Musicians playing on various occupies the second narrow panel, flanking the shrine on the on shrine the flanking panel, narrow second the occupies 166 Visitation based on CEU eTD Collection right sideright Mary of is priest. the dressedinher usual robes – agold dressanda mantle dark blackhigh The hat. Virgin standsa woman nextto servantholding a white kerchief on the has red stockings on and wearspointed blackwith shoes Hisheadstrings. is covered bya lining. He red the showing inrevealing hisabdomen, is front the cutoff coat neckline. The the along band ornamental agolden with decorated it, over coat green light a with robe edged stands the left to of highpriestthe holding agolden Heisplate. dressedin akneefur- length, figure assistant on his shoulders. unfoldedAnother headdress fur.Hisedged with rests dark He wearsa withwith white large decorated shirt red andbluemotifs sleeves, and aredrobe circumcision. the out carrying in front of them man kneels bearded elderly, dressed elegantly hood-likehead-dress. An He wearsarichlydecorated with covered overcoat. a yellow nakedthe childinfronthim.He iscladin of His vestment. are shoulders a gold brocade holding image the of center the in frontally sits priest high The church. a probably most room, The first scene inleaningshepherd on his staff in front ofit. the lower panel a in with distance the town fortified a contains landscape background The from stall. the row shows news of the birth, the annunciation of the shepherds. A cow and a donkey stick out their heads to points threeangelsthe hovering sceneholding abovethe probably abanderole containing separating the birth from scene two gapingthe men standing behind the fence. One of them behinda black fence hood hisbaldhead. Awooden runsnexttothe stall’s entrance, staff on the leftside, in the entrance of the stall, clad in a dark robe and a red mantle. There is infrontof holdingher alarge, in Joseph sheet. leaningonhis stands white background, the down herleftfalling shoulder, in to the ground folds. A abundant fourof group angels kneels dress,brocade holding theChildin frontof her, on a white veil. Herdarkblue mantle slides of scene depicts the row panel upper the The last of comprises arow moreof storiedhouses and alarge,Gothic hall in church background. the by supported is attached consoles, to one endofthebridge,.inThe street backgroundthe behindright Ahigh, the figures. with round tower building Fachwerk-decorated partly parts polygonalflanked bridge balconies. crossedthe encircling bytwo Astone theriver town windows large, with three-fold building gothic late is idealized, castle-like gate the an inThe detail represented town Superimposedthe above of backgroundunusually elegant. the herShe leans closeby relative,their to hercheek.Both headsaresurrounded halos. kissing her headwrapped withround a white head-dress.Herrighthand in rests Mary’s righthand. The elder woman is dressed inalong, sleeveless, tight, reddress and a green velvet blouse, hand. right Anna’s grasps hand right misdrawn completely anatomically short, very Her tight. 167 the Circumcision, the Birth . The Virgin kneels in her gold her in kneels Virgin . The taking place in a vaulted and CEU eTD Collection high high facingpriest them. Sheis dressed inher goldgown brocade edged with white fur and the to over him handing her, of front in child the holds image, the of side left the on standing The Virgin, Schottenaltar. the on scene corresponding the basedon is again of retable, the The composition of the Presentation in theTemple, panel.the is A fortification onahillin of of frontdepicted a goldintheupperrightcorner background of a cowandof a donkey can be observed poking through windowthe opening under roof. the mantle above. The stableis represented as a stone building with a wooden for-roof. Thehead lid with the fingersstable’s entrance, to the right of the Virgin. He holds a ofclosed cup in hisleft hand,his touching its right on previousthe panels asan baldelderly,in in man,assists front thebackground, of hand.the He is dressed as represented fits panel.Joseph, barely on hishand.with the figure right His turban-like hat in a dark gown with a hood and a red thrown thrown leftover hishe hislefthand raised holds arm. In agolden being left his down shoulder his back,butslides blue-red covers with pattern decorated a abovefur-edged white coat green velour, a red shirt. Ashort, mantle, knee-length tight whitedressed, a stockings, tight, wearing scene.stands theElegantly rightside of the on Hisfurliesedged, greenvelvet elegant, hat him.on groundthe of infront thirdking The backhead.holdshis of He full a gold coins, cup its openingof gold lidhis with right hand. very the on visible hair grey his of some only with bald completely is almost head His clasp. edged with white furand under heldtogether his arm by his waist with a large gold-ruby robe, hisbeneath Hewearsalargebrocade yellow heavygold shirt spectator. back the to kissforward to his extended hand.The older kneels king in mostly the foreground, with his One kings,vividnext kneels of to the ina clad greenvelourChild the right robe, and leaning whilechest, hefor reachesout goldthe in goldenthe cup heldby king. eldest the in head backwards direction the of kings twothe kneeling there.His lefthandis lifted tohis lifts her in Jesus left an sitsuncertain knees gesture. the of motherhison his turning haloed herhand and his with child right arm thesitting under holds She in child. the of the direction back, also covering her knees. Her head, surrounded by a halo,leans slightly towards the right loosely hersurrounding neck. A dark blue mantle with a vivid redlining coversher head and knees. She wearsher gold brocade gown. Her head is covered with her on a white veil child with the naked ends the holding image of the center in the stall the of front in sits Virgin The The Adoration oftheMagi by a halo. The servantwears a vivid green dress, herheadin wound a white head-dress. surrounded is head her in prayer joined are hands Her head. her covers also case in this that takes place in an environment very similar to that of the Birth. the of that to similar very environment an in place takes 168 depicted on one of the narrow panels narrow the of one on depicted ciborium , whilehelifts his CEU eTD Collection 530 is composition basedon Schongauer’s engravingonthesame topic. The Flight intoEgipt segment. The Transylvanian painter didnot succeed adopting architectural this detail. the Schottenaltar. from when panel sameon lookingthe detail atthe beunderstood can unnatural form angled The arches be in Their background. pointed. the marbleopened tend to Thewindows town red the towards opens on the originalGothiccan be window, observed above altar.the sides Onboth a windowdouble divided with on two sides salu(tare tuum) quiavideruntoculimei verbu(m) tuuminpace: of a polygonal frominscription taken Luke 2:29: building- engraving, sheholds the rope donkey the is being ledby in herrighthand while on panel the the On donkey. the of neck the over cloak her of fold a holds she hand right her with while over her right shoulderfalling the end with a headwith kerchief white iscovered her lap.on holding Her Child the onto her breast.represented inher usual golden androbe mantle darkblue lined with red, sitting ona donkey, Embracing her son, she has a fruit in her left hand, by a white kerchief, with striped green. panel Asemicircular is set on the inbefore covered an place altar, behind her.Theceremony a sacredplace, takes be observed in wrapped Anearly a white head person’s head-dress. of detail can unrecognizable another is ceremony at the attendant abarely her woman behind theVirgin visible head with standing light Another Jesus world. broughtchildhood, tothe aburningcandle, the symbolizing given birth a child.to Inhis hand right heholds hisquite usual on attribute scenes of Christ’s inpurification hissacrifice hand, left proscribed something by lawforthe women had who green lining. Joseph behind stands priestthe holding abasketwith doves, two representing the on stairthe in front of him. His back is covered by a large, gold brocade cloak with vivid hesteps as falls squarefolds, thethat groundinyellow hard,rather wears along, vestment to of (instead traditionalthe one)inhiswhite handsand the child, grasping receives his legs. He He holds beard hairlong, as kerchief is brownish-grey grey adarkgreen and dressed priest. with man old an Simeon, Simeon. towards hand left his with out reaches and benediction with her righthand. The child, held byhisin mother a sitting position,lifts his handright in head issurrounded by a halo. She holds hisJesus under arm herleftwith hand and his leg white head-dress and herlong, hair falls golden her down back and overher shoulders. Her from beenfigure has model. exactly adopted head iswrapped a Viennese the Her with around her it. theblue drapery wearingis infoldsaround Eventheway mantle above adark arranged B 7 (64) is represented on the fourth narrow panel of the retable. The retable. panel the narrow of fourth onthe is represented Nunc dimittis serw(um) tuumDominesecu(n)du(m) 169 . A detail of a two-fold a of A detail . 530 The Virgin is Virgin The mensa , with an CEU eTD Collection the text written on the pages, beginning with the words: “ words: beginningthe with written pages, on the text the black tight cap he his abook hishand to towards teachers.and With he lifts left fellow points a by covered is head His it. above mantle black a and gown orange an wears One panel. the inscription yearand the its 1483 on pages. Fourother teachers aredepictedontherightside of stones hislifts contains abovebook on head, book hishead.The a indecipherable an wearing awhite shirtwith ita gold robeover brocade and with ahatdecorated precious and beard brown long, a with teacher another left, his To hands. his both with pieces into gown within ared clad them, of one a image V-shapedthe of foreground the In Jesus. of front in and right the on neckline edged withJoseph, standing behindher, points in surprise to the Childwith his lefthand. The teachers sit fur, holds a bookplace. Mary, wearing her onusual clothes, joins her handshis in prayer at the sight of her son, whilelap and tears of explanation. The Virgin andJoseph are standing onhisleftside having justentered the its pages head, with blondcurly hair,is by surrounded a goldenhalo. His hands are lifted in a gesture angel-like His it. under visible feet bare his of one only with shirt brown long simple, very vivid redcushion and the large archbehind himis covered by a gold brocade.Heis clad in a marble satona sculptures missing. The red column on sits onalarge,each side.TheChild architectural The elements. isseat flanked bytwosculpture-niches, the decoration of is which retable. The Childsits in of center the imageon witha largethe decorated Gothic cathedra, Temple inthe Jesus yearold Twelve of the The scene mantles. the of folds the on observed background. before the restorationmainly Thepanel be andinpainting worn was rather can of in front a gilded scene, behindthe be observed can bushes and trees Dense, green it. reach he can that so tree the bending by fruit, the pick him help red, in one and shirts and hisflask hang onhis neck and onhis back. Three little angels, two of them clad in white an as on Hewears, arch. with previousthe images, ared cloak Hisa blackhood. haversack with both tree the handshispickmore of some trying to bendsoverhimin The fruit. the tree heads.halos behind aroundbranch Hegrasps theirstands Joseph a theunder atree. donkey of white shirt. His feet asimple child wears The Joseph. lefthand of in the can be observed rope endthe same of the are crossed under Mary’s right arm. Both the Virgin and the Son have observed. Only his head is represented covered by a red, pointed hat with a wide, yellow covered byared,pointed hatwith hishead isrepresented rim. observed.a wide, Only turban-likeblackhat. Behind and white them, intheyet background, be man another can withholding his thesamebook lefthand. his is his Oneeyes he of head covered. On wearsa with fur.himwhite an Behind whitebeardedmanold, standsin alight mantel clad green mantle edged ared himwearing behind stands inscription. looks He at the headed teacher 170 is amongst the most special on the Hic incepit libro ”. An ”. almost bald- CEU eTD Collection The last over. taken been has image Schottenretabel the of figure a single not and crowded represents an theunusual composition way toof itsend details such as do to somea cycle. extent inmost model theViennese follows clearly Jesus figureof the image ontheSchottenretabel: does the figures The of notthe Virgin by Thecomposition influenced spectator. was only the partly towards corresponding the andhave Joseph. However, anything the rest image, directly from looks the out hair. He long brown beard, and moustache He hasa a of to do with the Schottenpanel. It is much more weaving behind Augustine’s back.Hisblond dynamically is the coveredbya hair golden embroidery itswith leftside turning showing outwards, the white lining of its mantle,the end with mantle and stones large isshowndecorated clasp.The precious the edgeof golden aboveback his hisclothes is by while fixed mantle,covered a vivid green a athis with chest knee-length dalmatic brocade, Hewearsagold of inshades hard, folds butorange. square abundant in ground the to falls which shirt long a wears Augustine vestment. full in depicted bishopsare Both a full-figure for representation. undivided thepossibility panel offers identified by inscription the the outer side of the four by panelson figures wide Churchfatherseach,while of wings the two aredecorated the movable wings displayThe retable rows of saints.presents The a leftmuch stable simpler forming agarland. wing imagedepicts, when as each other towards turned lilies decoration: different the have asomewhat wings the dividing wings are closed.one turning downwards thus creating ameandering impression. Only lathsvertically the The two stationarygilded framewith decorated of lilies.rows An upwardly flowerturned is always followed by a have All framing. panelsand theshrine hasauniform the retable the The innersideof head.Christ’s background, Holy the is in Spirit the represented hovering form of a white dove above inIn frontbehindbackground,of inthe rocks are echoed Baptist. golden the the two the clad in a yellowholding shirt, Christ’slong, darkrobein fronthim. of large His two wings His head with the right. On the other sideslid down his back.Hegrasps of Christ’s leftshoulder with his leftthehand andsprinkles water on Savior an angel with curly blondlininghas just green mantleA a light with red a brown robe. hair bankofthe Hewears river. the stands halo, decorated with the cross in the form He is frontally,represented joiningof hishands in prayer. His headlilies. is by surrounded a golden To his left, St. John the Baptistdepicted in a quite conventional way. standingChrist, in Jordan,the only loin-cloth. his wears kneels on on on upperframe, panel’s the Augustine The andAmbrose. 171 Baptism of Christ of Baptism is CEU eTD Collection foot. with the fingers of his left hand . His longbirthmark onhisleft cheek.Inhis right handhered holds book, an open turning its pages over mantlea has He partly eyelashes. thick with covers eyes above marked theeyebrows lionhis lying straight, and big, is nose by his right his head he wears a large, red cardinal’s hat. His cheeks are hollow and his face wrinkled. His while his legplaying left is slightly bentwith mantlethe resting close his to pointed knee. On forms a series of V-shaped folds. The weight of Hieronymus’ body is borne on his rightleg, overfigure infront of held the hisleft and beneath tight arrangement drapery the arm. This of white fur, just likevoluminous, vivid redmantle above it. sleeves The rolled-up of mantlethe areedgedwith the hood and its lower hem. The right side of the large mantle is pulled under his left arm. Hieronymus faces him underhis left faces along, wearing Hieronymus white arm. in holds and book hishands.in an staff open Hispastoral endsand adouble cross ispropped gloves, yellow wears He saint. the of shoulders the on arranged bands the of two with tiara is fixed athischest bya head Hisfattish with richly clasp. covered a largemantle ornamented withband, a mantle, edge gold back decorated Hisby alarge, green iscovered knee-length, and St. Hieronymus. The pope wearsalong Hieronymus.and pope The St. Gregory of pendentthe can on thisbe observed A St background panel representing similar saintsarestandingintwo appears completely undefined. imageblue background of by isthe golden sothatattached ornamented space stars, the the with his lefthand.heads The ofboth church fathers are surrounded by halos.golden The deep finger. Inhis handheright before holds book an open him, he his while grasps pastoral staff gloves on his hands, withprecious a ring on hisstones. right middle band withvertical ahorizontal of and a headiscoveredbyawhitemiter,His decorated round The finger dark andgreen another large with chestbishop andisfixedatthe with of two stones the clasps. decorated precious miter ring on bandshis left arelittle mantle is showing lining. edging of the gold white outwards The a triangular detail the of arranged on hisirregular,hard,formed rigid are infront folds of his figure. left The of mantle side turns the shoulders. He alsoright arm of this church father over histo left side and iswears kept tight beneath his left arm. Thus, on ground,the and alarge,mantle aboveit. red Therightside of mantlethe runs under the St. Ambrose turns towards Augustine. He also wears a long a wears He also Augustine. towards turns Ambrose St. with book a red cover. hand. In his lefthand, he holds a bishop’s crook. In his right hand, beneath his arm, he holds a bishop’sshoulder. handsright His are coveredbygloves andhe wears a golden oneach ring withmiter, One decorated is preciouspearls and stones. bandsofthe miter laidon the of the 172 alba , and a goldbrocade alba , that breaks into hard folds hard into breaks , that alba dalmatic as well, and very and well, as covering it. covering CEU eTD Collection branch, above whicharm, forming drapery the hardV-shaped foldshishand under the arm.holds In right he a a white dove hovers.isback covered by ina redcloakright lined green.The side cloak beneath of iscaughtthe his He leans on his staffback tothe other saints. His pointed black shoes show beneath hiswith simple brownish gown. His his left scenesthe in life from the profile, Virgin.the He isrepresented his of hand. turningthree-quarter A large head. St. Joseph is depicted similarly theto representations on the inner sides of the wings, on blondhairis similar that of very hat to angel.Hewearsa the his red andon white prince’s curly and face round feminine, somewhat His hands. both in him of in front arrows of bunch a heholds while andhis leftheld hisbody with is to tight right collected side underarm, mantleHislining green hasa wide-collared, dark red andis in edged also its end red. The of with weight of the his body foot. his Hewears lefton stockings andpointed, fur-edged shoes. St. Sebastian stands,one of the four saints represented without a halo around his head. elegantlyfrombackground. isshoulders. only HisHe red-blackdistinct blue wingsareclearly the dressed, almostabundant, squareand hardfolds. His faceis surrounded by hair, curly golden, his reaching to facing frontally.Archangel alongyellowwears andsimpleheld light shirt, at his tight waist arranged and in His right ending in in a cross hisleftleghand. His backwardsupper body turns hisas does head. The slipsstaff triumphal the holds and hand, right forwards his with head his above sword the lifts He him. leftleg he inthedirectiontreads ofRochus.foot his on Barefoot, with beastunder the right position. visible in Thetorsion hislower body due totheis vehement he his way steps with The nextinsaint is row Michael. the St. His figurecanbe determined byits strongly twisted hand, his right hand rests on his left wrist, holding arosary. He holds his hispilgrim-staff on right and side leans it.on Grasping its handle with his left He stands on his leftleg with his rightleg turning outwards, slightly lifted with the knee bent. eyes. haslittle,button-like beard. byabrown isencircled He face His rosey-cheeked round, with its brim upabove hisforehead, and shell as a pilgrim. displayingturned symbol the a of hat, his headblack he abroad-brimmed athisneck.On together white gathered wears cloak, half pointed and boots a satchel hangs left down his side. back His is by covered a large, blue, dark he wears feet, his On them. above robe brownish a knee-length and stockings green in tight is clad in line, the first the Rochus, Joseph. andSt. Sebastian St. Michael, identified by a therow inscriptions of saints.panels two into Each sides each. panel represents movable The outer aredivided wings of the aboveThe left,them on theupper upper one frame depicts of the panel:(from St. left Rochus, to right)St. the following saints, also 173 CEU eTD Collection blond hair falls on her shoulders and she wears a delicate crown on her head. She holds a long herback,covers herlifted left isheld and frontlying arm, her, in of on her right arm. Her turning left tothe is ina clad red dress mantlewith a red linedin green above it. Themantle four the depicts wing left the of panel lower The frame. on the bytheinscriptions of iseased saints these Identification with star. golden blue and decorated left hand with her right hand held caringly above it. The background of the panel is painted in brocade dress. The white mantle above that covers her head as well. She also holds a jar in her astonished gesture. Her head turns to the left towards Mary Salome who is clad in a long, gold white kerchief. a jar Sheholds with in a handle her left andlifts hand herright handin an engaging inalively discussion. The former wears a vivid redcloak aboveblue her dress and a behind her stand andSalome Mary Jacobi Mary head-dress. with bounda white around holds a gold jar inneckline. Above mantle, dressshe linedthe thin light-green wears avoluminous, inredand her hands. Her Anne Magdalenein stands turnedtowards darkgreen along cladbuttoned with agold,dress, long hair covers Salome. Mary and Mary figures: Jacobi Magdalene,by Mary occupied threeMary the her back and shouldersheadThe robe. of Virgin’s the themirrors drapery the of saint and arrangement the Thus, hand. her isright her in her of wrappedhead in front is tight mantle around her of ends both holds She in red. lined it above withmantle blue adark wears a white head-dress. can blackbe shoe seen.Sheis gown,edgedwith brocade inalong,clad gold fur,and white The right half ofVirgin’s leg herfingers.leg Herleftslightly forward,with pushes her thus tipthe pointed of the panel is stands facing the front, holding herdaughter and Jesus lefton her arm, tenderly supporting the with a closed,is crowned She emperor’swaist. her to way the all crown.shoulders her onto and back The her down next falls Virgin figure is that of the Virgin’s mother, St.Mother, who him her lefthand holds with underhis long, very arm. hair The golden of the Anne. She his of arm the on sits Jesus arm. right her on Child the holds she as tight held and her of front dress, covered byalarge,linedin cloak, white avivid in red.Both ends of cloakthe arelifted long, red a dark Shewears moon. horned on a human-faced, stepping isshown She aureole. whole figure surroundedby a golden wreath of rays and herhead by surrounded yet another the previous panel.holding the herright Child arm, the righton and turning to thus facingJoseph’s figurefrom She is,first, is represented TheVirgin female saints. of row a coherent depicts upper panel The right at the same time,white. depicted as sitsblack hood on his backbehind hisneck. Hishead is half bald and hishairthe andbeard are Apocalyptic woman with her 174 Virgines Capitales . Margaret, slightly Margaret, . CEU eTD Collection towards gown,edgedin by a longbrocade furtowards Virgin.white isclad in the She andcovered a turned stands, Elisabeth St. her, to Next is uncovered. head her and back her down falls hair long very Her prayer. of in aposition breast her of in front together fit fingers her of tips The right. the to turned is slightly she suggest that shoes pointed her of position the is only It large, isherwithdark blue gown ears She decorated standsalmostof frontally. golden wheat. “Ährenkleid-Madonna”: so-called a Virgin, the of representation another is row in this first very The saints. female of row the continues retable century fifteenth the panel of The last stars. golden helmpointed herroof extends elbow. upto Theblue backgroundis with again decorated On her right side,chalice. The long,saint’s blonde her hair covers backandis with a ornamented golden crown. standing betweenbranch infine afaint, hand.Ahost with herright sits representation of in crucifixion the the her and St. Catherine,S-curved folds in front of her figure. Sheholds agold chalice inher lefthand and a palm is a white,isshoulder, but downherback. hasslipped forming right heldtight arm,its It underthe edge polygonal sleeves with short A andmantle, a lined neck-line. red V-shaped ingreen herleftcovers tower. Its isbrocade gown white shirtandwearsalong, theshirt in above clad edged a large-sleeved Catherine. She backto her almost showing left, the to turns profile, in three-quarter standing Barbara, St. crown-lilies. andgolden with stones precious in decorated and web a fine coronet by a rich covered faceand beautiful, doll-like loose the coil around arranged inaround, sword near her. A sectionShe holds a palm branch in herlefthand her and with righthand graspsthe handle of a large leg. right of playing the of a knee the broken on breaks and fitting is close mantle the because wheelobserved be only can saint can the of position be contra-post The observedfolds. crinkled irregular, forming arm, left by her right foot.andfalls the ground to down herisside. right It then infrontpulled her of liesHer and over her hair is isdress that bya Thecovered mantle mantle linedinvividlight-green. white her back covers fullalmost Dorothy. the frontwith herheadlarge, wearsalong,to She turned towards dark by stands Catherine isa simple wreath. back and downherblondedecorated long, hairfalls right hand she holds a basket of flowers, while her left palm is lifted in front of her breast. Her longlight-green, lined cloak, inlifted andheldred, slightly tight underher her right arm. In by isHer green covered asleeveless, her redshoesbeseen. dress allow enough pointed to shirt, andalongsleeved gold-coloured dressabovevelvet green,short-sleeved is itthat short isher,stands Dorothy. Her position very similar to of Dorothy that Margaret’s. wears alarge- bound to the neck of the dragon. The beast rears at her feet, its tail encircling her legs. Next to underleftcross her arm, with handher right while shegraspsthe whichend rope the of is 175 CEU eTD Collection together on her chest with two gold mantle-clasps.held is mantle The mantle it. above brown wearsa and neckline a deep,V-shaped dress with The left side of the mantle lies inabrown is herleft. dressed She profile, towards turning inthree-quarter sits, represented on her lap Anne runs imageset onthe standing parapetthat of Jesus with apillow on behindthe them. central panel depicts the mostimportant persons: St. Anne and the Virgin, sitting in the center members innerand based depict The the wings side Trinubium-legend. the on the to the of identified, basedonthewide-spread period -by of tradition inscriptions. The the central panel Family, Holy theextended of members the represent predella the of panels The seven of a hand on the right side. representing achalice and theletters IO on the leftside and another one representing the palm one shields: heraldic with aredecorated arches the of fields The triangular each side. on The predella triptych-like gable was commissioned to complement it. fifteenth This wasthe Duringlargecentury thesixteenth retable. predellaand century a panels. the frames of on upper the majuscule-inscriptions the by possible made is persons the of identification The saints. female havehalos saintsthe characteristically around their headsandfine especially the hands- All hands. both with her of infront book opened an holds She arm. left lifted her over laid is curving in fronther The of feet. sideother of mantlethe held isshown infront of her.end Its from slippedfallingher down her back, on down the left in ground to side folds, itsrich end red dress.Herback is by covered a redmantle, linedin Thelarge light-green. mantle has crucifix on endin one herhand. right Agnes facing St. stands her. She is in clad a long dark- holds alarge, robustwooden cross under herleft arm, andafine, scepter-like cross,with a She she wearsafine,gold Abovehead-dress crown. neckline. the follows thethe V-shape of fallingElisabeth’s, herleftits herrightshouldershoulder and to end falls down to over to similar very head-dress, white a with covered is head Her shown. be dress red long the allowing obliquely, is raised gown the of edge lower the Thus, hand. right her with abdomen sleevesshort and V-shaped neckline. The isgown lifted infronther, of held her tight to gownabove heavy,dark reddresswith brocade it and awhitewith sleeves edged, wide gold long, wearsa She Elisabeth. Helen herbackon turns St. almost by a finecrown. very golden large of breadin piece her righthand. Herheadiscoiffed in head-dressandcovered a white presents folds againinS-curved her. of front swingscan inher She atin hand left a holds and red mantlein lightgreen. lined The mantle isheldtightunderleft her its arm, edge sothat is conceivedin also form the of a littleflanked winged retable, by a deeparch 176 CEU eTD Collection fruit handed by Jacobus Minor with his extended left hand and holds the hands of another of hands the holds and hand left extended his with Minor Jacobus by handed fruit the grasps He diagonally. him covers mantle the that so shoulder right his from down slipping but shoulder left his over thrown mantle, red a wears he robe the Above be seen. shirt white inyellow along, with robe sleeves Its green shadows. at arecut elbow, the thus allowing the a fruitin his right hand and isshownhanding it Alpheus. to Theman stands before them clad folds onboth sides ofher child head.The is on her arm coveredwith holds a redkerchief. He in head-dress hanging parallel ends the of the a with with edge-band gold head, decorated right her with belly her of hand.front in mantle the of edge the holds She it. above Jacobusmantle agreen wears Minor sitshusband Alpheusand four Jacobi children.their Mary has a long, brocade gold dress and on her left her with Sheisdepicted marriage. second her from Anna’s daughter St. Maria Cleophas), arm. She wearshis father, after called often (more Jacobi Mary displays thepredella of side panel The left a loose, white by covered loose headdress. a brown, headdress onA arms. blackwide, hisneck.He collar surrounds has a grey hisbeard with long,hair grey her sleeves that are tightened on the lower arm.Above the robe he wears a green mantle cut atthe his left hand rests Virgin.the standsleaning Anna, behind his He St. staff his wooden on on hand,with right while the shoulder of shoulder-lengthhis hair. pendent His on panel the is Joachim,first Anna’s husband andfather of wife. He is cladbeard. Hewears hisheadand bya hisfaceisencircled A blackstaff. barretcovers rounded in a long yellow robe,holds hislap mantle the hand hisleft on with andwith his leans he on hand right a wooden with wide lap. He lying his on backpart the arm by hisleftwith divides it that mantle above wears ared Joseph sits on parapetwall,the behind his wife. Heis clad in a simplelight brown gown and above-mentioned white cloth around his waist. All three have gilded halos around their heads. stands betweenwomen, two the his turning hishead towards mother Heonly the wears child naked almost The him. to close loincloth his holds also that and right her with waist his a simple golden band. her Sheturns towards child,holding his left hand with her hand and knees but not her legs. Her long, golden hair falls to her shoulders. Her headis decorated with held by together claspstwo at herbreast its with rightside lyinglap, onher only covering her (originally blue?),linedprobably dark in Similarlyorange. Anne’s mantle,to the Virgin’s is black Shemantle neckline. alsowearsalarge with V-shaped gown, a deep,white edged, in covers dressed Theher Virgin histhat cloth sits facingagold-coloured Mother, waist. the of end the with him grasping hand, left her with hand right Child’s the holds and lap her on hand right her in book a holds She neck. her encircles also that end and with head-dress covering her feetandshowing itslightis green lining. Herhead white with covered a loose, 177 CEU eTD Collection deciphered. be canhardly restoration this during omitted been have that words the while red, be easily can that ones 531 one represented on representedon one panel, pendentgreen inthe much (very darkened). The colored case this the halos.The background by curtainissimilarof areagainto golden children surrounded the his in right handand astaff hisleft hand pilgrimage.both symbolsfuture his – of Theheads Maior, their child,stands second by feet, dressedtheir in a simple blackrobe,holdingin abag chinthe hishis of son with handand thehiltright with his sword the lefthand. of Jacobus above it. Aluxurious sword, with a gold hilthangs down his leftside. Heholds the head and His head is covered by a turban-like yellow headdress and an long,elegant, red-grey hat with is onhischest. ties a pairof held together hisbackIt awidecollar,mantle, covers with edgedinbrocade coat, black.is His waist encircled bya wide, green belt.textile A grey facing them,very elegantly dressed. He wears tight, red trousers, black shoes and a short, gold his father. over inThe childisalmostto naked,wrappedonly stands Zebedeus cloth. a white him handing hands, in her her of in front Evangelist the John little the holds She forehead. veil, the end of which hangs down her back. The veil is decorated with a gold clasp above her headby a her iscoveredneck.white Her gold around herbelt. wearsabroad necklace She elbows, revealing the shethat it.white shirt wears An under oval downfrom waist-bag hangs hipthe the is and cutat her It sister’s. is to similar very dressthat brocade a long, gold Mary of daughter Salome, Anne andSalomas, stands towardsher husband.turning She wears andfamily. her sister other Virgin’s of the family the presents panel predella the The right of heads. Alpheus’ heightof andMary’s ina darkredatthe hanging background, curtain the down is his byhalos. aresurrounded and hat children There head.The headsof adark-red on all the his head. The third child,is Judas, sitting onhismother’s legs wearing onlyalong, shirt white linedneckline, indeep, V-shaped a Hehas green. withwhite cap,decorated a gold band on to receive a pear from Simon. Simon himself wears a white shirt and hanginghata light bag. onthe isalittlehead.holds green covering There his his He hand out right red gown, with a Barnabas is represented in a knee-length blackpanel. the on robe, withtexts the a yellowof beltandremainder a little the to waist-bag- incontrast out made be barely can children Simon Zelotes and JudasThaddeus. The inscriptions thathelp the identification of the backthe andturned down at thefront. Three children are by feet: Barnabas Justus),their (or isHishead covered byan hat, green, elegant fringed gold brim the is of which upat turned childnear standing him with his right He hand. has dark brown beard andlong hair. brown Most of the inscriptions have probably been painted over with the occasion of a restoration. These are the are These restoration. of a occasion the with over painted been probably have inscriptions of the Most 178 531 CEU eTD Collection by inscription:the panel. The names may again be read above their heads while Elisabeth’s presence is explained image The background ispaintedof inblue,darkeningtowards of upperpart the the the face end her the neck.has and halo encircling other Only agolden Childthe hishead. around her of side right the by hanging end one with head her on arranged loosely is headdress white cinched-in sleeves, large very with shirt a fashionable wears She at Zacharias. of front in the cloth white in a wrist, a long, with leftlegher thrust out, slightly bendinggold atthe waist asshe holds thefattish child wrapped dress within almost stands faces represented She profile. husband, Elisabeth hat. her orange, turban-like short sleeves,by hair.an headiscoveredHis beard and has long, dark sleeves hisback.He cut-up covers and a red mantle robeabove is heldit. A togetherwith his right hand. He wears withan elegant, gold brocade robe, red stockings and darka shoes. Hisgrey textileZacharias, thefather, his holds child underhis hisleft arm holdshandwith and hisleft hand belt.Baptist. the John St. of family the A depicts large wing, left the of side outer the panel, green next The mantle with a wide,above parapet. the dark collar curtain infronthangs of in highwall the background the parapet The sky is cloudy depicted while the following inscription while be followingcan the inscription readbetween them: heads, their canbereadabove names Theirleftliesher in breastandher at hand Stolanus’. are crossed Herarms cheeks. face and red has awhite She head. her on bonnet wears awhite caught beneath left her arm, forming thus, ovalfolds her down sidebeneath the sleeve. She is mantle side the of left The mantle-clasps. gold by two breasther at is held together that mantle by a isgreen covered neckline. Herback very deep V-form with a long,dress, orange man.the neck blouseherhead witha a at the turning towards and wearsadark edge She gold his wife, holding the palm herof hand in his. Emerencia is depicted almost frontally with only hand heholds and lifts mantlethe athisleft hip,whilehe hisstretches lefthandout towards has a brownbeardand hair, shoulder-longcovered brown by turban.With a white his right be He can seen. white the sothat shirt-underwear upperarms the allaround cuts with parallel aredecorated sleeves Its under this gown. coat brown adark He wears fur collar. with a wide long,profile, gown,edgedin wearing ashort-sleeved,brocade gold white fur decorated and distantmore Christ’s representing relations. predella, the on seen be can panels four another closed, is it When The first panelframe, haveAll agilded panels three depicts panel. this on clearly-discernable and in white, inscribed all the are members family the of names parents of St. Anna. Stolanus is represented in ELISABETH FILIA ESMERIAE. 179 PARENTES SANCTE ANNE . A red CEU eTD Collection hangs inas decoration thebackground of image just asin the A pendentthe sky panel.cloudy is braided in underit. Herhandsknot arejoined inprayer infronther of A breast. red curtain hair with a and cloth. herHer white head, covered surrounded eleganton head-dress red-gold in She wears an mantle, isback belt. edged black. Her yellow brocade coveredwith a gold to him next wearingstands Esmeria side. its on kerchief yellow a with head his a on hat long,black elegant an wears light-green dress,whilehand hisleft out,palm-side isstretched hair up.Hisisin cutshort form.a rounded He drawn together arm and is caught under the right arm. Heholds hismantle infronthim at of with his right hand, her waist with One end hisback, covers fallingan ground behind tothe him, theend while other left covers his elegant, long, stockings and rounded,black A shoes. vivid greenmantle is thrown over his leftshoulder. brown at theelbow. Hewears cut inand brown sleeves edged coat, wearingorange an ESMERIAE and ESMERIA SOROR SANCTE ANNE abovetheirheadsexplainrole inthe family: Afra. The inscriptions The last panel depicts andground Esmeria, the backgroundis painted blue. sister of St.be standingon grassy The pairseems to by belt. textile a white waist heldthe grey at collar Anna, the mother of Elisabeth, mantleorange long, it above mantel is The cutsleeves. with edgedwith hasgrey awide and and her husband childthe in his lefthand. Hewearsa horizontally yellow striped andblack shirtwith a large them, slightlybent, holding the arm his sonof hiswith righthand andholding a plaything for and hidinghis right handin the V-shaped neckline of mother’sthe dress. Emyu stands near covered with. Servatius rests his his legs on mother’s arm, turning hisheadhis towards father beneath hishand arm,right while under her disappears endof the whitethe cloth childis the covered by a white She bonnet. holds her childbefore her,holding her himwith lefthand under herbelt. Thus, the dress displays deep bowl-like folds on both her sides. Herhead is inlifted is caught front with and green, lined upperdress, elegantred-black thick Her folds. SERVACIUS 532 SERVACII follows: man the of identification the which bishop of Maastricht). (later Servatius his son St. and Memelia his wife hisfamily: with Anna) together of (sister The name of the woman isThe followedouter side of the right movable by wing representsa symbol Emyu, the grandson of of theseparation, same Esmeria after Only the words MEMELIA and ELYUD can be clearly red, the rest of the words is again hard to decipher. to hard again is words of the rest the red, be clearly can ELYUD and MEMELIA words the Only . 532 . Memelia thelong, ground falls forming soft, dress white isdressedina that to The inscription referring to the child ishisinscription placed the head: child The above referring to 180 EMYU FILIUS ELYUD PATER S(an)CT(i) . Afra is a most elegantly dressed man, dressed elegantly most a is Afra . AFRA MARITUS S(an)CT(u)S CEU eTD Collection the inscription is so much the more strange, as he refers to the depicted iconography as having the words of Jn words the having as source. its at 15:5 iconography depicted the to refers he as strange, more the much so is inscription the in quotation Bible the to refer does not Roth that fact The frame. onthe deciphered be clearly can “PARENTIS” words takenfrom Jn the 15:5 However, “EGO SUM original. the VITIS, checked have VOS to seems PALMITES” researchers ofthe none and the wordliterature, later “PARTUS”in followed been has instead of His JOHANNESANNO 1515. reading PLANTAT”. VIRGINIS PARENTIS PALMETES. RIGAT“MARIA 533 frame: the on inscription the Octavian identified Emperor as the by thevision also The left gable presents of panel of the fashionable cut sleeves,is decorated and, at the same time, held tight with a row of ties on her dress,has brocade long, gold vision.the Her of direction upwards in the she points head. The sibyl stands before him,holding hisrightleftin arm hand, her her while rightwith crown sits onhis and a closed, emperor’s cloak,white edged with brocade wears along, gold kneels on the bottom left of the image with his arms lifted, opened wide, looking upwards. He PLANTAT RIGAT EGO SUM VITIS VOS PALMITES ANNO VIRGINIS PARTUS 1515 JOHANNES representation: of iconography the the frame A the panelindicates of on the text beard. halos. bygold headsbrown is thesepeopleall aresurrounded face framedbya Theof tight byayellowhis textile belt brown athair long waist. His falls his to shoulders and his mantle with hisandhe sleevesragged hem rolled-up His to as elbow works. isheld mantle hoeingof aroundthe stem. cross, aknee-length the ground the attribute, Hewearshis usual the left side ofher mantle as she pours out the water. John the Baptist stands on the other side is head and Shelifts Herby it. covered brown robe above shawl. mantle ablue white a large, jar. She wearsalong from large, white onto stem a the water cross of the The Virgin pours cross and Peter, Paul, JohnBartholomew, the Evangelist,Matthias,in Simontwo groups and JamesAndrew, at thethe Lesser arearranged leaves fruits. Theapostles with andplentious rampant greenvine-stock, strong, sides James, on of thethe left cross, Matthew,side. his side-wound. Avividstanding green crown of thorns head.encircles hisis The a cross a livingtree, Thomas on the branches and streamson head cross,histhe Blood onto hisneck leaning shoulder. andfrom right down Judasis depicted Christ of Crucifixion. the the of representation ontree. allegorical an the displays panel They central The right include: side of from panels andflanked areseparated other byfinialseach also onthe mounted thepanel-frames. offine, andfinials. foliage, gilded pierced The gables stepped, composed decoration thin The gable of retablethe is central unusual. The partcontains three panels surrounded bya of the predella wings or the stationary panels. is depicted on both sides of the curtain. There are no gilded ornaments on either the outer side The inscription has been misread by Victor Roth, who published it in his „Siebenbürgische Altäre” p. 99 as 99 p. Altäre” „Siebenbürgische inhis it published who Roth, by Victor misread been has inscription The . 533 VISIO OCTAVIANI CESARIS PER SIBILLAM 181 . The emperor MARIA CEU eTD Collection ( visionsideidentifiedThe by the right as panel ProphetEzechiel inscription the depicts of spot oflightsurrounds her figure. a although her around rays of wreath no is There arm. left her on Child the holding crescent, a cloud, standing Above on background. appearsonarose-coloured scene,theVirgin the on ahillin stands the tree foliated A heron richly head. bonet She wearsawhite necklace. is byawhite pearl neckarm.left encircled Her her under tight her andheld front arm, across right lifted her is under pulled cloak of the side by One a cloak. Herbackiscovered chest. Bibliography: predella. the of those to similar very being decorations all of motifs the with withparts foliage on their gold of All threepanels upper ornament a are decorated gable the fold around her.She holds Child the heron rightand herhead arm issurrounded with a halo. castle.is Onlyherhalf in figure visible wrapped above the cloud, a cloak forms that anoval little castle standshashejustvividbushes can seen. be andSome in background atree a observed the while on the top paper what toputon heis Clearly, vision. about the upwards,towards ofand aredirected gaze a mountain. An black ink-holder hanging from his left Heholds hand. image a penin his raised hand.right head His of the Virgin brown wearinglong, Heholds ahood. cloak a with on book an his along open knees with is depicted image foreground of The Tetramorph. the sits Lastthe in Judgment,the or prophet above the described by the prophet or other iconographic representations suchasthe other iconographic representations or bythedescribed prophet Marianic visionis of Transylvanianpanelinstead on the cherubim depicted four-faced the usual depiction-types of visionsEzechiel’s the descriptionsor of visionshis inbook. A his VISIO EZECHIELIS PROPHETE x x x x x x x Beaux-Arts Idem, ”Le Retable de Biertan. Nouvelles Recherches.” , Recherches.” Nouvelles Biertan. de Retable ”Le Idem, (1992), 28-36 art atBiertan) Otmar Richter, ”Eine Kunsthistorische Entdeckung”, Kunsthistorische ”Eine Richter, Otmar Landeskunde Birthälm.” in Kirche evangelische ”Die Müller, Friedrich Richter 1992, 58-90; Radocsay 1955, 183, Roth.1916. 98-106; Tereza Sinigalia, ”Pictur Sinigalia, Tereza , 21 (1984), 57- 80; 2 (1857), 199-217; , Buletinul ComisieiNa ă , sculptur , ). However, the scene does not correspond either to the eitherto correspond not scenedoes the However, ). ăú i art i Ġ ionale amonumentelor, ansamblurilor ă decorativ 182 Neuer Weg ă la Biertan la Revue Roumaine d'histoire etde l'art ArchivVereins des fürSiebenbürgische 12 Mai 1979, 4; .” (Painting, sculpture decorativeand ú i siturilor istorice Maiestas Domini . Série , 3/1 , CEU eTD Collection x x x x x x x Sibiu1991, 79. Kunstgeschichte und Datierung des Birthälmer Altartafeln”, Herkunft Zur Siebenbürgen. in Tafelmalerei Mittelalterlichen zum ”Untersuchungen Krasser, Harald Gündisch, Albert Klein, Harald Krasse and Theobald Streitfeld Theobald and Krasse Harald Klein, Albert Gündisch, Gustav Schottenmeisters”, des Nachfolge siebenbürgische die und Altartafeln Birthälmer ”Die Idem, des Vereins für Siebenbürgische Landeskunde Schottenmeisters”, des Nachfolge siebenbürgische die und Altartafeln Birthälmer ”Die Idem, und Denkmalpflege Schottenmeisters.”, des Nachfolge siebenbürgischen ”Zur Idem, 24. Polyptychof Chruch the atBiertan”, Cr Maria Apa in the emancipation of Biertan), emancipation the in Apa Be Munteanu Petre ă ciun, ”Iconoclasm and Theology in Reformation Transylvania: The Iconography ofthe Iconography The Transylvania: Reformation in Theology and ”Iconoclasm ciun, . (Bukarest: Kriterion, 1976), 193-214. ú , 27(1973),109-121; liu, ”Rolul lui Nicolae de Apa în emanciparea Biertanului.” (The role of Nicolae de Nicolae of role (The Biertanului.” emanciparea în Apa de Nicolae lui ”Rolul liu, Archiv fürReformationsgeschichte Analele Br Forschungen zum Volks- und Landeskunde 183 ,13 (1976), 96-108.; ă ilei , Seria Noua 1(1993), 277-285 Österreichische Zeitschrift für Kunst eds., , 95(2004), 61-97; Studien zur Siebenbürgischen ,14/2 (1971), 9- Archiv CEU eTD Collection of the Baroque wooden fields have been preserved and placed back to the center of centerthe of wing- the and backto fieldsbeen placed wooden have preserved of Baroque the middle by evangelists placed inthe of symbols the with the reliefs.the quatrefoils carved The probably in put the eighteenth during hadcentury on surfacethe been that originally covered fields, flankedrectangular by edge of were Carved, columns a former baldachin-foliage. reliefsthe four werepreserved panels well marking onall abandofarches,as the as probably above pattern covered Only once Reformation. by probably surface the the gilded the during most removed, been have sides inner wings’ the on reliefs the Similarly, reconstruction. the in extent a certain to help background the on imprints Only decoration. original been badly of shrine’s has the preserved retable Nothing the damaged. was inparticular Cross the Bearing Arrest of Christ (secondary) Relief with the symbol of Luke (secondary) Relief with the symbol of Matthew donor Depictionof ecclesiastican donor Depictionof ecclesiastican Work a’day side: Feast-day Feast-day side: Arrangement: predella h: 153 cm, w: 110 Wingpanels: cm Shrine: measures:Main Although the construction itself is fairly well preserved, the sculptural decoration itself isfairly of preserved,decoration Although sculptural construction the the well of State conservation,restorations: (Media 2. Material and technique: Present location: Dating: Provenience: The HighAltar Mediasch,dedicated from to St.Margaret (?) ú 1480-1490 , Medgyes) Mediasch, aformer parish church dedicated to St. Margaret h: 146cm, w:515(303.5) cm, of depth shrine:the 30cm h: 303 cm (including a base of 23 cm), w: 220 cm, d: 50 cm a fS rosRsig Crucifixion Man of Sorrows Resting Flagellation original: small full-figure statues Predella-shrine: originally for small full-figure statues Predella-shrine: originally for statues) saints’ figure century) (originally three full Three fullfigure statues (20 pine, tempera. Mediasch, Lutheran church Lutheran Mediasch, 184 Crowning with Thorns th Depictionof a laic donor Depictionof a laic donor (secondary) John of symbol the with Relief (secondary) Relief with the symbol of Mark Resurrection Ecce-Homo CEU eTD Collection into four equal rectangles by a vertical and a horizontal, carved, gilded band. Thevertical sculptures gilded by into carved, equal and ahorizontal, four rectangles a is surface divided Thecomplete with lilies flower-motifs. and stylized decorated alternately formed covered by lines, whichform intersecting, diagonal a gold pattern, rhomboids of vitamaeternam sedhabeat qui creditineumnonpereat from John 3,16:” painted by inscription an backgroundwritten in on a blue capitals. is Thequotation taken mark Reformation.The during baseon the left over- the backgroundthe wasafterwards on a 23 cm highbase that was most probably removed together with the rest of the decoration were placed figures The shrine. of the arrangement of original the aspart sculptures separate three werealso there suggest that decoration background observable goldthe on contours by and interlacing decorated openwork by tracery piercedof crockets crowned gablets finials. finialscrowned with itscrocket-decorated superstructure,flanked on sides onboth with an has three retable The arepainted. sculpture-baldachins, flanking surfaces tower-forming both the width shrine, retable of corresponds while tothe centerof the into predella.the It along its complete widthby a pair movable of andanother fixed pair of wings. The supports predella construction the with both ends decorated is flanked shrine losses. Thecentral hasserious it suffered although retables, Gothic winged with a Gothic profile. A shrine opens up condition. better much foliage-paintback very in of wings’sidethe is with poorly preserved only central the portion green the However, arefixed. paintings is panel the and stable condition. structure The was superstructure complemented with a of series details. Presently, retableis infair the worn surfaces The rather restorers. by theKronstadt lossespainted-in andthe also wererevealed shrine, the of the wings’ of sides both on representations donor Theover-painted shrine. the covering Richters, by the painted was alsoretained Supper Last the of outer representation the with predella painted the disappeared; also sides predella-shrine the decorating originally figures standing little four were The shrine. also repaired wasfoliage.groove figures filled with in Threeopenwork newwooden the wereplaced narrower outer, the and and removed been have shrine, the of sides the both on grooves the filled tracery of therestoration in Kronstadt. At the same time, the columns, probably also eighteenth century, that the during removed modification were Baroque the of remainder the even panels,when The shrine is presently decorated by three twentieth century butthe sculptures, by century is twentieth presently three The shrine decorated late of types classical absolutely the of one represents Mediasch from high-altar The Description: sic enim mundum dilexitDeus utFiliumsuumunigenitum daret utomnis 185 ”. The background above the base is background base abovethe ”. The CEU eTD Collection center of panels. the of center Gothicwhile evangelist-symbols previously pattern mentioned backplaced inthe the were surfaces were originally The wings. the and from shrine both the wereremoved additons Baroque the that retable decorated by the reliefs that were over-painted by an imitation of a 535 534 retable but toalthough frames Baroque the were removed. Thefour symbols belonged originally not tothe the panels the of insides the on ends today be seen also can that quatrefoils medieval four of evangelists, a Crucifix. the of by symbols decorated were fields The period. same in the shrine the flanked that tothose similar flanked byfieldsin smallcolumns, period by later Baroque the decorated was by probably relief the covered surface originally The above rows. these set been encloses A foliagewing. in of mayhave row wood carved each arches panel while open-work right the type other the and wing left the decorates type one models: different two presenting by preservedeventoday and panelsa gildedreliefs, pattern, the weredecorated engraved ornamented by two-thirdsrelief-scenes,Above of about occuping panel-surface.the the been have must they Originally decoration. medieval original, the of traces few only of wingspreserved the The insides century. in was twentieth the recarved grooves probably foliagevertical The in ininneractual thewings’ archivephotograph. sides,asseen the same of the arrangement the same as tothe phase belonging retable, of the modification a Baroque narrow columns. pairs probably aswell part of by of were were decorated Both columns two vertical grooves narrower these that shows photo archive mentioned already the However, of foliage isfilled shrine. the all on with sides upper part.Thethree presently groove its along also but sides, right the and left the on only not shrine, the frames groove narrower were set in grooves,the giving the impression that they shrine-baldachin.the A supported workshop,Kronstadtin restorationthe the of retablethe perhaps several comic with other animal figures. or incontinue shrine predellagrooves the –that were filleda carvedfoliage with containing grooves the that consideration into taking seemsmore –especially plausible It supposition. support this donot andtype. their of proportions grooves the dimensions However, the of “Vierealtars” was altar the that Richter andOtmarGisela to sides. suggested These both andpiercedfinials. gablets interlacing formed of itself, as wide shrine the by as baldachin a crowned of shrine were the For such an example in Transylvania see the Crucifix from Schönberg (Dealu Frumos, Lesses) Frumos, (Dealu Schönberg from Crucifix the see Transylvania in example an such For Wolfgang. in Sankt Pacher Michael of altarpiece famous the on be observed can decoration Asimilar A large, rather deep vertical groove can be observed along the edge of the shrine on of canbe edge alongthe shrine observed the deepvertical A large,groove rather 535 It was probably during the last restoration of lastwas the of restoration probably It the during 186 534 Based on an archive photo taken before (Fig. III.63) two wooden columns CEU eTD Collection 537 536 engraving by van Israhel Meckenem. hand. in his to cut off Malchus’ ear. The latter already lies on the ground, dropping thelamp heis holding inlifting is his sword order Peter depicted, andJudas, before Christ them. foreground, Inthe Jesus in the gate of inthe a scenegarden. preceding Thereleft the of rocks the stand to above-mentioned soldiers placed in center.The of the rocks group is a fencewhat andis happeningthe detailprecisely van the to Meckenem isengraving. The background divided sectionsinto two bya ofin a fartherthe foreground: depictedoff behind them.individualscorrespondquitethe Even representedin crowd the town behind St. John is group of soldiers his betrayal.has he Alarge, for indicating the crowded sum received the Evangelistwears talks to a long,center. Christ, represented frontally,is hisshown with hands being tied kissed by Judas who yellow Passion of the cycle, engraving Meckenem’s corresponding robe and a red mantle. A little red belt-beg is fixed to his waist as a scepter in a clearly mocking gesture. In the foreground, two dogs liedogs In two in mocking black-red- as ascepter the foreground, on the a clearly gesture. onto his head with vehementmotions. A fourth one kneels in front ofhim handing him a staff casket, wearing a red mantle clasped Herod. on his chest. Three being before we opens into closed, brought can seeChrist apartly partly space where open soldiers press the thecrown background, of thorns in A smalleropening that engraving. on the to similarly quite inplace arranged aroom, takes on the left, offers wearinghis head,canmost aturban-likebescene haton probably The with identified Pilate. a view into mantle, brocade first and cladlong,of very elegant, ina a The them, side ofthe representation. furnished room. boots pointed anddoublets. shortA group of distinguished enterthe persons room left on the A large arch on mantle is forfaggot hispreparing All flagellation.the soldiersthe stockings, wear tight tight, the right Christ’s on ground the on sitting soldier fourth a image, the of corner in the foreground, ina faggot hand.his Aman third stands his strikingto right, Christwith a faggot. In the holds other the and scourge, a has soldier One him. hitting are left his on standing soldiers the with his hands abovea column hishead to tied and wearingloin-cloth. nothing buta Two of of the with a representation starts B 13 (207) B 16 (207) The second scene, representing the representing The secondscene, The representation of the Crowning with Thorns shows Christ sitting on a stone- a on sitting Christ shows Thorns with Crowning the of representation The When the retable is closed the wings display eight scenes from the Passion. The cycle Arrest of Christ Arrest 537 Christ is depicted in the center of the composition 187 Flagellation . The composition, following Israhel van Israhel following composition, The . , again follows the corresponding 536 shows Christ and Judas at the CEU eTD Collection rope encircling Christ’s waist. the Withof his end leftthe hand he graspsholding the head, hair of his the Savior.above Withhand his left right his lifts He gesture. vehement a with Christ A at pulls soldier drawn. faceiscarefully His white-bearded shirt. green, abovehiswhite He is cross. the in simple dressed blackshoes stockings, and adarkmantlegrey in lined manbackwards looking ofCyrene,He turns hishead old atSimon the supporting theof end hands. both in crossbar the of end lower the holding shoulder, left his on cross the bears He eightthe panels. Christ crowdedcomposition The inalong,presents folded, richly grey robe. passageway. arcaded open, in an other each with in discussion shown are wife his and Pilate background. in the be seen may foreground happeningsinthe tothe previous a moment at place againtaking scene once endpointed and a fringe fallingdownhis back. man Another a highsports white furhat. A wears along a redhead-dresswith spectator, the his turningin backtowards the foreground person The bevaried observed types can inthecrowd. of hats dresses and crucifiction. Head expresses its opinion with intense crossedthe gestures, fingers suggesttheir desirefor Christ’s them facing crowd The band. head a by bound is hair brown curly long His it. above overcoat anda short shirt awhite redshoes, green stockings, bewears elegant younger, whoseems to hatdressed in figure,head edgedinwhite andared hisa long other on redcloak, while the judge-scepter. head is covered by a turban-like redhat, with a wide, white edge. Inhishand heholds his His it. beneath shirt sleeved wide a with mantle brocade long, in a dressed elegantly Pilate, His body is covered by drops of blood. He crosses his hands in front of his chest. He is led by his loin-cloth. high, balcony. crowdona wears Heonly tothe arcaded presented three-step soldiers. Christisplace. takes Christ sitting with boundeyes, by surrounded a group mockingof a Gothica view by columns, into articulated narrow chapel-like mockingspace, the where of and the arched corridor in the background. On the right side, through a larger opening, there is vanMeckenemthe archedthe scenethrough engraving.Several persons witness window the of thedetails follows exactly architecture background The inwhite. and edged similarly red beisonly in partly seen, clad a long redrobe, edged with furhasiswhite and a hatthat turns his back towardswitnessing us. In his the right scene. in of men image the corner leftTwo elegantdepicted the floor. are white chequered hand One he of holdsthem, a wearinglong staff. a long, His brocadecompanion, gown, who red can shoes and a red hat The panel depicting the depicting panel The The last panel of the upper row displays a representation of the Behindelegantly them,two figuresdressed lead adiscussion. One figureis Bearing of the Cross ofthe Bearing 188 is one of the best quality paintings of Ecce Homo Ecce . Christ is Christ . CEU eTD Collection other withother theirknees slightly bent,turning his to left. Both endshis of float loin-cloth his on each to parallel lie legs his and shoulder right his onto falls hair His right. the to bent head identified with Vienna. The crucified Christ canbe seenin of foreground the image,the his been has in background its town literature becausethe representation art-history international The composition again follows the engraving by Israhel van Meckenem very closely. Golgotha. of sides both the on can beseen a town of Details aredcowl. man wearing and a by fainting supported John and an elegantly woman dressed together with womentwo other for groundthe thenew cross as well already as the seen group on previousthe panel: Mary shown talking behind them. The backgroundshows theGolgotha with soldiers two preparing panel. Two of themholding halberds and flags.Foursoldiers can be observed in right lower the corner of the are fighting andfollow soldiers edge.Acouple of hat,boots with them, apointed turban-like a yellow, and casting wearshis gown Pilate as already on previousgestures. images long,seen brocade asred well dice on Christ’shand active using shown indiscussion are companion andhis ecclesiastic image, Pilate mantle whilegreen two stockings, others Hewearstight spectator. the backinbuthis towards almostturns is profile, He represented are a white shirt large forman holds boringpreparing drill, Thisnail. the theendingof thecross. a cross the and a red man the at he gazes so that waistcoat shoulder hisright leans on head lap. His inhis hands his crossing aboveSorrows Resting it. Behind him, on the left of the Meckenem’s engraving. on van represented exactly left on architecture the the depicted follows image side of the these women, probably liftsMary Magdalene, both her hands herpain.expressing Thetown and anelegantly womenTwo other supportingher. woman dressed arebehind them. of One Evangelist the John with background, the in fainting observed be can Virgin the off Further her. to next shown are women other Two her. of front in veil the holding is depicted Veronica his horseback. leavingand attendents on background, behind town the In right Christ, the Pilate finally and people, simple armor, wearing soldiers comprising image the of side left the in hishand left he carries The processiona little following bucket. can Christ be observed on shoulder,is overhis holds while rope right Christ with. Hethe tied otherthe end rope the of holds spectator, the his with Behindsoldier,back him another represented towards overcoat. and tall blackboots ashort, goldwears tightyellow butvery trousers, brocade elegant, leg he knee,on treads Christ’s mouth suggests whileright hisopen that heis shouting. He It is the representation of the of is representation It the The cycle continues with a so-called “Andachtsbild” included inthenarrative: “Andachtsbild” aso-called The with cycle continues . The Savior sits on the bar of the cross, wearing nothing but a loin-cloth, a but nothing wearing cross, the of bar the on sits Savior The . Crucifixion 189 that has made the Mediasch altar famousmade in has altar Mediasch that the Man of Man CEU eTD Collection three women approaches from women three from approaches behind a rock. Christand resurrected hand. them,holding of the standing off, before Adam’s Farther agroup infront with Adam atthe a gate, standing and Eve naked A of arerepresented people group in left be scene Limbohilly Christ on of observed the of background landscape. side the can shield onhisback and one holds other the a lanceinhis handlookingright Christ.A upto elegant an carries One Christ. of side right the on arise soldiers Two him. before cross-bow in moreholds soldier, asittinghalberdside. Theother his a position, on represented right lifted tohis forehead. His lieweapons him around with his sword on his left and side a hand left his momentof atthe awakening, is depicted leftthe oneon The of sarcophagus. the right side of right imagethe by clad an inalongangel, frontof him tohisover lefthand. Thelid of sarcophagusisthe pulled away and held on the shoulder buthas slipped downhis rightshoulder. The right-side end of mantlethe is pulled in banner in his leftResurrection hand and lifts his right hand of a town surrounded by fillsinwater width thecomplete of background.the benediction. issword held underhis leftarm. Three soldiers in standarmour behindA them.A representation red mantle covers on ina knobbed hislefthandsstick and his grasps with hiltthe hand.of a sword The right his left mantle, tight black stockings and red red boots. His headvoluminious is very encircled but by a yellowshort, turban. a He leanswears who centurion, dressed elegantly the companion, Christlarge hisleft and with handhead hegraspsthehiltsword. Heturnshisa his towards of and towards he redhatthumb hiswith brim.With points yellow apointed right a green boots in wearing gown shown been he before, brocade has appearsin long, Savior.the the Pilate shoulders. She looks upwards to Christ. The officials and soldiers are depicted to the left of embrace heras well. isclad She in a greendressandlong, blonde her curly falls hair her to to Virgin, the trying towards arm extended right arm. Her herleft with thecross embracing represented withmourning Maryweeping, gestures. Magdalene kneels atthefoot of cross, the all behindhim, women aredepicted the Savior. up Three to he looks his shoulders as red cloakis above it athis gathered together hair that shoulder.blondefallsright curly His to fall herdown Evangelist standsbehind cheeks.Johnthe vivida herwearing greenrobe a and folds.hardis Herhead coveredby veila white her and eyes areredfrom drops crying. Tear herred that slips groundaroundcovering the down herin backand shoulders, grassy rich, lined with her Shewearsadarkdressandwhitemantle inprayer. hands right with clasped side.right flows Blood from his side-woundhis anddown arms. TheVirginhis kneels on The last panel of the retable finishes the narrative with a representation of the of arepresentation narrative with finishes the retable the panel of The last . Christ steps leg steps withhis. Christ his outof right stone-sarcophagus. Heholds the 190 alba . Two soldiers lie on the ground in front CEU eTD Collection with one blue and one red field. An arm growing out of a crown is shown the is transects that of shown An arm outgrowing a crown field. with blueandone red one intodriven the upperedge of paintedthe niche. Theshieldis into parts vertically divided two inform nail hangs inperpective, represented on of a niche.Aheraldic shield a paintedthe unshaven. A iswhite veil over the prayer thrown stool. Thelower corner of predella is the inbook his hands. He has medium-length blond hair and hisface appears to be slightly by ared is covered patron Theheadof the restoration. folds the foldsarm. wereinpartpainted-in the beneathhis However, during right raised arranged in foldsparallel starting downwards from his neckline and breakinginto V-shaped the newly placed predella untouched. predella placed newly the surfaces on the sides of the shrine were overpainted, leaving, as the archive photocorresponding shows, the to spotsthe Reformation covered arepresentation with by predella, ideas painted has beenthe case, placed empty the cover to here.order in Itand was period, probablyat this emptied in this periodprobably also, that the the predella shrine in the period of the Reformation. This is indeed a plausible assumption: the shrine was 539 predella- the on imprints background. of the a description offer even don’t they moreover assumption, the argument 538 prayer stool to the left of the shrine a clad kneels at person An ecclesiastical procedure. and cleaning theoverpainting because of in a blue robe and a long workshop. restoration later inthe Kronstadt beentime wererevealedagain ata have and painted-over surfaces on both sides of predellathe with shrine aredecorated a figure These of a donator. niche contained a standing figure, perhaps a statue of a Church Father or an Evangelist. in the well-known form of a curtain. The contours observable on the background pattern nicheswas originally the of with decorated presented an pattern, engraved, gilded suggest that each shrine isstill by divided niches,profiled lathesinto four with tiny sculpted bases.The The Supper. of Last the a representation predella with painted much timesmaller, later a with width exactly to the retable-shrine opens the central part of the predella, but was covered at a a practiced hand. Various types of small, whiteflowers animate the surface. have in been drawn blacklineswhile expressed thick, theparallel hachurefor shading shows flowers and leaves dim.The arerather colors The on paper. painted motif same with the over painted directly on the wooden panels onavividblack redbackground. contour of the wings, with leavesa clear weredrawn green foliage. originally with The painted lath isdecorated while the shrine’s backside was glued Victor Roth supposed, that the predella with the representationof the Last Supper had beenplaced infront of Gisela and Otmar Richter suppose that Church Father figures have decorated the predella, but they do not The predella supports the retable along its complete width.itsThe the retable complete supports predella A shrine,along corresponding in was motif The foliage. green with painted isdecorated altarpiece the of side The back The frames of panelsareprofiled.the Theinner is groove gilded outerframeand, the 539 Theblue deep background behind figuresthe both sides hason lostits vividness 191 magister ’s hat and he holds an open alba above it. The it. above 538 alba The is CEU eTD Collection of this detail. Unfortunately no representationon the shield could be discerned. 541 takenduring the restoration. Howeverdetails like the prayerstools orthe hat set on the stool canbe well seenon the documentation photos540 restoration in Kronstadt. upperedgeof the retablethe wasmissingonthe photos archives taken totheprevious on of trefoils row The foils. by finesecondary articulated volutes, from intersecting formed tracery by openwork both sides areflanked on The towers double-cross. with Hungarian the Mediasch decorated with an open palm, while the last, the right side baldachin, shows a shield shows of shield the bi-sectedKingdom, seventower of central the Theupperbaldachin times. Hungarian medieval the of shield the displays baldachin side left The shield. heraldic baldachinsone pointare notsupported by at similarlya console butdecorated a pier, withto a by infinish steeples volutes The of finials.backsides aredecorated and the the crabbles. The and each other intersect that byvolutes crowned are towers three All century. eighteenth crucifixion, placed the Virgin,John and tothe with baldachins, the presently under date a figures, small The are missing. statues The steeple. with a spiralling one narrower another, by andis two also deal than superposed is other the higher andbrighter central agood tower form baldachins,sculptured standing onfragile piers finishingand in steeples.pointed The by Similarly upperedgeof isthe predellathe alsodecorated cornice. a profiled preserved. been has coatof arms the on representation nothingthe of fieldred.Unfortunately, one withfieldbeing into parts andcase the other orange two divided (originally golden?)one also in imitation of a niche. Aheraldic hanging shield is depicted on a nail. shield The isin this prayer. middle-aged black man, hairbut with beard. analready His handsgrizzled in are joined opened on the fur is because isedgedwith of restoration.necklineand,asit robe the Thegold dark atthe man’s chest, of very only folds the decidedblackcontours thatcanbe the also discerned, probably clearly a white gown, surfacethe is of Itis which presently originally worn. brocade-patterned quite perhaps shirt can prayer stool be as his black well and hatis is on placed stool.the He cladin a long, gold, seen underecclesiastical it. The donorfields. Thehand holds a pen beand appears writing to on a white banderole. Anon- donorseems is torepresented be a on the right side of the predella shrine. He kneels at a I have to thank restorer Ferenc Mihály, that according to my demand he has made an infrared reflectography aninfrared made has he demand my to according that Mihály, Ferenc restorer thank to Ihave The figures of the two donors are presently again partly covered by the volutes of the Last Supper predella. 540 The superstructure of the retable, as already mentioned, is composed of of tower- three is composed mentioned, already of as retable, the The superstructure Similarly to the other side of the predella, the lower corner is painted in perspective is painted corner lower the predella, the of side other the to Similarly 541 The predella has a fairly high, profiled plinth, articulated byadeepgroove. plinth,fairly articulated high,has a profiled The predella 192 CEU eTD Collection Bibliography: x x x x x x x x x x x x Jahre 1872 in Mediasch tagenden Vereine Werner, Karl (1930): 52-53 Altars.” Mediascher des Kreuzigung die über ”Etwas Streitfeld, Theobald Sibiu1991, 78 VictorRoth, ”Der Spätgotische Flügelaltar inMediasch“ Archiv 34(1907): 193-206 Roth1916, 36-56 Richter 1992, 91-104 (1979): 116-121 Österreichische Zeitschrift für Pflege religiöserAnsicht“, Kunst,unbekannten einer in Wien mittelalterliche ”Das Juraschek, Franz Dietmar Priebisch, ”Der Mediascher Meister, ein Epigone“, ein Meister, Mediascher ”Der Priebisch, Dietmar Otto Folberth, Eugenia Greceanu, AntonSchroll & co, 1973 Altartafeln”, HermanFabini, “Auffallende Übereinstimmungenentdeckt. Zur Frage der Entstehung der Mediascher Kunst: Studien und Aufsätze ed. Stephani Brigitte Mediasch", von Darstellung älteste "Die Fabini, Herman Karpathen Rundschau Die Mediascher Kirche. Festgabe derMediascher Kommune zurErinnerung an dieim Gotik Siebenbürgen. in DerMeisteresMediascher Altars und seine Zeit Monumente Medievale din Media . Cluj Napoca:Dacia Verlag, 1985: 76-79 12-13 (1979 january 12): 6 , Hermannstadt: Steinhausen, 1872 193 ú , 2 (1930): 45-46 Bucharest:Meridiane, 1968 Südostdeutsche Vierteljahresblätter, Korrespondenzblatt Sie prägtenSie unsere ,Vienna-Munich: Kirchenkunst. 28 53 CEU eTD Collection (?) Annunciation Disappeared: known. However, this work mustknown. placesome work after1959,whenthe have time this However, overview taken representing panels narrow four the with together way illogical completely and arbitrary in an angels. mounted These six of the better preservedpanels wing-panels – representing the Birth and the Adoration of the Magi are show traces of a restoration, the date of which is not Thousand Ten the of Martyrdom Birth Fixed panels: h:cm, 97(90) w:40(33) cm Movable wings: h: 97 (90) cm, w: 83.5 (76) cm Stationary wings: h: 205 cm, w: 95 cm, th: 1.5 cm measurements: Main Feast-day Feast-day side: The preserved panels of the altarpiece are in very different states of preservation. Two of preservation. states in very different are altarpiece the of panels The preserved of State conservation,restorations: Work a’day side: Material and technique: Inventory number: Arrangement ( Present location: Dating: Provenience: ( Details3. ofanaltarpiece Grossprobstdorf, from dedicatedtotheVirgin Mary(?) Pro ú tea Mare, Nagyekemez tea Mare, 1490-1500 Grossprobstdorf,former parish, presently a Lutheran church Hypothetic Archdeacon Stephen Laurentius and (According to V unknownsaints Disappeared: an organ an with Angel a harp with Angel Hermannstadt (Sibiu, Nagyszeben),Muzeul Na Inv. No.1507, 1518,1519, 1520,1521, 1522,1523, 1524,1601 pine, tempera ): Ę ) ăWăú the Virgin?) the (of representation Unknown ianu) Two 194 Saint and an unidentifiable Claudius revicingdead a (According to V Catherine and Margareth Saints a lyre Angel with a flute Angel with ăWăú ianu) Visitation Adoration of the Magi of the Adoration Sebastian Martyrdom of Saint Ġ ional Brukenthal CEU eTD Collection 542 work of work V Virgil left and is dressed in a white alba with a red dalmatique above it, cut on the on both sides upto left areddalmatiqueis albawith it, inawhite cut above and dressed or the superstructure and the predella of the original altarpiece. stationary wings flanked movablethe ones.information No exists either on centralthe shrine pair of movableshrine. Fournarrow, fixed panelsflanked the shrine –twosuperposed panels oneachA side. wings was attached to these, stationary panels were in restored workshop the of Brukenthalthe Museum inwhile 2006. when more much easily. Both becameworn sothat never achalk ground received probably the altar surface This andpreserved. wasvery black inpoorly contours drawn leaf ornament, thick closed, with green aswirling fixedin frames. of back sides The panels were are decorated sides these a pair of indicating ac.a.5cm edge of show other of these the that white chalk ground strip wide theright paneland The leftedge of this badly damaged. isparticularly panelespecially first the of corner right lower The broken. completely are panel other the of corner left upper the and thousand Ten the of representation the with panel the of corner right upper The boards. number. inventory different completely a under is registered sinceit panels other than time the a later at museum the came to possibly panel The lost. completely been has foundation the also but gone paint is the only Not missing. are – are Largeparts of surfaces these in and distressingcondition. a quite Margaret figures side one Catherine andthe Saints of on third Visitation the wing panel – representing to have been preserved before 1959.However, now itis missing,filled in but notpainted-in. playing angel alsofilled were in during the restoration, while facethe of lastthe angel seems garmentof lute-playingthe angelismissing. Surfacesalso of arm the and wingsof harp- the partof the wascompletely aconsiderable and destroyed the organ corner of angel the playing only goldthe background butalso large surfacesof figuresthe aremissing. The lower left not where four angel-panels, the are of altar the parts preserved worst The been painted-in. roughly. missing Certain details, like faceof the Christ-childthe on scene, Adoration the have restoration. V ăWăú ianu. 784. The four narrow, fix panels each display an angel’s figure. One of fix thenarrow, figure. Oneof The fouranangel’sthem turns panelseachdisplay to a wingedprobably had that acentral The preserved panels oncebelonged altarpiece to Description: The two stationary wings also display serious losses and cracks along the joints of the sidesthe of two the paper, Japanese with over covered andonly partly Never restored, 542 The backgrounds damaged gold are seriously and havebeen filled invery ăWăú ianu was published containing a photo taken taken thisbefore ianucontaining putative publishedaphoto was 195 CEU eTD Collection halo.marked in background arch one Thespace is byapartly stone preserved theandanother between his by surrounded parents, a wreath of whilehisheadgolden rays is bya surrounded candle in a quite unnatural way in fingers.his Christ-child The islying on tiled-floorthe later restoration. His lefthand issimply lifted before him, while inhis right handhe holds a indicatedby in by by a hood spotbehindhisheadcovered wascovered worn that the part a hairHislong grey him man. greybeard and as anold show Hishead was probably originally athisneck. with together andclasped mantle,by alargegold his backis edged red covered his chest, on of buttons a row with closed in Cladher.robe, a grey to opposite kneels Joseph both herfeet behind her, whileits rightside curvesforwardon groundthe infront of her. with red and edgedwith Thegold. mantlehas slipped downhershoulder, right butcovers pattern carefullythe in painted red and Herback gold. by is linedcovered a darkblue mantel, dresswith, alongin brocade She wears prayer. lefthandsclasped herthe side with slightly One of the three preserved wing iswall coveredby a redand goldbrocade-carpet. panels depicts the scene of from stickingleftfoot bare hisThe He alsostands on out under the tunic. parapet grass with the behis canstill hair but curly clearly blonde seen. a flute.Hison faceiscompletely destroyed, withwas also decorated The last angel a gold along, pattern. wears darkblue andplays tunic from hislongunder A tunic. background,parapet-wall limits the whilethe surface aboveit intightly front of him hiswith hand. left Hestands on grassy foot left His ground. peepsout instrumentat all playhis both handsto using strings. Heholds rightthe the endmantle ofhis hisitabove on adouble tohold chestwith clasped not Heseems the together clasp. and again represented almost frontally, plays a harp. He wears a yellow tunic and a red mantle the right his isA thirdto by above. headturned covered angel ground with pattern The grass. frontally. is Thebackground parapet-wall again markedby and anowvery a gold damaged is to pearls. right, the face,turned His andhisbody by surrounded iscurls golden represented abovelined it, inred and heldtogether on his chest by a goldby mantle clasp,decorated by now.destroyed Another angel, wears playing alyre, a green mantle bluea dark with tunic gold pattern.The ground was probably covered by originally butis grass almost completely was coveredina the parapet above surface withandedges. The patterns gold brocade-carpet image.inisflank the astone-parapet There by background,the covered anda green red wings His cheeks. largeextended the bush to rose face, with a pale white frames hair oval, an hand. The lifted folds of his dalmatique areheldbeneath tight hisarm. right His curly, golden lining. Heholds a small inorgan hisleft handandplays it on with longthe fingers hisof right waist. Thus, back partof the dalmatiquethe behindhim flutters greenish, the silk displaying 196 Birth . The Virgin kneels on CEU eTD Collection the poor state of conservation of the panels, it was not possible to saints. to move Unfortunately, due two of panels display representations above two described these them in order for me each of sides of back damaged. The background seriously isalso of surface the patterned formerly wallcovers behind theVirgin. parapet gilded, the The of carpet window the backgroundis parts by dividedinto two carvedstonethe frame of window.the Abrocade The boots. red pointed is wearing he that be seen can it and garment the under seen behis feetset aboveit.crown of One bya can covered red andblackwith a striped turban wide sleeves ofhis shirt hang his hedown arm blondas raisesit. Hisshort, curlyhairis what seems imitateto an inscription. In his right hand he alsoholds a golden down with length whileis edgespresent mantle stones, decorated theirprecious the complete a red, sleeveless lower hewears mantle clothes Above its with hem. fur these white decorated on robe, gold, patterned that is clasped hair.brown The lastand theyoungest king stands behind himclad in a yellow shirtand a together curly and beard brown a short, has He turban-crown. under his off take to about is he hand left his arms. The V-shaped mantlea preciouslate Gothic holds and a green golden collar of the lies his to left, on ground.the His comrades two stand behind him. second king The isclad in his waist on both sides and ornamented at theprecious stonescollar and pearls. Above all this he andwears a long red-silver the brocade mantle, edgescut up to with white fur. with His lengthdecorated edge, with agold three-quarters robe, a dark, red boots, with stockings crown He isinandhalf-bald hairelegantly green hison most backof gray the tight head. dressed holding his leg with his right somewhat twisted hand. Hehaslong, gray beard and moustache Virginthe and holding Child,the thehand ofJesus hiswith lefthand while it,kissing and holds his right hand out to be kissed by the old king. The eldest of the kings kneelsin front of shoulders. The child, sitting onthelap ofhis putshis mother, lefthand in box the of and gold her blond long,falls inlocks by hairon Her head-dress. Her headisa white covered one seen onthe previous panel, adarkblue and mantle lined with red and edgedwith gold. the similar to dress, She wears abrocade full holdsgold-coins. thebox of hand she lefther panel holding her theChild lap,embracing on her himwith right underhis hand With arm. The second panel presents the over during aprevious restoration. has gilded been nowandthat simply in small traces can only be that discerned pattern brocade by agold surface wascovered The background headsof the the whole of ahorse. a cow and presenting perspective, drawninaratherin primitive the background, of beseen stall can the on the left side, while a golden-black brocade carpet covers the wall between them. The inside Adoration of Magi the 197 . The Virgin sits onthe right side of the ciborium inhishand. right With his ciborium and the CEU eTD Collection representation is a scene from is from the ascene representation still of the However figures discernable two inwomen makeit foreground clear the the that it beidentified. can hardly condition in isthat suchadistressing The panel preserved third Claudius reviving adead(?) aswell as an unidentifiable saint. respectively Stephen Archdeacon Laurentius and with of depictions decorated panels were 543 of the is depiction one a side left (probably) The scenes. martyrdom two represent altarpiece the of stable wings The two can bebackground decoration recognized. saints standingred and-white wear pointed black Nothing ona tiled shoes, the floor. of Both discerned. be still can locks blond her and neck her of details A few visible. clearly still The left side of mantlethe waspulledup, probableby her heldtight arm itswith curving edge She is clad dress inan gold, a mantle brocade elegant and wears red linedin it. green above can still be discerned, but nothing of her head has been preserved. Margaret steps on a dragon. while ofher white shirt lefton aring.a sword, sheholds hand The largesleeves inherraised wheel, was clad in a dark dress with a large red mantle above it. With her right hand she leans a detail with of the Catherine, destroyed. hasbeen completely saints the of The upperpart by feetcan befeet andthecan their recognized. because their attributes be Margaret identified figures and Catherine of Onlythe condition. two isThe backsideof eveninworse panel the on horseback is sitting. still be discerned, close to Elisabeth offering a view into the streets towers.of the town, where a man In front of it, Ontheleftvedute. carefully side, be behindMary, a town rendered seen detail a can with path meanders betweencontrast trees and rocks. to the On theotherunder dress, the the thick,folds abundant of fall which behind ground to the figure.her In right twoside panels,a gate can shoesby Her head iscovered beshe hasoncan a whitehead-dress.Theblack,pointed seen the background Elisabeth robe. is ina clad blousedark sleevesbuttoned with tight, here and areddress it. above was not a simplebeneath shoescanbe the observed hershoulders. The black,pointed fallsblond hair onto gold-pattern,blue mantleabove it, lined in red, and with a fine gold decoration at the edges. Herlong, but a adark dressand more.Mary wears thisa red nothingthat besaidabout any missing so can right arm. They were probablyVirgin shown kissing puts each other,her butright the Virgin’s hand face onis completelyElisabeth’s abdomen, while the elderly women takes Mary’s to examine backV to sides. Basedon the V ăWăú ianu 782. It is not understandable from the description which saints belonged to which panel. which to belonged saints which description the from understandable not It is 782. ianu Martyrdom Tenof the thousand, Visitation. ăWăú 198 ianu’s description, the other side of side other two ianu’s the these of description, Mary and Elisabeth embrace each other and the and other each embrace Elisabeth and Mary 543 with a representation of the CEU eTD Collection four narrow panels by four thatthe music. ornamented narrow angelsplaying Thisstrongly suggests the by flanked panel), acentral perhaps (or haveshrine hadacentral must altarpiece Thus, the landscapeabove the background wasnotgildedshowsbut a blue sky. with isles and boats on sidewater, large surfaceof on and right a the in background a small town thethe landscape with left. Just as in thehilly in a place moustaches.scenetakes The hats and dark,pointed case pointed Allhave event. of the other stationary withhat, yellow,yet men edge.Behindthem,a other three turban-like the stand watching panel, the surface dark by isa pointed, His head covered face. wrinkled a round, hangs around rather grey hair discussion. with Hewearsalong, and decorated blackblack red fur mantle, collar. atthe His scepter-like lefthishandhim Hisof comrade staff. turns towards aspartalively raising hehand, a his right holds In above. mantle short-sleeved blackand redpatterned and agold, hat on his head, with a turban-like rim. He is clad in a white shirt with extremely wide sleeves men stand behind them, witnessing the scene. Onehas along, beard and grey red apointed menabove hisforehead. Both have long, pointed moustaches. dark, Twoelegantly dressed Hisred collar. hatwith headis bya covered dark in rim a yellow form triangles the of two yellow edge. The other man wears a green mantle cinched in at the waist and decorated with a Both ends it in of airthe in wave him. of front head iscovered His by red hata pointed a with around his arm in twofirst man wears green long,stockings, brown boots, a white, ribbed shirtwith places.sleeves tied His red coat, The incolorful They garments. left are clad into the side of martyron image. the arrows lined in yellow,and hashis slippedbody is downpierced tied trunkof to the witha deadtree, hisabove handstiedto his head.Hewearsonly a loin-cloth his with waist. seven arrows. Two men draw their bows to shoot another two The (probably) right side stationary panel grows on of the shore. by andarow trees surrounded water depicts the and the representation of a town in the background, dominated by a church tower. The town is landscape much ofdamaged.Thereisahilly lowervery corner panelis the miter. right The with furhead Threehats hat simple bishop’s edgescanbe aprince’s gear. anda observed, agony. They wear nothingbut their and underclothing five of them also wearsome kind of their reflecting positions twisted various, in thorns, large with through stabbed been have all cross, ofthe sides two on the symmetrically Arranged bodies. naked almost are ten martyrs, of his line-cloth are weaving along hisleftside. Under the cross,standing ten forthe thousand shoulder. His body is covered right withhis blood,onto falls and hair blood His flows open. are out fromeyes his his and up side-wound. head his holds The still ends Christ image. whole the above rises Christ of body crucified the with Cross, The center. its at crucifixion 199 Martyrdom ofSebastian . The Saint is Saint The . CEU eTD Collection Mediasch retable. Mediasch were covered with a painted green, swirling leaf-ornament, very similar to the one seen on the stationary wings displaying the two martyrdom scenes. The back sides of the stationary panels Adoration the panel fourth the and Birth the panel third the of Visitation, the the showed one next the Magi.Annunciation, the depicting one Thefirst the probably was outerpanel lost The sides. inner wings’ on sides were decorated represented often most four scenes with the panelsweredecorated narrow of sides the both on with pairs movable Mary.of wings Virgin the The someprobably representation central contained part of saints, flanked by the Bibliography: x x x x x x x x x x (Munich:H&K Falter,1999) Helmut MartinKelp, Folberth 1973,75-77 Forschungen zum Volks- und Landeskunde, Kertész-Badru Andrei Stange 1961, Vol. 11, 162 Sibiu1991, 75 Tiberiu Ionescu. ”Muzeul Brukenthal. Galeria de Art Radocsay 1955, 397-398 Fabini1985 Vatasianu 1959, 782-783. Roth1916, 57-64 Grossprobstdorf. EineSiebenbürgische Gemeinde ander Grossen Kokel ú , ”Der Altar von Grossprobstdorf, ein Werk europäischer Spätgotik.“ europäischer Werk ein Grossprobstdorf, von Altar , ”Der 200 23 (1980):59-71 ă “. (Sibiu:Muezul Brukenthal, 1964) 21 , CEU eTD Collection worn. Fissures is rather panels the of missing. Thepaint-surface iscompletely case central the canof decoration be observed gable so thatthe suffered sculptural and the losses serious alongstructure medieval architectural the joints of the boards. Traces of vehement vertical Gregory and Servatius Saints Peter and Paul Saints beheading Valentine’s Saint Annunciation Work a’day side: Feast-day Feast-day side: Arrangement: Predella Wings (with frame) Shrine: measurments: Main decoratingpattern background the of shrinethe wasalso originally gilded. Material and technique: Present location: The preserved parts of ina retableThe preservedparts the arecurrently condition.stable original, The of State conservation,restorations: Dating: Cecily. Provenience: Dedication: ( 4. The retable fromTaterloch Tatárlaka, Tatârlaua 1508 unknown Seiden, former Seiden, parish, presently a Lutheran church, dedicated toSt. Margareth Saints Dorothy and Ladislaus Saints Stephen and Taterloch, Lutheran church ) pine, aregilded; The frames engravedbrocade the tempera. Vir Dolorum between angel between Dolorum Vir Vir Dolorum between angel between Dolorum Vir w: 331(211), d: 31.5 h: 179.5 cm, w: 73 cm h: 179.5cm, cm, w:147.5 d:36cm Shrine - empty 201 Barbara Saints Catherine and John and the Evangelist Baptist the John Saints Martyrdom of Saint Demetrius Coronation of the Virgin of the Coronation Helen Saints Magdalene and Andrew Saints Bartholomew and CEU eTD Collection 544 unidentifiable. The scene on the right side represents the Holy thus and preserved isbadly sideTrinity.left panel the on Therepresentation retable. the of sides The central part of the by foliation panel eighteenth Onelittle onboth surrounded were placed century. stylized each of retablehavebeenpreserved. not the itsupwards in both sides. Thesculptural a deeparchon decoration the and of shrine the gable pair movablestationary of and high apairof fairly wingsseton which widens predella, painted surfaces are blistered in several places the – but that, to a so great extent as wellworm-eaten, on thebadly predella.is retable the of material wood the now, Right eye. naked the with examination careful by observed be also can they but restorers, the by documented photo were interventions these All panel. predella the of ends both on in-painted been have surfaces Large completed. werealso losses these and restoration the before heavily worn observed by careful be still can damages of these The traces out. poked were also executioner Valentine’s observation,figure in spite ofThe out. punched were eyes of andtheir other theeach lines crossing diagonal hadscratched figures restoration).St. Catherine bishops’ both headsof the that document photos of number time.(A that at were repaired The surface ofwas the panelsscratched was over with long, vertical lines and the eyes of St. background. shrine’s the on imprints the andalso shrine-sculptures ofthe vaulting-architecture three-arched original, shrine’s the of traces the covering thus but decoration, medieval the of background of central the shrine was overpainted byUrsulaBrandoch, following the patterns Richter. According to the preserved documentation, the original brocade-pattern on the of Gisela workshop later inthe seven decades six or restored completely was The retable medieval samethe Hermann in rediscovered time, the at 1914and, paintingwasconserved. surface until the soin many places. eventheboles arevisible that worn panels arerather beginning gilding of panel-frames foliationbaldachinsthe andof innersidesof the wing- the the closing of the The restorations. later of in spite twentieth bediscerned still can saints certain of faces the on scratches century. These were then removed by Hans Roth1916, 137. Hans Hermann, “Eine Entdeckung”, A Baroque frame and gable decoration frameA inwas addedtothe GothicBaroque decoration andgable retable the The its a is with retable winged widely central shrinespread structure: flanked bya Description: The overpaintings,panels byBaroque werecovered painted the wood- onto glued (Fig. IV.2) The many scratches on the faces, the poked-out eyes and mouths, and eyes poked-out the faces, the on scratches many The 202 Die Karpathen 7 (1914): 638. 544 CEU eTD Collection arranged in a way, that a third one could easily have fitted in near them 546 baroque paintings glued on them. (Roth 1916, 137.) Hartmann in 1715. VictorRoth also considers that Hartmann was theone who covered themedieval panels by 545 sculptural sculptural decoration. the fillby loss of to the caused marks gap an the attempt cross, the John standingunder Reformation. Alate,low quality, panel, Baroque representing the Crucifixion,with Mary and the during mostprobably removed were part this central that decorated originally The statues Birthalbensis Fecit Anno1715. it: on inscription following frame hasthe back Baroque the of side ciphers ciphers 1715.The last with two bearing date, twoonethe the andtheright the first angel-head. This central element of the gable is flanked by two small panels, the left one inawinged ends and Savior the of a samefoliage frames the representation upperpart, the On side. right the on law-panels Mosaic the of depiction similar a and side left the on Bible the of representation small a surrounding foliation, stylized with decorated is also frame The IN AETERNUM inplaced a frame which bears inscription: following Baroque the gable, a depiction of Pentecost, with the Virgin in the center surrounded by the apostles, is these figures weremale figures female. these or whether state to us permiteven not do left they impressions the thesculptures, of character information lower fringed its on in edge.No on curtain,the exists theform an of applied background of shrinethe was originally by covered decoration, a gildedbrocade out worked The have with behind saints,a star-decoration. surfaces headsof been filled the the that have sculptures. musthosted shrinethree the baldachin) suggests (Fig. IV.2) shrine. the covered by consoles sustained bays little three comprising a vault that showing photo, partof from photo-documentation the restorations, Kronstadt the imprints visible were mentionedfrom archive apreviously Basedonevidence decoration shrinebackground. the of gilded original, the of model the follows clearly pattern The Kronstadt. in Richter Gisela of workshop in the restored was shrine the when background the on painted pattern brocade a by –probablyarched structure mimiced theoriginal baldachin type. or foliage on the front of the shrine was replaced by a later ornament, which – in its three Although the same photo shows the imprint of only two sculptures on the back of the shrine, these are by Michael made framework the with time same at the out carried probably most was panel central This The part of the retable that has been most affected by later interventions is shrine. interventions the bylater affected most been has that retable The partof the All the traces alluding to the original arrangement of havebeen of up shrine original the the arrangementcovered alludingAll to traces the The number of the bays (just like the three-arched structure front- of the structure like three-arched the (just bays Thenumber of the . A heraldic shieldwith theof sits blazon aboveHermannstadt theinscription. 545 The original, very TheGothiclate pierced very –Renaissance original, probably tracery 203 VERBUM DOMINI MANET 546 Michael Hartmann The arches, the arches, The CEU eTD Collection landscape is composedinfigures engaged edge. The The two face each other, background a lively discussion. of a group of trees cloakand up white hatwith fur ared bent The otherperson wears afur deep-green trimmed, on the left sidetogether with a golden clasp on his breastand and ahigh, cap pointed with its long endbentdown. some bare mountains cloak, gathered light-red wearsa ofthem background. One in the dressed figuresstand on the Behindhim his lifts executioner alarge sword, holding its hiltin both hands. Twoelegantly him. head tonsured His issurrounded byafine halo of of composed rows golden points. ishands his shownkneeling, joined miter andhis inprayer placed groundinfrontof the on broken broken behind placedby figureof centrally the Virgin.a red,brocade-carpet, the is background wall-like The Virgin.green uniform hoversthe thehead above of Holy Spirit Halos oftheabovetype theirheads. dotted alreadymentioned surround white doveof The the them. above cloaks red and gowns brown neutral wearing both are They hands. left their and the Son are sitting on an (invisible) behindher, throne placing her thecrown on headwith wearing thesame brown gown and white cloak seen on previousthe image.GodtheFather in prayer, joined hands her with image the of center in the front the facing kneels Mary topic. coronation space uncertain whether the scene takes place in an interior space or in air. spaceor in place open interior the scenetakes an the whether space uncertain behind by limited from leaves backgrounda white brickthe arrangement wall.Thus, the forms forpraying the background the figureof Virgin,the spacewhile sceneis the of plena dom(in)ustecum angel: the of words the with it on minuscule in inscription hasan stool prayer Spirithovers flying above scepter, the theA towards Virgin.green behindcurtain (?) the inmotif The widely of this scene inperiod. this Holy the white dove of representations used knees bent,the right handlifted in holding and ingreeting ascepter his lefthand isa quite both and frontally almost leg turned right his with position overall His down. kneel to about Herheadground. is by surrounded a haloformed of The gold angel, dots. justis arriving, white thatslidfrom cloak herback down herhip, falling unformedto folds the insoft, to thatisexpress Herdarkbrown gesture astonishment. meantto dress iscoveredby large,a rests on the book she has just been reading, while her left hand is raised herto breast in a rigid of The figures. the kneels atherprayer-stool Virgin facing the arrivingangel.hand right Her The left lower panel shows the scene of thescene shows lower panel The left The representation on the upper panel on the right wing shows the shows wing right the on panel upper the on representation The The very first panel representing the first panelrepresenting The very images. of unusual a rather display innersides The wings’ combination , a common theme in the period. The composition is again rather typical for this for typical rather again is composition The period. in the theme a common , . The function of curtainthis unexplained.remains Avivid, redcurtain Annunciation 204 St. Valentine’s beheading shows a well known arrangement known well a shows . The bishop saint bishop The . Ave gra(tia) Virgin’s CEU eTD Collection 547 huge key in his hand. Both are barefooted. The second panel shows the twoHoly Kings of andred andholds hislarge and Paulleans book gowns and sword on a green cloaks. Peter a succeed each other as follows: the first panel depicts St. Paul and Followed St. horizontally,from upperfirstthe Peter,panel tothe lower last panel, representations the both clad in long, their heads, written with the same type of letters as the texts on the inside of the wings. fromindependent All each other. saintsthe haverepresented anidentifying inscription above ingrouped Thepairs. face pairsusually although each other, figuresthe arevery much from the ornamental foliage known for Gothic retables, is characteristic of the Renaissance. that decoration differs this foundation.of Thepattern gilded chalky the into foliation, carved scene. the identifies as on panel, letters previous the sametype the of employing again markedagain by baremountains and a oftrees.Theinscription grove witness of at scenes Passion onseveral by the engravings Dürer. Thebackground landscape is hand ishidden in his cloak. Thefigure is strongly reminescent of Pilatethe figures bearing This last figure, his with long beardleans on a long stick with his right hand while hisleft collar, the sleeves and the lower hem,long red boots and alarge white turban above a red cap. covers the other. The other man is dressed in a long green coat decorated with white fur at the dressed in oriental men hand.him with hisitleft hisrighttwo hand Behindstand end pressing the of and with cloths. One andtrousers redtop-coat. ashort Hestabs Demetrius through holding thehiltof of sword the them, wearing position. saint’s the of modification a slight a long red cloak and a white turban, half place.took never actually which scene the decapitation represent of the to chose Taterloch from painter The aclub. with death to beaten finally is bishop the Thus, him. behead to is reluctant who S. Valentini identify scene: the helps in minuscules An written inscription of picture. center the in the is represented adeadtree In additon, them. sky between side with right a rose-coloured single loincloth single St. Demetrius B 55 (71) When the wings are closed the altarAll and innersidehavea the sort ofbaldachin of panels the frame endgilded ina with displays a series of sixteen standing saints, The last scene represented on the inner side of the wings is that of of is the wings that inner of the on the side scene represented The last . According to the legend, Valentine, bishop of legend,. According his Terni bishopof tothe executioner Valentine, converts . The saintis tied to the trunk of a tree with his hands above his head wearing a . His figureis based on Dürer’s Sebastian printSt. 205 His executioner is a bald man, dressed in red dressed man, bald is a executioner His 547 , dated , 1500/1502,with to Passio SDemetrii martyrdom of Decollacio , CEU eTD Collection 548 is head a hugewhose of figures, placed between herturned dragon towards two the attribute: back the on stands She benediction. in hand right her lifts and hand left her with her of front long blouse.coloured her Her sleeved, rose shoulders. hairfalls onto in Sheholds herdress alarge- wears aredgown as wellabove in Margaret hands. her basket littleholds woven a she herhaircovers blondlong, hershoulders and abdomen. Her which to shepressesclose is Thefirst cladinaby endof Dorothy red dress and Margaret. a green one cloak, covered by represented panel next in the begins saints women of row The benediction. in hand inhandleft his raises right and his holdshead. across-staff He his and on tiara ared-golden hand.heavy standsonhisleftmantle Gregory, ahis above wearing head-dress gold ornate white miter on his head. Heholds his bishop’s staff in hislefthand and alarge keyin his right identifyinginscription) Gregory. and St. Both Servatiuswear full a ornate: andhasred robe a panel of the lower row shows the figures of two bishops: St. Servacius (written with a lefthishand andgraspshisattribute,alarge Andrew-cross, with his hand.Thefirst right a grey cloak above it, modeled with green shadows. He holds his mantle above his knee with long white hair and beard, wears a red gown that is similar to that of Bartholomewabove which he wears a whiteas mantlewell that hasas slid down from his shoulders. Andrew, with his attribute, a large figure, along, curlyhaired, beardedknife, young manholds his in book his lefthand and his in his rightbare footed. The last panelhand. in the upperare row depicts saints St BartholomewBoth and hand. St Andrew. The firstright His his of fingers two with bare chalice the to points he feetwhile gifted been are having his visible of sign as hand left his in snake a with chalice a holds underman young The shoulder. his long red gown,Evangelist,inBaptist companionshipthe of Onophrius. wears a red 1502,representing toaround John the by followsfigureHis St aprintclearly Dürer, dated mantlefeet. his at placed lamb the to he points hand right his with while book a with holds he hands left a green Baptist cloak his hasasimplebrown feetbelowon somewhatgown his covering only hisknees.In bearded haired, brown The panel. over third the on stand evangelist the John St. and Baptist it,the buttonedand his halberd,the attribute, in his hand left it. leaning on Both wear gold crowns. St.John togetherhand right inhis orb the holds He beard. and hair brown long his with younger much looks on his rightLadislaus, allinsteel, and in clad his hand.St holding theorb scepter and the thesleeves with collarthe decorated furat white robe, large black red shoesanda hairbeard, wears and Hungary, Stephen Ladislaus.and St. St. Thepresented first, as man an long, old with white B112 (139) 548 206 His pair on the Taterloch panel, St John the c on the on CEU eTD Collection 549 coloured sky sky them characteristics. above as general coloured backgrounds, mostly ofa consisting of grove andtrees baremountains, with ablue and red- face is visible. her only that so neck and head whole the covering tightly head, her on veil white a has She collar. cut V-form adeep, with it, above fur-edged dress a green, sleeves and largeextremely handright andkeepingherleft hand her on abdomen. Shea coloured blousewears rose with her with cross the on leaning her, faces Helene hand. left her with lid its lifting jar, a holds belt,is by narrow a largeredmantle. Inherhandsshe green fastened with covered a dress, Magdelene’s them. between standing cross T-shaped large, a with Helene, and Magdalene shows panel last The hand. left her of fingers the with it supporting slightly palm, right almost orange dress,light-red, in is a clad Barbara wheel. awooden attribute, her of other lies afragment her,of coveredfront in ground the on sword, the Near hand. byleft her with a sword greenstanding a large, attributes, coat. She holds a a darkchalice blouse with large sleeves, holds an open book on her right palm and leanscontaining on one of her long above on a panel.Catherine, wearing next reddress, Barbarathe represented and are St. a host on her Catherine St. saints. headsof the bereadabovethe liftedcan Theirnames hand. Margaret’s B (20) on the branch of a dead tree. A cross-like sign is represented on the shield. The extreme The shield. on the is represented sign A cross-like tree. a dead of branch the on atadistance.are depicted hangsheraldic A in left of red shield upper panel the the corner visible in centerof the backgroundthe behind thefigureSome of mountains Christ. other is Golgotha wingsareextended.The feathered Theirlarge, belts. folds their bulgy under sitting on. Both angels wear redshirtslong andlarge, white surplices them,formingabove transparent hold ends the hand, the of hand-wounds.their they other In sides, hold in a each chalice one hands, gathering of blood flowingtheir Christ’s his from foldedrichly lies loincloth on edgethe of Both angels, sarcophagus. the kneeling by his hisleans flows right slightly from shoulder.towards his Blood side-wound.his Theend of Savior hands sits with headraised and hiswounds. Histhorn-crowned turns displaying The figure of The figureis based of Christ partly by on a copperplate Dürer veil, the ends of which are held by the two angels kneelingtransparent fine, by a theon sides of the sarcophagus.sarcophagus, his of lid set perpendicularly the on sits Taterloch from programstheme The of retables. inthewinged iconographic All the paintings on the wings’ outer side have landscape representations in their in representations landscape have side outer wings’ the on paintings the All The predella showing a representation of the Man of Sorrows is a widespread 207 Vir dolorum 549 on similar topic. The on the predella veil Christ is Christ veil CEU eTD Collection Bibliography: Vincencius Cibiniensis. 550 The identification of this sign as a hallmark of the master is thoroughly discussed inthe chapter referring to depicted Man of Sorrows: Manof depicted leftmetrical sufferings of the the to versesofthe side are low quality,quite referring paper, a paper, beof a paintedon both readonthepredella,them to inscriptions pieceare two written of at bifurcations. their have dots split-ends the Three of aresplit. of cross ends the XV –XVI”, Andrei Kertesz-Badru Andrei Hans Hermann, ”Eine Entdeckung”, ”Eine Hermann, Hans VictorRoth: ”Der HermannstädterMaler Vincencius.” Roth1916, 137-139 9ăWăú Richter 1992, 153-159 Balogh1943, 214-216 octavo. domini MillesimoQuingentesimo Vincencium pictoremCibiniensemAnno Simonem sculptoremetgenerum suum magistros per opus presens est Perfectum masters of retable: the the information regarding rightside onthe The lines contain Sic perhenniamanebunttegaudiaceli” Fac igiturrectum colassemperque piumque Dulciter genasquemeas ad osculaflexi Valeres: eccepatenciabrachiadedi Mortalis: nexusutmortis diros fugere ”Aspice quitantaspro te sustinui penas trompe l’oeil ianu ianu 1959, 797-800. Studii ú i comunic , placed at the upper edge of the painting, on both thepainting,sides. Thelineson both , placed on upperedgeof atthe ú ,” „Noi contribu „Noi ,” ă ri.Galeria de art Die Karpathen, Ġ ii la cunoa ii la 208 ă , (Sibiu: Muzeul Brukenthal, 1979): 163-171 ú 7 (1914): 638 terea picturii de panou Transilv panou de picturii terea Korrespondenzblatt 1914: 117-119 ă nene din secolele din nene 550 There CEU eTD Collection completed during completed restoration work. the intervention. later some of result a as surely arrangement, irregular inunexplained, panel predella the into hammered were nails itself hasconsiderably and wornthemedievalthinned paintlayer.A number large iron- of previous scholars. thecleaningprocedure stayed overpainting and unknown perhaps The to predella Renaissance small the of that cleaning the been has wascontribution An important color. paintedvivid over in the workshop Kronstadtof 18Gisela Richter betweenand1977 1980when itregained its original inthe cleaned be was completely The retable detailscan observed. few in-painted and a Arrangement: Predella: Lunette: image:Central width: Complete 313 cm Complete height: measurments: Main Material and technique: Present location: Description: The Renaissance framework also displayed some minor losses that have mostly been The retable is inpresently astable painted condition.surfaces The have spots worn of State conservation,restorations: Dating: Provenience: 5. ( St. Thomas retable from Groß-Schenk Cincu, Nagysenk) 1521 Central Panel: Christ and Doubting Thomas among the Apostles Meschen ( Meschen Groß-Schenk, Lutheran church h: 29 cm, w: 179 cm h: 70 cm, w: 136.5 cm h: 152 cm, w: 136.5 cm 181cm Mo Predella: Fourteen auxiliary saints pine, tempera Lunette: Saint Christopher ú na, Muzsna th century and was thus its medieval representation medieval its thus was and century 209 ), former parish, presently a Lutheran church aLutheran presently parish, former ), . CEU eTD Collection discerned on the left side of Christ. Behind them, the crown on the heads of other, of heads the on crown the Behind them, Christ. side of left the on discerned the column flanking the holds hisroom, head inhis lefthand. apostlesFour can be clearly by veryback,the apostle stilltheir right vividly gowns beseen.The standing at can coloured on his bare feet. Only the heads of the disciples grouped behind him and some small details of horizontally, his with palm turned downwards. He wears sandals comprising thinblack strings held is It Thomas. by seen already motion the repeats hand right His shoulder. right his part of his legsidehis pulled from his and left right to hisside, caston left arm and to lifted slid downfrom his back, forming thickfolds around hiships, plainly following the upperthe has robeandit wearsalong, above cloak that awhite in turquoise foreground standing the barely fitting in. fill theroom, completely twelvewhom of the disciples, by the aresurrounded figures central Six of them are groupedcloak his from has slippeddown asheraiseshishand shoulder Christ’sright side.The to on the right side clad facing downwards.Heisbarefoot, robe with in a violet-rose a green abovecloak it. The of Christ. The longlefthand,holding hishandhorizontally to andlifted heightthe his of his with waist palm bearded one puts two of his fingers in side-wound.Christ’s Heseems tokind of balance himself his with kneels his almoston right, placing hisleft He knee on foot. Christ’s raises hishand right and black stringA athisneck. halogolden hissurrounds head. The young,bearded Thomas with isa simple together heavy cloak tied large, The underarm. lefthis raised hidingand and falls in abundant thick folds thefloor, coveringto his from abdomen his hisright to left hisback and avividredliningcovers fine patterns with with elegant, golddark-green cloak hand graspingThomas’ while wrist, he hisraises hand right with palmfacingthe An upwards. hisleft of image,with the center inthe bestride slightly stands Christ resurrected leaves. The flanking columns, crossed in by middle the Christ’s string head, above another ofcolored the between hang coral-strings two room, the of entrance inthe a decoration As columns. similarly capitalsis bytwo androom flankedindecorated decorated foreground the the volute- by and acanthus with columns aresupported windows of the The semicircular arches image. All three inside an octagonal sides three closed room, which inof are visible the background ofthe walls open with a window with a viewrich Baroque frame decoration, set on a larger and much towardsearlier, Gothic predella. a mountainous Renaissance by issurrounded retable complete The Renaissancean with ornament. a sculpted landscape. by decorated lunette from an architrave the is separated panel central itself. retable The the as aswide predella low, rectangular an itunusually and setabove lunette lintels, a decorated The central image represents the scene of Doubting Thomas. The scene takes place takes scene The Thomas. Doubting sceneof the image represents The central This Renaissance retable consists of a large central panel flankedby wide,two richly 210 CEU eTD Collection FACIEBAT CREDIDISTI BEATI inner edgeof niche: the quotation from taken John 20:28,29 aswell both inas signature, the written majuscules on the its partly center, emphasizing Christ’sfigure, central butmainly hosta to there placed eleven. Arectangular niche is cut in the floor, right before Christ. Ithas a semicircular arch in Christ’s left shoulder. on side. other the headof more The apostleis beardedone very visibleatthe back, behind Thus, thebehind him,wears agrey andliftscoat hand his tohishead, similarly apostle his“pendent” to number of apostlesgreen but becloak, nothing elsecan seenfigure.hisAnotherof young whostands disciple, representedhandsbefore apostlea him.Abearded strings. his standingside arejoined His wears on right on the altar comes of black clad with composed a sandals inalong blackrobe it, wearing red cloakabove to only unexplained be persons observed.can an In foreground, the older, gray-haired man stands, Saintand hislong much too upper right arm. to have had minorChristopher’s beltproblems (green to orange) and on the Child’s cloak (red to green). The master seems with andlightanatomy, giving shadow the impression of ( changing colors as shown play the in with drapery, of the is treatment seen the very likely hand characteristic painter’s by the misdrawn(B 103(136))from 1511, although can be similarity the in only traced motifs.certain The left shoulder above figure them.Thecentral of panel the againinspiredwas once byan by ofengraving Dürer thesky blue light a with distance in the mountains snowy and corner right in the building small lamp containshills inhisright landscape hand.The background Thereis green trees. with a inducted Christopherinto Christian Belief,sits the ground clad on in a white cowl holding a who hermit, the image the of corner left the In knee. his on hand left his with apple an holds and benediction in hand right his lifts child The saint’s. the like just flutters that it above shoulder clad in a long shirt of hisaround waist.A large redcloak flutters on his back.The Christ-child sitsthe on his left same color as Christopher’sshirt, and with fastened a waving red cloaktogetherhis huge instaff his hand. right He holds hisbeltwith his lefthand. Hewears a long brown on his chestleg,and grasping his right with of river the out stepping theshore, justhas reached The giant with a long row of buttons and with a wide 1510. (B 49 (120)) green belt around to sametopic,dated the on woodcut follows Dürer’s apostles inthethe room clearly The semicircular lunette contains a representation of St. Christopher setin landscape. Christopher a of St. contains arepresentation lunette The semicircular Despite some significant changes, the central figure of Christ and the arrangement of arrangement the and Christ of figure central the changes, significant some Despite 1521. QUI NON VIDERU(N)T ET CREDI(D)ERU(N)T. VINCE(N)CIUS DOMIN(US) MEUS ET DEUS ME(US). THOMA QUIA VIDISTI ETTHOMAQUIA MEUS DEUS ME(US). DOMIN(US) 211 changierende Farben ) on CEU eTD Collection around and among five medallions, decorated with andaround fivemedallions, paintings decorated Baroque among arranged aroundthe meandering leaf of foliage and ornament, framea rich consists decoration striking, carved from on much the was bought predella.Meschen andset wider, The Gothic community the of surrounded by surrounded foliage meandering among golden and silverflower-patterns. amongstrewed them its and closed on upper edge by an frame.egg-and-dart is Thelunette flower-motifs with foliage ornamental Renaissance with filled is architrave The volutes. and elements with vases, various with plant decorated a series of superimposed enriched stylized, are image central the flanking listels imitating piers two The elements. ornamental sculpted from head:left“ Barbara’s inscription beincised Catherinecan readbetween of St.s continues figures the andBarbara. It inshoulder his hand.right Thebackground of panel the shows a cloudy,blue-rose sky.An his andholding restingagainsthis asword white cloak shirt deacon, with agreen above a fourteen Cyriacus,of hand.saints,branch last the dressedas in St. the Heturnstowards his Achatius is in armourrepresented and with redturban a dark hison head, holding a thorn- him. adeerbefore holds monasticand brown cowl asimple wears Giles (Aegidius) hand. St. Blaisestands St. hisplacing left hand on Erasmus’s shoulder and holding acandle inhis right costume his with awindlass wound entrails heholds around in hisright hand.Behindhim by her recognized side.in rightat Erasmus dragon bishop’s isdepicted the St. an ornate dress wearingcanbe aboveit, dark and Margaret, aredcloak a hand.in herSt. chalice, right hand. by Sheisfollowedin row inthe dressed holding the Barbara, herand green attribute, left her with wheel a wooden grasps and hand right her in branch apalm holds figure, central costume and with holdingbook a goldenthree balls itin on fronthim. of Catherine, St. the cross amongst its a glowing with heada stag, it, the of above holds a redcoat and shirt cladin a green Eustace, antlers. The sixth on holding as his left green man represented a young adark acock arm.gown, wearing St. saint represented His standsfacing cladPantaleon ina his head.Vitus front is arenailed hands red coat. to St. is St. Nicolaslance wearingheld George,by graspingSt. the neck of a a dragon with his righthand, in stabbinghim full with a through hisbishop’s leftside. Heholdshishead in his handright andabishop’s instaff hislefthand. Heisfollowed hand. He dense on both row hermostly sides, towards her.turning Denis St. begins row on the her leftwears a greencentral figure is St Catherine withcoat the remainder of the saints andarranged one near the othera in a yellow turban on his head. St. The Renaissance retable received its Baroque framework in its retable 18 Baroque the The Renaissance received The Renaissance framework of the retable displays a variety of gilded and silvered, The small predella of the retable contains a row of the fourteen The saints. auxiliary fourteen of the arow contains of retable the The smallpredella In Anno 1542 Hic fuit 212 ” followed by indisipherablean signature. th century, when it CEU eTD Collection Bibliography: character. amuchmore prominent wasgiven large retable notvery the Renaissance retable. Thus, x x x x x x x Korrspondenzblatt x x Arrangement: d: w: h: measurments: Main Material and technique: Present location: Dating: Mary Virgin tothe dedicated Provenience: Dedication: unknown The Gothic predella inGross-Schenk (Mediasch:Druck vonG.A. Reissenberger,1912) feierlichedie Einweihung derneuerbauten evangelischen SchuleMeschen am26. in August 1912, 125-141 .(Bukarest: Kriterion, 1981): 23-26. des 16.Jahrhunderts. ZumWerk des HermannstädterMalers Vincentius“ érem- ésrégiségtárából, Römer, Carl, Roth1916, 140-149. VictorRoth,“Der Thomasaltarderevang. in Kirche zuGroß-Schenk”,Korrespondezblatt 27(1904): Radocsay 1955: Nussbächer, Gernot,“Künstlerische Interferenzenzwischen Siebenbürgenund derWalachei zuBeginn Halaváts Gyula, ”Nagysink környéki építészeti m Balogh1943: 214-216 Antoni, Erhart, “ZurBaugeschichte und Inneneinrichtung der Großschenker Kirche“, Antoni, Erhard, “Freigelegte Gemälde am Gro am Gemälde “Freigelegte Erhard, Antoni, 40 cm 61.5 cm (upper) 315 cm, 214 cm (lower) around 1450 Aus Vergangenheit undgegenwart derGemeinde Meschen 50 (1927): 122-138 Gross-Schenk (?), former parish church, presently a Lutheran church Lutheran a presently church, parish former (?), Gross-Schenk 394 original (?) 7 (1916): 134-165 pine, tempera. - Gross-Schenk, Lutheran church Lutheran Gross-Schenk, 213 ȕ schenker Altar”, schenker Ħ emlékek“, Dolgozatok azErdélyi Nemzeti Múzeum Kirchliche Blätter , . Aus Urkunden und Chroniken Festgabe zur Erinnerung an 8 (1977): ?? CEU eTD Collection a red-covered book close to his body in hisleft hand.His right handis lifted tohis face in the veil on her head. Her hair is braided. St. Johntransparent a the Evangelist wears isshe depicted leftcloak, of the Christ, holdingBeneath elbow. right lifted her on dense especially folds, infirm is bunched herhead.It covers also above itthat cloak a white and wears areddress flows along his forearms. Theblood redbackground. the from on arecarefully his handwounds objects represented The Virgin Mary is represented on the right side of her Son. She two of the holds he and him of in front crossed are hands His head. his on thorns of crown green a vivid shown with nakeda torso, his long, curly, dark- brown hair covers his shoulders andhe wears is with in Christand little of golden front curtain, redbackground John patterns. the decorated Virgin the between Sorrows of Man the half-figures: three shows part central The ornament. plant green bright a with filled and panel the of ends the decorating sections, two by flanked markedby is acentral, sections: three part, rectangular redbackground-curtain a painted frontal,supported shrine central the altar.the Thepredella-panelisdivided of painted into side, which back the on a trapezoidal protrusion is to attached frontal part rectangular Its ground-plan suggests itthat was originally part of “Schreinaltar”:a the rather sides. narrow, both on S-curve in an ended that century fifteenth the from type predella wide-spread predella has some chipped corners andits thin red and is golden paint ratherworn. the ends of the on foliage in. green decoration havebeen painted The also Reformation, probably during the panel is somewhat most out, Hishadbeen poked eyesthat surface wasrestored. background when over red the worn but inrestoration an acceptable state documentingcertain over.Thus,from beingpainted details basedon evidence pre- the ofphotos thecondition.led to also has panel,intervention this and painted-in been have someLosses weathered. rather also was ofThe John’s frame hair ofon thetheeaten before in restoration of and the workshop Gisela Richter painted surface the complete right side of his surface was and of badly edgesareworn. darkhalos Thethe their wood thin,worm golden head was painted retable hasdisappeared) Predella – representation of the Vir Dolorum between Mary and John. (the rest of of the rest (the John. and Mary between Dolorum the Vir of –representation Predella The predella set under the sixteenth century retable described above, is typical of the isof typical above, described retable century sixteenth setunderthe The predella Description: The is predella-panel fairly only The trickledwell-preserved, with small spots out. of State conservation,restorations: arma, the whip and a brushwood besom, under his arms. The shadows of both 214 CEU eTD Collection noted in previous literature.See Richter been 1992, 243.; The already topic has deserves to be discussed relation a separate in Certain study. consideration. into be taken can masters the of identity the even workshop, 551 the period.the of “filling-pattern” well known -the gothic-foliage, green, painted, with adense, decorated Kolozsvár. nose,the and lips the between dimple are slight the and lips thick closelynoses, straight long, the eyebrows, related andprominant the eyes and ringed protruding slightly large, thepainter: the of characteristics the features feasibly are what on display faces persons’ of three the features determined very Savior. The the theof halo the from cross panel the representing lilies, red three displays inaureole Christ’s theAdditionally collection haloof aroundthe theirArt heads Museum and a maroon, curlyhairlong, hisray-wreathfigures All covers shoulders. have three a dark, golden-edged of of fine golden raysarranged in parallelon tubular-folds the on his chest and insurface hard, meandering ones over his arms. His of the dark halo.well-known gesture of lamentation and grief. He is clad in a simple green robe that is Inv. no. II. 8980. The predella and the panel in Cluj was most probably produced in one and the same Bibliography: The two ends of the predella panel flanking the central, rectangular representation, are 551 x x x x 9ăWăú Richter 1992: 243 Classical Studies Institute in Cluj), Idem, ”Colec Na omagial pentru fra (The iconof God’s Mother inthe collections of the Classical Studies Institue in Cluj) 9ăWăú Ġ ional ianu ianu 1959: 779-780 ianu, Virgil, ”Icoana Maicii Domului din Muzeul Institutului de Studii Clasice din Cluj”, ă ,1936):, 3-8 Ġ iile de art Ġ ii Alexandru ă de la Institutul de Studii Clasice dinCluj”, (The collections of the Boabe de gr 215 ú i Ion I. Lapedatu, ( â u , 4 (1933):,1-17 Bucharest,M.O. Imprimeria Bucharest,M.O. Volum CEU eTD Collection Inv. 1219/a-b frame of the lunette were complemented with new, profiled but undecorated fragments, most fragments, undecorated new, werecomplemented profiled but with frame lunette the of availableits original about Themissing measurements. of parts Renaissancethe egg and dart is information no that so around all cut been has sides, both on volutes with curved originally predella, Reformation. The the during scratched –probably was The faceof Severus completions. of and show traces panelsrepainting Both oldrestorations. of inlacquer one the layer of a covered with surface was complete boards; the of joints the the mostly along St. WalpurgaSt. Predella – Scenes from from life –Scenes Severus Predella of the Saint Lunette –Representation of the Ars Moriendi Arrangement: Lunette: measures:Main Material and technique: Both Both panels made Theare from paint boards. pine has flaked off in many places, of State conservation,restorations: Predella: Present location: Dating: Provenience: ( 6. Cisn Details of John the St. (?) altarpiece from Heltau ă die, Nagydisznód d: 3cm w: 178cm h: 73cm d: 3cm w: 135cm h: 45cm 1525 (by inscription) Heltau, formerHeltau, parish church,presently a Lutheran to church dedicated Hermannstadt ( Hermannstadt ) pine, tempera. Sibiu, Nagyszeben Sibiu, 216 ), Muzeul Muzeul Na Ġ ional Brukenthal, CEU eTD Collection 555 corresponding chapter. 554 Vincencius. of oeuvre the 553 552 image On the near them. lie he could himself so that movedaside skeletons The Innocentia. his Severusfelt nearing, the hegravedeath his opened of andhis Vincentia wife daughter life.from As bishop’s scene the thefamous closingside righton shows the panel of the with the identity of the main person: main the of identity the with in scene, placed under the An inscription us majuscules, provides hovering above Severus. bowed head andsurrounded by Afigureclerics. wearing tothe miter abishop’s dove points a ontheleft in with Severuskneels This is depicted side: background, very the scene the settled three times on his head. That was and a signhim to theabove clerics that heappeared should be the Spirit, one elected. Holy the of representation the A dove, election. bishop’s the legend, of panel. was aweaver,the the to was by According Severus, who at chance present praying –originally,very of in altar probably, that hasfallen an front the truncation victim to and his head, kneeling above a dove isseen with Severus left, Onthe Severus arerepresented. life of from the several scenes Inthebackground, patterns. with Renaissance decorated scene. consecration the behind is shown John, and Mary among the piers flanking the altar. The predellaof ofa one painted altar-piece,behind representing kneels robes the ecclesiastical in person A fifth book. a other the miter, bishop’s handsjoined inprayer. with altar-mensa, consecration of Severus,bishop of Ravenna: in the foreground of the scene the saint sits on an probably of in1962or during restorations the one 1966. confitemur visibleis in minuscule written inhymn-quotation, A short front canonicals. full in altar the of right and of the mouth of on thethe edge of the mensa written in majuscule: S. SEVER (US).bishop Two bishops kneel to the left on theThe altar is coveredleft: with fringed,a golden-black, brocade cloth; the name of the saint appears by description Károly from Pulszky 1879. thesame occasion. on parquetted The first two lines of the „Te deum”. the in to referred been has cathedra, bishop’s a of instead altar an on seated being his between confusion The to dedicated thesis of this chapter see the retable ofthe reconstruction theoretical onthe considerations For 76. 1991, Sibiu The consecration takes place in a large hall church, divided into naves by piers into navesby divided largehall church, in a place The takes consecration The predella and the lunette have been part of a winged altarpiece, based on a based on altarpiece, a have of winged been part lunette the and The predella Description: 555 . The assisting figures in the ceremony stand behind the mensa - one holds the holds one - mensa the behind stand ceremony in the figures assisting The SA(n)CT (us) SEVER(us). SA(n)CT 554 A small chair is set under his strangely short legs. 553 217 The presently rectancular predella shows the shows predella rectancular presently The te deu(m) laudam(us)tedom(inum) 552 The back side of the lunette was lunette the of Thebackside Another background depiction background Another Vir dolorum CEU eTD Collection the last scene of the Ars Moriendi from series. representation a is clearly image The hell. of a representation in Leviathan the of mouth soul deceasedthe of is shown kneeling andleft praying.The lower corner shows the huge the one other the on book, a with scale the of plate one on be seen may A demon hand. right is with hisshown includingwell-known attributes a insword his left and hand a balance in his On the left side of the panel St Michael, a popular patron saint of the dead is represented. He 557 556 his majuscule answer: shows inscription with another inwindow background. Nearthis represented in window the the appears crucified Christ, is takenby a guardianangel standing behind the deathbed. Theimage of Savior,the the standingby of dying feetman the the while asanakedof the soul man,represented the child, wooden chest above his head. invade Supernatural beings including thebedroom beasts two records of the dyingFILI DAVID MI(sere)RE ME(i) man’s acts, kneelingbedside. athisAn inscription to faceabove of the his dyingman the records cry: be evaluated at of deathbed.the The holds individual dying a both with hands,candle him given to by a priest the hour of death, is placed on a large corner rightupper of panel.the depicting the Man of Sorrows. A date of 1525 may be read above the headSEPULCRU(m) INTRAVITof Severus, in the ET FILIA lifted inbenediction.An inscription upper atthe edge of ( grave the bishopthe kneels on edge the open the of grave his with staff in hislefthand andhisis right ”Et Iesus dixit illi: ”Respice! Fides tua te salvum fecit” (Luke 18, 42). ”etclamavit dicens Iesu Fili David miserere mei” (Luke 18, 38) x x x x x x Bibliography: The lunette shows the bedroom of a dying person and St. Michael standing at the foot atthe Michaelstanding andSt. person a dying of shows the bedroom The lunette Értesít Sigerus, Emil: ”DiePredella des alten Heltauer Altars“. Korrespondenzblatt 28 (1905): 158. Roth1916, 150-152 Roth,Victor: ”DerHermannstädter Maler Vincencius“. 37(1914), 117-119. Pulszky,Károly: “Iparm Halaváts Gyula. “A nagydisznódi ágost. ev. templom.“ (The Ev. Churchfrom Heltau) Balogh1943: 214-216 ) Ę and another one placed under the scene ( scene the under placed one and another 34 (1914): 232-240. ), explainsAn thestory. behindis altar represented the scene Ħ vészetijegyzetek”.(Craft marks) above the face of the dying man dying above faceof the the 218 FIDES TUA SALW(um) TEFECIT Archeológiai Értesít S(anc)T(us) SEVER(us)IPSE S(anc)T(us) 556 . A large book, perhaps the SA(n)CTI SEVERI UXOR Ę . 13. (1879), 273 Archeológiai IESU . 557 CEU eTD Collection 1913 by Eduard Gerisch. Thepredellamissingbefore large much spots. is rather over very was restored weathered, which (lasur), by agreenglaze covered originally base-moulding was high be The observed. Christ and the Virgin although a number of other scratches, dated to various periods can also have originally belonged to a rather large winged retable. The predella ends on both a ratherlargehave both belonged to sides ina wingedretable. originally predella ends on The piece the suggests that must anattic-base, base-moulding very resembling the tall, profiled surface. A scratched-in inscription ( inscription A scratched-in surface. altarpiece hasdisappeared) the Brukenthal, 558 Roth1916, 153. x Main measures:Main Large predella, formerly coming from formerly measurements from and Large predella,form a wingedretable.coming Its of Description: The present condition of the panel is satisfactory. A thick layer of lacquer covers its lacquercovers layer of A thick issatisfactory. panel of the condition The present of State conservation,restorations: Predella – representation with the scene ofChrist appearing toHis Mother. (the rest of Arrangement: Material and technique: Present place location: place Present Dating: Provenience: Dedication: 7. Predellathe representation with of“Christ appearinghis to Mother” 1883 Heinrich Wittstock: Inv. no. 1990 d: w: h: 1510-1520 42 cm 93 cm (upper) unknown Hermannstadt (?) 558 Aus Heltau. Vergangenes und Gegenwärtiges 273 cm, (lower) 220 cm pine, tempera. Hermannstadt ( Hermannstadt gott la ȕ 219 dich … 1548) can be read above the hands… 1548)canbe above the of read Sibiu, Nagyszeben . Hermannstadt: Franz Michaelis, ), Muzeul Na Muzeul Ġ ional CEU eTD Collection written in majuscules comes from his mouth towards the Virgin: “ Virgin: the towards mouth his from comes in majuscules written hisfrom Crucifixion be can clearly seen hisupper handon onhisside. and Aninscription He holds the right hand of his mother between the palms of his hands before him. The wounds Savior. shoulder rightthe of the against –leans representations Resurrection all known from an angel kneeling behindonto his rightflank andthe shin of his leg. left Thethickly foldedChrist. end of cloakthe is held by The triumphantthick folds, modeled with under his deep shadows, hipright fitting andcovers hislegs, close red banner with the mantlewhite that covers his back, held together on his chest by cross,two round clasps. The mantleforms - so well- her right hand between half-kneelingthe already, his turned towards Mother. The Virgin kneels infront him, of holding palms of his hands. He in canonical stands Christ of foreground gospels profile,the image,the seenin three-quarters wears a white loin-clothin is recorded any the of that not anepisode his mother. In to Christ appears resurrected the and a large red decoration of swirling leaves and little flower-motifs incised into the chalk-ground. deep archfollowed by a slightly curved bevel objects for personal use and a hanger withvarious two canswith are fixedA shelf on it. the backon wall. left shawl red a with stove the of side other the on set is bench A in middle, the with byitsa table and book side; an visible acandlestickon open table. are the stands stove tall a furnished: neatly is room The Annunciation. the of representations on stool, prayer Virgin’s the above from known those resembles much very that window empty the can isvisiblewall. right to A baldachin be observed on next rectangularwindow empty the a while niche, semi-circular a displays also wall back The side. left the on opening a similar and wall back the on door semicircular a through allowed is rooms neighboring the into view place.takes Theroom isby covered a wooden andvault wallsA its built from are ashlars. stairs broad from where leadintoits the completely foreground scene living-room the painted yellow while surplices, only headofthefourththe is in visibleangel thebackground. Three which book, open an another holds them of one him, behind stand angels other twoFour cloak. are Christ’s of end also looking at. wings, dressedina dark green and robe on aflower-wreath his wearing Thehair blondholds the three of them areconcentricA circles.of group angels isvisibleA behind Christ. kneeling angel, open with dressed in very handsthe similar, ofher Both Son. theirheads aresurrounded byhalos made up of thin, golden, long, between hand sits her and right herbreast liftedhand to left is by shawl. Her a white covered hair dress. Herheadandlong, curly are herdark adarkbluecloakVirgin Mary above wears The representation shown in the panelis inTransylvanian unique panel painting. Init 220 . Both ends are ornamented with a golden with edge- a golden endsareornamented Both Salve SanctaParens ”. The ”. CEU eTD Collection same altar. know Wenot at momentany do the about fragmentsother thatcould have belonged tothe dimensions make itvery probable that a gothic type of winged retable was originally set onit. its this predella.belonging However, type to the once of retable the referringto consequences show any not deal, joints predellathe does which that wouldcloses traces of draw allow usto The floor. forehall’s the of colour the continues section complete the and base-section to this painter continued it on the upper section of the base. The ends of Mary’s cloak extends down bridge. the cross persons andthree river the over sideright of mountains high bein can which observed asmall background, the bridge arches by side him.the inmarked column, of kneelingThe other a thick-set frontof stairsthe is on and women Christ three resurrected the a cave, of theentrance landscape with a remote x x x x Bibliography: not scenedid fitthe the feature that predellathe panel,It isanoteworthy thus on Left of Leftof stairs,the wall the on behind the figureChrist,a window of opens and reveals Kertesz 1998:96-97. Sibiu 1991: 76 Balogh1943: 214-216 Roth 1916: 153-154 221 CEU eTD Collection Werner-Theil 1870: Werner 1910: Quellen –Kronstadt: Nussbächer-Marin 1999: Vlaicu 2003: Veszely 1860: Ub: Rechnungen 1880: Mikó 1858: Mikó Mon. Vat.: Jakó 1990 Fabritius 1875: Entz 1996: Entz 1994: ______. Source Editions: Zimmermann, Franz ,Carl Werner: Arbeitskreis für Siebenbürgische Landeskunde Heidelberg, 2003 und Gewerbe inHermannstadt undindenSieben Stühlen Kapitels bis zur Reformation Landeskunde Heidelberg, 1999 Kronstadt. ny.,1860 Landeskunde Academiei -Editura Române, 1892-1991 Siebenbürgen AusschussHermannstadt: des Vereins für Siebenbürgische Landeskunde ,1880 Nation Schneider und Feminger ,1886-1927 Budapest, 1885-1891 Budapest, Kolozsmonostor) Vols.Kolozsmonostor) 1-2,Budapest:Akadémiai Kiadó, 1990 Reformation the 14 the in the 11 Bibliography : Jakó,Zsigmond. th Entz, Géza. Entz, Monumenta VaticanaHistoriam Regni HungariaeIllustrantia . Quellen Siebenbürgenszur Geschichte ausSächsischen Archiven. Vol.1. Mikó Imre. Mikó -16 Vlaicu, Monica ed. th Veszely, Károly. Werner, Viktor. -13 Vol.1420-1580. Kronstadt: 9. aldus Verlag – Arbeitskreis für Siebenbürgische th Fabritius, Karl. Fabritius, centuries). Kolozsvár: Erdélyi 1996 Múzeum Egyesület, . Hermannstadt, 1875 th . Vols. 1-7. Hermannstadt-Bukarest:. Vols. 1-7. Ausschuss des Vereins für Siebenbürgische centuries). Kolozsvár: Erdélyi Kolozsvár: centuries). Erdélyi Múzeum Egyesület,1994 Rechnungen ausdemArchivder StadtHermannstadtundderSächsischen Werner, Viktor, Rudolf Theil. “Quellen zur Geschichte der Stadt Kronstadt“ Vols. 1-7. Kronstadt: Erdély építészete században a 14.-16. Erdélyi történelmi adatok Erdély építészete a11.-13. században Nussbächer, Gernot, Elisabeta Marin. Elisabeta Gernot, Nussbächer, A kolozsmonostorikonventjegyz Die Mediascher Zunfturkunden Erdélyi egyháztörténeti adatok Erdélyi egyháztörténeti Urkundenbuch zur Geschichte des Kisder Kapitels vor der Quellen zur Geschichte der Stadt Hermannstadt . Hermannstadt: Steinhausen, 1870 Urkundenbuch zur Geschichte der Deutschen in Vols. Kolozsvár,1855,1856, 1858 1-3., 222 Urkundenbuch zur Geschichte des Mediascher . (The architecture of architecture in . (The Transylvania Ę . Hermannstadt: hora Verlag – könyvei . Mediasch: Reissenberger,1910 . Kolozsvár: Római kath. lyceum . (The architecture of of Transylvania architecture (The . Quellen zur Geschichte der Stadt (Protocols of the Convent of . Series I.Tom. I–IV. , Vol. 2, Handel CEU eTD Collection B. Nagy1968: Avram 2006: Augsburg 1994: Arz 1991: Archiv: Antoni 1977: Antoni 1975: Amsterdam 1994: Amlacher Amlacher 1904: Amlacher Amlacher 1900: Ambarcham 1912: Albrecht-Weinberger 1988: Aggházy 1958: Adamik 1997: Abraham 1912: Secondary Literature: and the art treasures). art and the center) Sibiu: Ministerul Culturii Centrul istoric Haus der Bayerischen Haus derBayerischen Geschichte,1994 SiebenbürgischeLandeskunde e.V., für Sektion GenealogieimArbeitskreis (1977): 7 (1977): 1500. 35-41 from from 1577). nyomán”to theoriginsítéletlevele (Newdata Makray family,the a document of basedon Wien. Museen Vienna: derStadt Wien,1988 Stadtpfarrkirche und Künstlerpfarre vonWien Jahrhunderts. Akademie der Wissenschaften/Akadémiai Kiadó,1958 Strassburg: Heitz,1912 Archiv des Vereins für SiebenbürgischeArchiv desVereins Landeskunde für Arz, Gustav. “Series Pastorum”. “Series Gustav. Arz, London: Rijksmuseum Amsterdam,1994 ______. “Freigelegte Gemälde am Gro Antoni, Erhard. “Der Braller Altar”. Avram, Alexandru. B. Nagy Margit. “A kegyes f Adamik, Tamás, transl. Aggházy, Mária. Abraham, Erich. Lucas Cranach. Maler-Unternehmer Ein ausFranken. Amlacher, Albert. „Das Mühlbächer Altarwerk”. „Das Mühlbächer Albert. Amlacher, Amlacher, Albert. „Adalékok a Makray család származásához. A család „Adalékok a 1577-iki Albert. Amlacher,Makray származásához. család Hunyadmegyei Történeti és Régészeti értesítHunyadmegyei Történeti Társulat van Henked. Os, . (The topography of Transylvanian Monuments. Mediasch, the historical Studien zur DeutschenKunsgeschichte 157.Strassburg: Heitz&Mündel, 1912 Ambracham, Erich. Utunk Albrecht-Weinberger,Karl ed. Alte Holzfiguren Alte Holzfiguren in Ungarn 23. (Nr. 26,1968.06.28): 4. Nürnberger derzweiten des Malerei 15. Jahrhunderts Hälfte Topografia monumentelor din Transilvania. MunicipiulMedia The ArtofDevotion inthe late MiddleAgesin Europe 1300- ú i cultelor –Muzeul Na Apokalipszisek ( Nürnberger Malerei der zweiten Hälfte des Malereiderzweitenfünfzehnten Hälfte Nürnberger Siebenbürgische Familienforschung. Mitteilungender Ę kormányzó és a m 223 Kirchliche Blätter, . Exhib. Cat. Historisches Museum der Stadt Apocalypsis). ȕ St. Michael, 1288-1988. . Budapest:Verlag derUngarischen schenkerAltar”. Ġ ional Brukenthal, 2006 Ħ kincsek”. (The pious gouvernor Korrespondenzblat. , Korrespondenzblat. 10 (1975): 4. Budapest: Telosz,1997 Ę je, Exhib. Augusburg: Cat. 11 (1900):153-176 Kirchliche Blätter. 7-12 (1990-1995) 27 (1904): . ú . 8 CEU eTD Collection Baxandall 1981: Baxandall 1977: Baumgärtel Baumgärtel 1987: Baumeister 1954: Baumgärtel Baumgärtel 1968: Baum 1971: Baum Bauer Bauer 1988: Bauer 1983: Battyáneum Battyáneum 1911a: “ Batthyáneum 1911: “ Basel 1991: Bandmann 1970: Balogh 1943a: Balogh 1943:______. Balogh 1937: Baldass 1953: Baldass 1946: Bakk 1875: Haven – London:Yale University Press,1981 des 15.Jahrhunderts bis zurGegenwar. bis Fürstbistums,104. Bamberg: 5-353 Verein,1968. Historisches Bericht Historischer Verein Bamberg für die Pflege der Geschichte des Ehemaligen Vienna-Munich:Schroll,1971 Zeitschrift für Kunstwissenschaft für Zeitschrift Reimer,1988.151-168 formgeschichtlichen Mehoden”. Hans Belting ed Luth. Kirchengemeinde,1983 Kunstmuseum Basel,1991 Kinde". Kunstgeschichte. Schroll,1946 Biblioteca Muzeului Muzeului Biblioteca Na Das Amerbach Kabinett. Zeichnungen alter Meister. Das AmerbachKabinett.Zeichnungen Bakk, Anrás.Bakk, Baum, Elfriede ed. Baum, Elfriede Bauer, Hermann. “Form, Struktur, Stil: Die formanalytischen und Evang.- Schwabach: Stadtkirche. der DerHochaltar Schwabacher Günter ed. Bauer, Festschrift für Gert van der Osten. der van Gert für Festschrift Balogh Jolán. Balogh ______. “Malerei und Plastik um 1440 inWien”. Baldass, Ludwig. ______. “A csíkszentimrei szárnyasoltár”. ______. Baxandall, Michael. Bandmann, Günther. "Höhle und Säule auf Darstellungen Mariens mit dem Baumeister, Engelbert. „Das Blatt eines Musterbuches von Michael Wolgemut“. Michael von Musterbuches eines „Das Blatt Engelbert. Baumeister, Baumgärtel-Fleischmann, Renate. Baumgärtel-Fleischmann, Baumgärtel-Fleischmann, Renate. Baumgärtel-Fleischmann, 15 (1953):10-15 0Ħ A szebeni ötvös céh oltára”, A szebeni ötvös Bamberg:Bayer. Verl.-Anst,1987 vész ésszerzetesek”. papok Vízakna monográfiája , Frankfurt: Syndikat,1977Frankfurt: Magyar Mecénások Transzilvániában Az erdélyi reneszánsz. erdélyi Az Ġ ional nr.743 ional Brukenthal, Katalog des Museums mittelalterlicher österreichischer Kunst. Conrad Laibunddiebeiden Rueland Frueauf. The Limewood Sculptors of Renaissance Germany Die Wirklichkeit derBilder.Die Wirklichkeit Malerei undErfindung in Italien 8 (1954): 169-176 . (A monograph of Vízakna) Vols.1-2. Manuscript. Cologne: DuMontSchauberg,1970 224 Batthyaneum. Kolozsvár: Erdélyi Múzeum, 1943 Batthyaneum. Die desBamberger Altäre Domes von1012 Bamberger Plastik von1470bis1520 . Kunstgeschichte. Eine Kunstgeschichte.. Einführung. Eine Erdélyi Tudósító Exhib. Cat. Basel: Das 1 (1911): 113-114 . Kolozsvár: Glória,1927 1 (1911): 114-115. Wiener Jahrbuch für Vienna: 22 (1943): 39-41 . New Berlin: . CEU eTD Collection Berlin 1996: Berger 1986: Berger 1894: Beck 1896: Benk Benker 2004: 1936: Benesch 1930 Benesch 1928: Benesch Benk Bellm 1962: Bellm 1959: Behling 1969: Bedeus vonScharberg 1858: Ę Ę zu der Ausstellung Meisterwerke Mittelalterlicher Skulptur Mittelalterlicher zu derAusstellungMeisterwerke Gipsangußsammlung. Vienna:Böhlau, 1986 Siebenbürgen. 1203-1570 (1894): 67 (1894): Distrikte am Ende des XV. Und Anfang des XVI. Jahrhunderts”. Kolozsvár: Fekete Sámuel FeketeSámuel Kolozsvár: Simon Elek,és 1868-1869 in Wien, Kreuzigung ; dieII: Anfänge LucasCranachs“. in detailed classes). Kolozsvár. 1853 részletes osztállyokban Michael Wolgemut. Freiburg am Breisgau: Urban Verlag,1936 Kunstgeschichte Beiträge zur Beiträge sächsische Kunstgeschichte der Originalausgabe von AntonKoberger Nürnberg Erbauungsbuch aus dem Jahre 1491mit91Holzschnitten u.2Textseiten in Faksimile nach Baden – Strassburg: Heitz&Mündel,1959 der Natur". Stadtbuch aus dem N.F.16. und17.Jahrhundert”. 3(1858):31-123 1868-69: 1853: Beck, Richard.in Altarwerk „Michael Wohlgemuts derMarienkirche zuZwickau“. ______.. Bellm, Richard. Krohm, Hartmuted. Benk :______. “Der desKrainburger Meister Altars“. Berger, Albert. Berger, Berger, Anton. „Volkszählungin den 7 und 2Stühlen im undBistritzer Kronstädter N.F. 2 (1928):63-118 Benker,Maximilian. ______. Behling, Lottlisa. "Die Entdeckungen des Wiener Schottenmeisters auf dem gebiete Benesch, Otto. “Zur altösterreichischen Tafelmalerei. I:der Meister der Linzer Benk Pantheon Ę , Károly (Kis Batzoni). Ę 7 (1930):120-200 , Károly , Károly Batzoni), (Kis Weimar: Verlag für und Datenbank Geisteswissenschaften,2004 Exhib. Berlin: Cat. Reimer, 1996. 27 (1969): 182-189 P. Stephan Fridolin.Der Schatzbehalter. Andachtsund Ein . (The descriptions of Csík, Gyergyó and Kászon seats in general and Österreichische Handzeichnungen des15.und16. Jahrhunderts Wolgemuts Skizzenbuch imBerliner Kupferstichkabinett Urkunden-Regesten ausdemArchiv derStadt Bistritz in Bedeus von Scharberg, Joseph. “Mittheilungen über ein Medwischer ein über “Mittheilungen Joseph. Scharberg, von Bedeus . Bd. 1-2.Schriften zur Landeskunde Siebenbürgens 11.Cologne- Meisterwerke Mittelalterlicher Skulptur. HandbuchundKatalog Ulm inNürnberg. unddie SimonLeinberger Bildschnitzer für Csík Gyergyó és Kászon leírások és kétt.i.átalános 11 (1896):8-19 Marosszék ismertetése Marosszék 225 Jahrbuch derKusnthistorischen Sammlungen . Wiesbaden: Pressler,1962 , - dieBerliner Wiener Jahrbuchfür . (Presentation of of Maros-seat) . (Presentation Korrespondenzblatt . Baden- 17 . CEU eTD Collection Brecht vonBrechtenberg 1838: Braunfels 1954: Braune-Wiese 1929: Brauneis 1973: Braune 1926: Braun 1924: Bock 1929: Boucher Boucher 1965: Bosshard 1982: Bogyay 1942-43: Binder-Huttman 1971: Binder-Heinz 1999: Binder Binder 1982: Bier 1957: Bernt 1977: Bern 2000: Berliner 1960: 9-26 derStadt”. Skizze topographische Mittelalters. Kritischer Katalog der Ausstellung in Breslau Künste. Bildenden Österreichische Zeitschrift für Kunst und Denkmalpflege fürKunstund Zeitschrift Österreichische Munich: Widmann,1924 Paris: Flammarion,1965 Kunstgeschichte Regneum und Landeskunde Buchdrucker, Holzschnittmeisterund Maler des16.Jahrhunderts”. Prestel,1929 Sächsischer Stiftung,1999 Bergland sächsische GemeindeimSchässburger (1957): 203-222(1957): Bernisches Historisches Museum. Munich: Fink,2000 Münster Bier, Justus. “Riemenschneider's Use of Graphic Sources”. Graphic Useof “Riemenschneider's Justus. Bier, Dupueux, Cécile ed. Bock, Elried. Bernt, Walther. Braun, Joseph S.J. Binder, Pál. 14 (1961):89-103 Braune, Heintz ed. Braune, Heintz 5 (1942-43): 91-123 Berliner,“Ein Rudolf. zurIkonographie Beitrag derChristusdarstellungen“. Boucher, Francois. Brauneis, Walter. “Beitrag zur mittelalterlichen Topographie der Stadt Wien”. Bosshard, Emil.“Tüchleinmalerei billige- eine Ersatztechnik?“. Braunfels, Wolfgang. Bogyay Tamás. “Adatok a középkori magyar a oltárdíszít középkori Bogyay “Adatok Tamás. Binder, Martin - Heltmann, Heinz eds. Braune, Heintz , Erich Wiese. 45 (1982):31-42 14. (1971):43-44 Breslau,1926 Binder, Paul-Huttmann, Arnold. „Laurentius Fronius, ein Kronstädter Die Zeichnungen in der Universitätsbibliothek Erlangen Közös múltunk Altes Werkzeug Altes Der christliche Altar in seiner geschichtlichen Entwicklung. Bildersturm –Wahnsinn oder Gottes Wille Brecht von Brechtenberg, Andreas. “Mediasch. Chronologisch- “Mediasch. Andreas. Brechtenberg, von Brecht Katalog der Gemälde undSkulpturen -Schlesisches Museum der Histoire ducostume enOccident del'antiquité à nos jours Die heiligeDreifaltigkeit Blätter Geist,Blätter GemuthundVaterlandskundefür 36( (Ourcommon Bucharest:past). Kriterion,1982 . Munich: Callwey,1977 226 Schlesische Malerei undPlastik des . Munich: derSiebenbürgisch- Verlag Schaas. Eine sienembürgisch- 27 (1973): 121-131 . Düsseldorf: Schwann,1954 1926 . Leipzig: Kröner,1929 Gazette desBeaux Arts Forschungen zurVolks- Ę m . Exhib. Cat. Ħ vészet történetéhez” Zeitschrift für . Frankfurt: 1838): Das . 99 CEU eTD Collection Cr Cr Cleveland 1974: Christiensen 1970: Campbell 1976: Büttner 1983: Burckhardt 1898: 1883/2000:Bunyitay ______. Bunyitai 1889:Bunyitai Budde 1986: Buchowiecki 1961: Buchner 1928: Buchner Brinkmann-Kemperdick 2005: Brinkmann-Kemperdick 2002: Brucher 2000: Brepohl 1987: ă ă ciun 2002: ciun ?, meaning. (1400-1750). PedroPaivaed. José Altarpieces”. Cambridge: University Press,under publication Communities”. before 1500(Cataloguebefore ofPaintings. Part One) Reformation Nuremberg”. Reformation Century”. Modelle zurVerähnlichung Basel,1898 Nagyvárad: Nagyváradi Püspökség,1883. Reprint 2000 Nagyvárad:Nagyvárad: Nagyváradi püspökség, Nagyváradi Püspökség,1883. Tom. 5.Budapest,1889 Österreich. der Deutschen KunstAugsburg: 2. BennoFilser Dr. Verlag,1928 Munich: Prestel, 2000 Vienna-Cologne-Graz: Böhlau,1987 Städel. 1500-1550. Städel. 1300-1500 Cr Budde, Rainer. ă Büttner, Frank O. ciun, Maria. “Rural Altarpieces and Religious Experience in Transylvanian Saxon Brepohl, Erhard. ______. “Eucharistic Devotion in Iconography the of Transylvanian Polyptych Brucher, Günther ed.. The BurlingtonMagazine Bunyitay, Vince. Bunyitay, Buchner, Ernst. Buchner, Campbell, Lorne. “The Art market in the Southern Netherlands in the Fifteenth Vienna-Hannover-Bern: Forum 1961,46-77 Verlag, Fernandez-Gimenez, Elisabeth de. Elisabeth Fernandez-Gimenez, Burckhardt, Jacob. Burckhardt, Christiensen, C.C. “Iconoclasm and preservation of Ecclesiastical Art in Buchowiecki, Walther. “Die “Die undTafelmalerei”. Buch- Walther.Wand-, Buchowiecki, European ReligiousDifferentiation andCultural Exchange, 1400-1700. . Mainz: Philippvon Zabern, 2002 Mainz: Philipp vonZabern, 2005 Coimbra: Palimage 2002,209-230 Editores, Köln undseine Maler 1300-1500 Augsburger Tafelmalerei der Spätgotik Archiv für ReformationsgeschichteArchiv für . Berlin: Gebr.Mann,1983 Theophilus Presbyter und diemittelalterliche Goldschmiedekunst Brinkmann, Bodo, Stefan Kemperdick. Brinkmann, Bodo, Stefan Kemperdick. Imitatio Pietatis. Motive derchristlichen Ikonographie als Liber Confratertatis SanctiSpiritus deUrbe M.V.H A váradi püspökség története. Alapításától a jelenkorig. I-IV. Geschichte der bildenden Kunst inÖsterreich. Das Altarbild Religious Ceremonials andImages. Power andsocial 118 (1976): 188-198 227 Cleveland Museumof European Art. Painting . Beiträge zurKunstgeschichte von Italien Cleveland: ClevelandMuseum Art,1974 of . Cologne: Dumont,1986 61 (1970): 205-221 61 (1970): . Beiträge zur Geschichte Deutsche Gemälde im Deutsche Gemälde im Gotik in Vol. 2. .Series 1. Gotik , . . CEU eTD Collection Dr Dörfler 1992: Divald 1929.______. Divald 1909: Demus 1991: Degen 1931: Decker 1990: Dávid 1962: Darmstadt 1995: Cséfalvay 1993: Czeike 1974: Csukovits–Lengyel, eds.2005 Cr Cr Cr ă ă ă ă gu ciun, Ghitta ciun, Ghitta and Murdock, eds.2002 ciun 2004: ciun 2003: ______. “ ciun 2003:______. Göttingen: & Vandenhoeck Ruprecht, 1992 Múzeum,1929,402-410 Nemzeti Székely Sepsiszentgyörgy: Museum) Székely of National the anniversary fiftieth the Vilmos ed. Vállalat, 1909 of Hungary)winged altarpieces fürGeschichtsvereines Kärnten,1991 1931 Cambridge University 90-105 Press,1990, before the Reformation". the before Trinitas) Landesmuseum,1995 Ausstellung 16.09.1995-12.11.1995im, Hessischen Landesmuseum aus denBeständen des Hessischen LandesmuseumundausPrivatbesitz. Katalogzur der gotischen Stadt 2005. MTA Történettudományi Intézet, a 13-17.században. eds. 95 (2004):61-97 Biertan”. at Chruch the of Polyptych the of Iconography Transilvania (sec. XV-XVI)”. (sec. Transilvania Ġ 1979: Confessional Identity in East-Central Europe Dávid, a Katalin.“Adatok Trinitas ikonográfiájához”. (Data to iconographythe of the Degen, Kurt H. Divald Kornél. “Magyarország csúcsíveskori Divald csúcsíveskori (Gothic-period “Magyarország szárnyasoltárai”. Kornél. Czeike, Felix. Czeike, Demus, Otto. Decker, Bernhard. "Reform within the Cult Image: the German Winged Altarpiece Dr 0Ħ Dörfler-Dierken, Angelika. Dörfler-Dierken, ______. “Iconoclasm and Theology in Reformation Transylvania: The Emlékkönyv a Székely Nemzeti Múzeum ötvenévesJubileumára. aSzékelyNemzeti Emlékkönyv Múzeum ă Cséfalvay, Pál ed. vészettörténeti Értesít gu Woelk, Moritz ed. Woelk,Moritz Ġ , Vasile. . Handbuch der Stadt Wien . Handbuch derStadt (From (From Bártfa toPozsony:in Towns 13-17th Centuries)the Budapest: “Székely szárnyasoltárok”. (Székely “SzékelyCsutak altarpieces) winged szárnyasoltárok”. Die spätgotischeAltäre Kärntens Das Wiener Stadtbild in Gesamtansichten Die Bamberger Malerei des 15. Jahrhunderts Arta gotic Humfrey, Petered. TheAltarpieceintheRenaissance. Humfrey, : Csukovits, Enik Polipticul lade Dupu Keresztény Múzeum Esztergom Múzeum Keresztény Ars Transsilvaniae Vom Jenseits ins Diesseits. Sakrale Bilderdes Spätmittelalters 0Ħ Ę ă , 11 (1962):24-39. vészettörténeti Tanulmányok, vészettörténeti în România Die Verehrung der heiligen Annaim Spätmittelalter : Cr ă ciun, Maria Ę –Lengyel Tünde, 228 88, Vienna:für Verlag Jugendund Volk, 1974 . Bucharest: Meridiane,. Bucharest: 1979 ú în contextul devo . Aldershot: . Aldershot: Ashgate, 2002. 12-13 (2002-2003):139-158 – . Klagenfurt: Verlag. Klagenfurt: des Ghitta, OvidiuGhitta, Graeme –Murdock, Archiv für Reformationsgeschichte . Budapest:Corvina,1993 Bártfától Pozsonyig. VárosokBártfától . Vol.1. Budapest: Pátria Irodalmi . Darmstadt: Hessisches Darmstadt: . Ġ iunii din euharistice . Strassburg: Heitz, Die Darstellungen (Festschrift for (Festschrift Cambridge: . CEU eTD Collection Fabritius 2006: Fabritius 1861: Fabini 1979:______. “ Fabini 1977:______. Fabini 2002:______. Fabini 1975: Eschenburg 1987: Erb 1997: Dworschak 1963: Eörsi 2005: Entz 1987: Dworschak 1948: Düfel 1968: Dreger 1914: Ehresmann 1982: Siebenbürgischen Gemeinde im15.Jahrhundert. Siebenbürgischen Gemeinde Schässburg”. Siebenbürgische Landeskunde,2002 3rd revised edition. Hermannstadt-Heidelberg: MonumentaVerlag - Arbeitskreis für Entstehung der Mediascher Altartafeln”Entstehung derMediascher der Spätgotik". prägten unsere Kunst :Studienund Aufsätze Mittelalter bis heute Dürer 0Ħ kapcsán”. Esztergomi triptichon készült hatásaalatt mestere azAlbertoltár ikonográfiájához of restoration in Medieval Hungary). Geschichte eines Landes imSpätmittelalter. Stadtgemeinde,1948,180-182 Krems undStein.Festschriftzum 950-jährigen Stadtjubiläum. Göttingen:1968 Vandenhoeck&Ruprecht, Veröffentlichungen Konsfessionskundlichen des des Istituts Evangelischen Bundes 13. Jahrhundert Winged Altarpiece”. vészettörténeti Értesít Erb, Georg. . Frankfurt a. M. – Berlin: Lang, 1997 Entz, Géza.“A els Entz, resturálás Eörsi, Anna. “"Nem korhad el, nem rágják meg a férgek". Megjegyzések Mária halála Düfel, Hans. Fabini, Herman. "Die älteste Darstellung von Mediasch", Brigitte Stephani ed. Dreger, Moritz. Dreger, Fabritius, Helga. Fabritius, zu Dominikanerkirche ehemaligen in der Funde “Zwei Karl. Fabritius, . Österrechische Kunsttopographie. Österrechische 14,Vienna: Schroll, 1914 Dworschak, Fritz ed., Fritz Dworschak, Dworschak, Fritz. "Der Wiener Schottenmeister, Maler Wolfgang Kremser?". Archiv Ehresmann, Donald L. “Some Observations on the Role of Liturgy in the Early Eschenburg, Barbara. Eschenburg, Österreichische Zeitschrift für Kunst und Denkmalpflege fürKunstund Zeitschrift Österreichische Die Landschaftdarstellung Die Landschaftdarstellung in derDeutschenDruckgraphik vorAlbrecht . Munich: Beck,1987 Luthers Stellung zur Marienverehrung Atlas derSiebenbürgisch-sächsischen Kirchenburgen undDorfkirchen 5 (1861):1-40 The ArtBulletin "Andreas Lapicida - ein siebenbürgischer Steinmetz und Baumeister und Steinmetz siebenbürgischer ein - Lapicida "Andreas Ę Baugeschichte der k.k.Hofburg in Baugeschichte derk.k.Hofburg Wien biszum neunzehnten Auffallende ZurFrage Übereinstimmungen entdeckt. der 54. (2005): 1-17 54. (2005): Die Honigberger Kapelle. KunstundSelbstdarstellung einer Ę Die Gotik in Niederösterreich :Kunst,Kulturund nyomai a középkori Magyarországon.” (The first traces (The Magyarországon.” aközépkori nyomai Landschaft in derdeutschenMalereivomspätenLandschaft Ars Hungarica 44 (1982): 359-369 Karpathen Rundschau Karpathen Vienna: Österreichische Staatsdruckerei,1963 . Cluj Napoca: Dacia Verlag, 1985, 76-79 229 Dössel: Stekovics, Verlag Janos 2006 15 (1987):119-122 . Kirche und Konfession. und Kirche . Krems: der Selbstverlag 12-13 (1979 january 12): 6. 31 (1977):29-39 Sie . CEU eTD Collection Füglister 1964: Frodl 1951: Frimmel 1917-18: Freising 1999: Franzen 2001: Frankfurt 1989: Fraknói 1877: Fügedi 1974: Fügedi 1956: Folberth 1973: Flor 1990: Firea 2003: Ferenczy 1980: Felmer 1803: Fejérpataky 1888: Fejérpataky 1885: Studien undSkizzenzur Gemäldekunde Verwurzelung imWort Untersuchung derHerkunft undEntwicklung einerspätmittelalterlichen Bildideeund ihrer King.the powerful Gondolat,1974 The fifteenth of century the Hungary) Budapest: Denkmalpflege Fresken in der Minoritenkirche Bruck an der Mur.” Regensburg: Schnell & Steiner,1999 Süddeutschen Tafelmalerei des15. Jahrhunderts Süddeutschen Tafelmalerei Dompfarrei Magyar TörténelmiTár Jahrhunderts”. seine Zeit. 252 eines neuen ikonographischen Themas”. ikonographischen neuen eines Sibiu”. Archeológiai Értesít Magyar Tudományos Akadémia, 1885 Flor, Ingrid. “Hans von Judenburg II. Die trinitarische Marienkrönung. Zur Entfaltung Firea, Ciprian. “Art Frodl,Walter. “Italienisches und Böhmisches in der steirischen Trecentomalerei. Die Ars Transsilvaniae ______. Fügedi, Erik. “Kaschau, eine am Osteuropäische Handelsstadt Ende 15. des Felmer, Martin. Fraknói “II.Vilmos. Lajos király számadási könyve 1525január. 12-július 16”. Steiner, Peter B. ed. Vienna-Munich: Anton Schroll & co,1973 Franzen, Wilfried. Folberth, Otto. Füglister, Robert L. Ferenczy, Heinrich ed. Heinrich Ferenczy, . Ex. Cat. Frankfurt a. M.: Dommuseum Frankfurt a.M.,1989 Die Passion Christi. Gemäldedes15.-18.Jahrhunderts aus demBesitz der Frimmel, Theodor. “Ein Gang durch die Galerie des Schottenstiftes in Wien”. Schottenstiftes des Galerie die durch Gang “Ein Theodor. Frimmel, Fejérpataky Fejérpataky “Brassóvárosának László. régi számadás-könyvei 1503-1526” Fejérpataky László. Fejérpataky Studia Slavica Academiae SceientiarumStudia Slavica Hungariae 5 (1951):99-112 Ę 8 (1888):159-172 Uram, királyom…A 15.századi Magyarország hatalmasai . Einsiedeln: Benziger,1964 22 (1877):45-236 Primae Transsilvaniae lineaeHistoriae Gotik in Siebenbürgen.DerMeister des Mediascher Altars und ăú 12-13 (2002-2003):123-138 Die Karlsruher Passion unddas"Erzählen inBildern" der i patronaj artistic în Transilvania Medieval Münchener Gotik imFreisinger Diözesanmuseum Das lebende Kreuz. Ikonographisch-ikonologische Das Schottenstift und Das Schottenstift seine Kunstwerke Magyarországi városok régi számadáskönyvei 3.-4 (1917-18):3.-4 101-108 Kunsthistorisches JahrbuchGraz 230 . Berlin: LukasVerlag, 2001 Österreichische Zeitschrift für Kunst und Kunst für Zeitschrift Österreichische . Cibinii et Claudiopoli,1803 . Cibinii et 2 (1956):185-213 ă -Polipticul din . Vienna: Orac,1980 . Vienna: 24 (1990): 233- 24 (1990): . Exhib. Cat. . (My Lord, . Budapest: CEU eTD Collection Goodman 1969: Gollob 1929: Goldenberg 1958: Gogâltan 2002: Gmelin 1990:______. Gogâltan- SallayGogâltan- 2002: Gmelin 1974: Gerhartl 1967: Genthon 1936: Genthon 1932: Genthon 1929: Genthon 1927: Gay 1887-1928: Garzarolli vonThurnlackh 1941: Gamber 1955: Gamber 1953: Wiener Jahrbuch für Kunstgeschichte Wiener für Jahrbuch comercial din Transilvania în secolul XVI.”. 2002, 181-210 Ecclesiestical architecture in Transylvania in Ecclesiestical architecture Blood Chapel of Nicholas Apa”. Adrian Andrei Rusu, Péter Levente Sz Mondsee" Kunstverlag,Munich-Berlin: 1974 Deutscher European European Unversity ,2002 and thechurch inM 119-148 mittelalterlichen Stadt Wien". Társaság, 1936 (1929):156-181 Királyi Királyi Magyar Egyetemi nyomda,1927 of of ed.Paristhe 1887-1928) Steirische Verl.,1941 Graz: Steiermark. 1440-1510”. 53-92 den Anfängen bis 1440”. Gollob, Marienbild Hedvig."Martin in Schongauers der Stephanskirche zuWien". Gmelin, Georg. Hans Gamber, Ortwin. “Harnischstudien und Stilgeschichte des Plattenharnisches bis um Gamber, Ortwin. “Harnischstudien und Stilgeschichte des Plattenharnisches von Pantheon ______. ______. ______. “Az mestere” Apostolvértanúságok Genthon István. Genthon Gerhartl, "Florian Gertrud. Winkler, ein kaiserlicher Söldnerführer undBürger der Gay, Victor. Glossaire archéologique du moyen âge et de la (Reprint dumoyen âge et renaissance Glossaire archéologique Gay, Victor. Gogâltan, Anca. Gogâltan, Goodman, William Louis. William Goodman, Jahrbuch der Kusnthistorischen inWien Sammlungen Goldenberg, Samuel. “Hallerii. Un capitol din istoria comer istoria din capitol Un “Hallerii. Samuel. Goldenberg, Gogâltan, Anca- Sallay, Dóra. “The Church of M ăOă 48 (1990):54-62 ncrav (14th-15th centuries Jahrbuch derKusnthistorischen SammlungeninWien A régi magyar A fest Erdély m Erdély . Magyar m Nendeln-Liechtenstein: Kraus,1967 Patronage andArtistic Production inTransylvania: TheApafis "Eineder Könige aus Anbetung von Flügelaltar einem Jahrbuch für LandeskundeJahrbuch für vonNiederösterreich Garzarolli von Turnlackh, Karl. Mittelalterliche Plastik in Plastik Mittelalterliche Karl. Turnlackh, von Garzarolli Spätgotische Tafelmalerei inNiedersachsen Spätgotische undBremen Tafelmalerei Ħ vészete Ħ 6 (1929):82-84 The History of WoodworkingThe History of Tools vészek Ausztriábanamohácsi vészig Vol. 2. Satu Mare: Editura Muzeului S ĘPĦ . A . történeti Erdély. Budapest:Jancsó Benedek Studii. Revista de Istorie. 231 vészet ). PhD Dissertation. Budapest,Central . Vác:Pestvidéki nyomda,1932 Archeológiai Értesít 51 (1955):31-102 ă lâncrav and the Holy 11 (1958): 89-115 Ę cs eds. Ġ . London: Bell,1969 ului ului . Budapest: ú Medieval 37 (1967): i a capitalului i a 50 (1953): ă tm Ę ă 43 rean, . CEU eTD Collection Hager 1962: Hach 1881: Haack 1905: Gy Gyárfás 1911: Gündisch 1998: Gündisch 1977: Gündisch 1944: Gümbel 1903: Guldan 1966: Grössinger 1992: Gro Grimm 1978: Greceanu 1968: Gräser 1862: Ę ȕ rffy 1999: mann 1932: Entstehungsgeschichte des toskanischenHochaltarretables Kunstblätter Strassburg: Heitz,1905 37-86 (Transylvania andits peoples) (Budapest: MaecenasKönyvkiadó, 1999),(2ndrevised ed.): the history of the settling of the Székelys) Mályusz, Elemér 98 der StiftungKulturrat.Vol. Ostdeutscher München: 8, Langen Müller, 1998 1462)” (The oldest register of register of oldestBistri (The 1462)” Sachsengraf.“ Reprtorium fürKunstwissenschaft Nachfolger,1966 London: Miller,1992 Netherlandish andGerman 1600 Paintingsbefore Churchesin English andColleges Kirchenkunst. Österreichische Zeitschrift für Pflege religiöser Kunst religiöser Pflege für Zeitschrift Österreichische Kirchenkunst. Georg D.W. Callwey,1978 Meridiane,1968 Steinhausen,1862 Hach, Th[eodor]. "Die Verkündigung Mariä als Rechtsgeschäft.”. Hager, Helmut. Hager, Haack, Friedrich. Haack, Gräser, Andreas. Gräser, Györffy György. ”A székelyek eredete és településük története”. (The origins and Grimm, Claus. Alte Bilderrahmen - Epochen, Typen, Material. Munich: Verlag Guldan, Ernst. Guldan, Gyárfás Tihamér. “Régi Mária szobrok Csíkmegyében” szobrok “Régi Mária Gyárfás Tihamér. Gümbel,Albert. "Meister Berthold von Nürnberg, ein Glied der Familie Landauer“. Gündisch, Gustav, Gündisch, Gündisch, Konrad. “Cel mai vechi desocoteliregistru al ora Gündisch, Gustav. “Peter Haller. Bürgermeister von Hermannstadt und Greceanu, Eugenia. 23 (1881): 165-16923 (1881): Gro Grössinger, Christa. Grössinger, Deutsche Forschung inSüdosten ȕ mann, Fritz. "Der gotische Hochaltar der Wiener der Schottenkirche". gotischeHochaltar "Der mann, Fritz. Die Anfänge desitalienischen Altarbildes:Untersuchung der Eva und Maria. Eine Antithese als Bildmotiv Hans Schüchlin der Schöpfer des Hans SchüchlinderSchöpfer Tiefenbronner Hochaltares Umrisse zur GeschichtederStadtMediasch Siebenbürgen unddieSiebenbürger Sachsen Monumente Medievale dinMedia Monumente Medievale North EuropeanPanel Paintings: Catalogueof 26 (1903):318-327 Ġ a). Acta MuseiNapocensis 232 3 (1944):43-102 . Munich: Shroll,1962 ed., 14 (1977): 337-34714 (1977): Erdély ésNépei Erdély ú . Bucharest: Batthyaneum . Graz-Cologne: Böhlaus 4 (1932):13-16 . Hermannstadt: ú ului Bistri Christliche . Studienbuchreihe 1 (1911):97- . Ġ a (1461, . . CEU eTD Collection Hoffmann 1931/2: Hoffmann 1931/1: Hirschfeld 1968: Hermann 1914: Henszlmann 1879: Henning 1994: Hempel Hempel 1939: Heinzl 1968: Hamburg 1999: Heinrich 1910: Hargreaves-Mawdsley 1963: Hecht 1980: Haldner Haldner 1975/2: Haldner Haldner 1975/1: Halaváts 1916: Halaváts 1906: 0Ħ 0Ħ Kunstwissenschaftliche Studien 40 München-Berlin:Kunstverlag, Deutscher 1968 (1879): 7-9(1879): und Welt,1994 nordischer Kunst" Musealvereines Oberösterreichischen Landesmuseums in Linz“. Korrespondenzblatt 19 (1975):101-108 22-49 until theEndof theEighteenthCentury in Hamburg. gotice Transilv tîrzii 19 (1975):4-14 the altarpiece from Boian) from altarpiece the érem-Erdélyi NemzetiMúzeum ésrégiségtárából environments of Szászsebes) of environments gy gy Ħ Ħ jt jt Hecht, Brigitte. “Betrachtungen über Pre über “Betrachtungen Brigitte. Hecht, Ę Ę Heinzl, Brigitte. “Die Gemäldesammlung der kunsthistorschen Abteilung des Abteilung kunsthistorschen der Gemäldesammlung “Die Brigitte. Heinzl, Hempel, Eberhard. "Der Flügelaltarschrein, ein Stück deutscher, Vlämischer und 5 (1931):162-169 5 (1931):66-71 Henning, Martin. Heinrich, K. “Altäre der Hermannstädter Pfarrkirche vor der Reformation” der vor Pfarrkirche Hermannstädter “Altäre der Heinrich, K. ______.. “Nagysink környéki m építészeti Halaváts Gyula. “Útijegyzetek Szászsebes körnéykér “Útijegyzetek Gyula. Halaváts Hermann, Hans. “Eine Entdeckung”. Schneede, Uwe M.ed. Schneede, Uwe Haldner Anamaria. “Leg Anamaria. Haldner Haldner Anamaria. “Aspecte locale ale altarului de la Boian”. (Local aspects of Hirschfeld, Peter. Ex.Cat. Hamburg: Hamburger Kunsthalle,1999. Hoffmann Edit. “Über Altäre aus Ungarn im 15. und 16. Jahrhundert”. Hoffmann, Edit. “Die Verwendung von Stichen im Kunstbetrieb Ungarns“. Kunstbetrieb im Stichen von Verwendung “Die Edit. Hoffmann, Henszlmann, Imre. “Úti Henszlmann, királyföldrjegyzetek Imre. “Úti 124 (1979):105-134 Jomsburg ă 33 (1910):63-64 nene” Hargreaves-Mawdsley, William William N. Hargreaves-Mawdsley, Studii Studii Meschen. Eine bleibendeMeschen. Eine Erinnerung 2 (1939): 137-1512 (1939): Archeológiai Értesít Mäzene. Die Rolle desAuftraggebers in derKunst ú i comunic ú Goldgrund undHimmelslicht. Die Kunst desMittelalters i comunic ă turile dintre sculpturile in lemn din Spiss Spiss din in lemn sculpturile dintre turile . Oxford: Clarendon Press,1963 ă ă 233 ri istorie-arheologie. MuzeulBrukenhtal Sibiu ri istorie-arheologie Jahrbuch desOberösterreichischen ȕ Die Karpathen Ę brokate“. 7 (1916):134-165 26 (1906):355-360 Maltechnik Restauro Ę Ħ A History of AcademicalDress l“. emlékek”. Ę Archeológiai Értesít 7 (1914):638 l“ (Travel notes from from l“ the notes (Travel . Thaur bei Innsbruck: Wort Sibiu,Muzeul Brukenhtal Dolgozatok az ú i lucr . 1 (1980): Ę A ă 13 rile A CEU eTD Collection Kahsnitz-Volk 1998: Kahsnitz 2005: Juraschek 1930: Jenni 1978: Jenei 2004: Jaritz Jaritz 2001: Jakó 1997 Jakab 1870: Humfrey 1993: Jacobs 1989: 1967:Huth Holter 1965: Humfrey 1990: Hoffmann 1937: Hoffmann 1933: Austria andSouthTirol Festschrift für Alfred Schädler.Festschrift fürAlfred Kunst religiöser Pflege für Zeitschrift Österreichische Kirchenkunst. Köln,1978,139-141 Anton ed. Legner,Anton Editura Muzeului S Transilvania. -Medieval Ecclesiastical Architecture inTransilvania Vol. from the chapel of the "Tower of Catholics"), "Tower the chapel of from the Leipzig :Leipziger 2001 Universitätsverlag, Kommunikationsraum :Beiträge zur Stadtgeschichte vomMittelalterbis ins 20. Jahrhundert Breuer, ed. ”.HelmutihresVermittlung äußeren Erscheinungsbildes Enciklopédia Munkaközösség,Enciklopédia 1997 Magyar history studiestothe learning: Transylvania) Budapest: Egyháztörténeti of Kolozsvár Város közössége, 1870. Vol. 1 University Press,1990 moderne Kunst Altarpieces: Limits on ofthePatron”. on Role the Limits Altarpieces: Buchgesellschaft,1967 University Press,1993 Értesít Klebelsber Kuno Magyar Történet Kutató Intézet TörténetKutatóIntézet Évkönyve Klebelsber KunoMagyar : Társadalom, egyház,m Ę Jenei, Dana. "Biertan. Picturile capelei din "Turnul Catolicilor"" (The mural paintings mural (The Catolicilor"" "Turnul din capelei Picturile "Biertan. Dana. Jenei, Huth, Hans. Huth, Jenni, “Vom mittelalterlichen Ulrike. Musterbuch zum Skizzenbuch der Neuzeit“. Jakab Elek. Jaritz, Gerhard. “Das Image der spätmittelalterlichen Stadt : zur Konstruktion und Holter, Kurt.“ProblemeHolter, derMalerei der Donauschule in Oberösterreich“. 50 (1937):1-31 Jacobs, L. F. “The Marketing and Standardization of Southe Netherlandish Carved Kahsnitz, Rainer. ______.. Humfrey, Peter. Juraschek, Franz. „Das mittelalterliche Wien in einer unbekannten Ansicht“. unbekannten einer in Wien mittelalterliche „Das Franz. Juraschek, Hoffmann Edit. “Jegyzetek a magyarrégi táblaképfestészethez”. “Jegyzetek Hoffmann Edit. nürnbergi kapcsolatai”. festészet magyarországi régi Hoffmann Edit.”A 80 (1965): 23-2880 (1965): Kahsnitz, Volk. Rainer, Peter „Skulptur in Süddeutschland 1400-1770“. DieParler undder Schöne Stil 1350-1400. ă Künstler undWerkstatt der Spätgotik Kolozsvár Története tm ă . Los Angeles: J.P. Getty Museum, 2006 rean, 2004, 269-286 2004, rean, The Altarpiece in RenaissanceThe Altarpiecein Venice The AltarpieceintheRenaissance Carved Splendor: LateGothicAltarpieces in Southern Germany, Ħ vel Munich-Berlin: Kunstverlag,1998 Deutscher Ę dés: tanulmányok Erdélytörténelméhez (The history of Kolozsvár). Buda: Szabad Királyi 234 Architectura religioas The Art Bulletin . Darmstadt: Wissenschaftliche 1933: 59-64 . Cambridge: Cambridge Cologne: Museen der Stadt der Museen Cologne: . New Haven – London: Yale 71 (1989): 208-229 ă Die Stadt als Medieval 2 (1930): 45-46 2 (1930): 3. Satu Mare: . (Society, church, Archeológiai ă din Alte und A Gróf . CEU eTD Collection Koller 1981: Koerner 2004 Klesse 1967: Kertesz 1998: Kertesz 1980: Kertesz 1979: Kemperdick 2004: Kemperdick 1997: Kemp 1996: Kemp Keller 1965: Karlsruhe 2001: Karlsruhe 1992: Kelp 1999: Kampis 1941: Kampis Kalinowski 1981: Weyden in the Late Gothic Painting of Austria". Hollandaers-Farvart, D. ed. Press, 2004 Stämpfli,1967 PhD Dissertation. Cluj-Napoca: Universitatea Babe Universitatea PhD Dissertation. Cluj-Napoca: Spätgotik“ de art Transylvanian panel Painting in the fifteenth-sixteenth century). fifteenth-sixteenth in the Painting panel Transylvanian Transilv Imhof Imhof 2004 Verlag, Campins undRogiervanderWeyden. Beck,1996 Grossen Kokel. Geschichte Europäischen FestschriftTheodor Plastik. Müller. Landesaustellung Baden-Württemberg. Jan Stuttgart: Thorbecke Verlag,2001 Karlsruhe und Zeichnungender Spätgotikaus dem Kupferstichkabinett der Staatlichen Kunsthalle Nova,1940 wydawnictwo naukowe, 1981, wydawnictwo 161-169 Mariä.”, ă Kelp, Helmut Martin. Helmut Kelp, , Muzeul Muzeul Brukenthal, Sibiu 3(1979):163-171 Kemp, Wolfgang. Keller, Harald . „Der Flügelaltar als Reliquienschrein“. Martin Kurt ed. Koller, Manfred. "The Phenomenons of Underdrawings of the Style Rogier van der Klesse, Brigitte. ă Ars AuroPrior. BialostockiSexagenario Ioanni dicata. : Koerner, Joseph Leo. Joseph : Koerner, nene din secolele XV – XVI”. (New contributions to the knowledge of Kertesz-Badru Kertesz-Badru Kertesz-Badru Kampis Antal. Kampis . Karlsruhe: Staatliche Kunsthalle, 1992 Forschungen zumVolks- undLandeskunde Spätmittelalter amOberrhein. Maler undWerkstätten 1450-1525 Karin Groll, ed. Kalinowski, "DerVersiegelte Lech. Brief. ZurIkonographie der Verkündigung Kemperdick, Stephan. Kemperdick, Stephan. Munich: H&K Falter,1999 ú ú ú A középkori Magyarországon faszobrászat Seidenstoffe in der italienischen Malerei des 14. Jahrhunderts. Andrei. Andrei.„Der Altar von Grossprobstdorf, ein Werk derEuropäischen Andrei. „Noi Andrei.„Noi contribu Die Räumeder Maler: ZurBilderzählung seit Giotto Grossprobstdorf. EineSiebenbürgischeGrossprobstdorf. Gemeinde ander Martin Schongauer undseine Zeit.Kupferstiche, Holzschnitte The the Reformation ofImage Pictura Germanilor dinSudulTransilvaniei pân Martin Schongauer.EineMonographie Der Meister von Flémalle. DieWerkstatt Robert Turnhout: Ars Nova, 1997 235 Ġ ii la cunoa ú -Bolyai,1998 23 (1980):59-71 ú terea picturii terea de panou . Chicago: ChicagoUniversity Munich: Hirmer,1965 Warsaw: Panstwowe Studii . Budapest:Officina ú i comunic Le dessin sons- Ledessin . Petersburg: . . Munich: Studien zur ă ă ri. Galeria la 1800 Bern: . CEU eTD Collection Krohm-Oellermann 1980: Krems 1959: Krasser 1976b: ______. Krasser 1976a: Krasser 1973: Krasser 1935: 1993: Köln Koller 1997: ______. Krasser 1971: Köblös 1994: Koschatzky 1977: Korrespondezblatt: Koller 1994: ______. Koncz Koncz 1902: Kunstwissenschaft zur Monochromen Oberflächengestalt” Magdalenenaltar von Tilmann Riemenschneider und Forschungsergebnisse seineGeschichte. Landschaft imSpätmittelalter. eds. Schottenmeisters“ .Gustav Gündisch,Albert Klein,Harald Krasse and Theobald Streitfeld Schottenmeisters“. Ö Vierteljahrsschrift Wirkung MTA Történettudomáyni Intézete,1994 Meisterwerke Schottenstift,191-199 1994, Schottenstift : Kunstsammlungen der Benediktinerabtei zudenSchotten in Wien Volks- undLandeskunde Siebenbürgen.und ZurHerkunft Datierung desBirthälmer Altartafeln”. Exhib. Cat.Exhib. La.Neuve: Université deLouvain, Catholique 1981,113-117 ColloqueIII.Leprobléme Flémallejacent danslepeinture. Maitre vanderWeyden. sterreichische Zeitschrift für Kunst und Denkmalpflege fürKunstund Zeitschrift sterreichische Studien zur Siebenbürgischen Kunstgeschichte Zehnder,Frank ed. Günther Koncz, József. "Vízaknai Literati Nagy Péter". Literati Koncz, József. "Vízaknai . Exhib. Cat. Wallraf Richatz Museum Köln. Cologne: Hanstein Verlag,1993 Dworschak, Fritz ed.. Köblös, József. Köblös, ______. “Zur siebenbürgischen Nachfolge desSchottenmeisters“. in Kunst Siebenbürgen. Harald. Deutsche Krasser ______. “Untersuchungen zum Mittelalterlichen Tafelmalerei in ______. “Der BirthälmerAltartafeln und die siebenbürgische Nachfolge des Vienna: Österreichische Galerie Belvedere,1997,110-142 . Munich: Residenzverlag,1977 Koschatzky, Walter. Koschatzky, Korrespondenzblatt des KorrespondenzblattVereins für Siebenbürgische Landeskunde 58 (1935) 34 (1980): 16-99 Archiv desVereins Siebenbürgische Landeskunde für Krohm, Eike Hatmut, Oellermann. “Die ehemalige Münnerstädter "Zur Werkstattpraxis und Maltechnik von Conrad Laib". "Der Wiener Schottenaltar. Befund undRestaurierung“. "Der Wiener Schottenaltar. Az egyháziközépréteg MátyásésaJagellókkorában “Der Birthälmer Altartafeln und die siebenbürgische Nachfolge des Nachfolge siebenbürgische die und Altartafeln Birthälmer “Der 14 (1971):9-24 Exhib. Cat. Die Gotik in Niederösterreich. KunstundKultur einer Die Kunst der Zeichnung. Technik, Geschichte, Die KunstderZeichnung.Technik, Stefan Lochner. Meister zu Köln. Herkunft-Werke- Zeitschrift Zeitschrift des Deutschen Vereins für Krems-Stein: Minoritenkirche,1959 236 Bukarest: Kriterion, Bukarest: 193-214 1976, Erdélyi Múzeum 27 (1973): 109-121 Siebenbürgische Forschungen zum 19 (1902):236-241 13 (1976): 96-108 13 (1976): . Budapest: Museum im Vienna: Conrad Laib. Louvain- CEU eTD Collection Landshut 2001: Lanc 1983: Ladner 1955: Labuda 1984:______. “ Labuda 1982: Kühnel 1992:______-.Kühnel 1980: Kühnel Künstler Künstler 1966: Kubinyi 1994: Kubinyi Kurth 1916: Krüger 1992: Kubinyi 1964: Kubinyi Krohm-Oellermann 1992: Krones 1961: Herzöge. 1393-1503 Wissenschaften,1983 Akademie Vienna:und Verlagder derÖsterreichischen Niederösterreich. Matthias Friend, the Cross”. Kurt Weitzmann ed., Barbara-Altars (1447)”. Überlegungen zur Rezeption des graphischen Überlegungen Vorbildes”. zur Rezeption in Wien um Tafelmalerei der Übergangsepoche 1500“. fordulóján”. Wissenschaften,83-100 1980, Realienkunde Österreichs 4 Vienna: Akademie derÖsterreichischen Verlag der Europäische SachkulturdesMittelalters. 100 des Kusnthistorischen Institutesder Denkmalpflegek.k. Zentralkomission für ausgehenden Mittelalter Nürnberg im Spätmittelalter”. Südosthandels 278 Wissenschaft,Kultur. Vierteljahrsschrift derWiener Katholischen Akademie Funktionswandel im13. des und 14.Tafelbildes Jahrhunert späten Mittelalters" 1.-3.Okt. 1990 Mittelalters. Beiträgedes Internationalen Colloquiums "Forschung zum Flügelaltar des Lanc, Elga ed. Kurth, Betty. “Über den Einfluss inder Wolgemut-Werkstatt Östereich” 62 (1966):103-156 Krones, Ferdinand. „Hans Pleydenwurff - der Meister des Schottenaltars“ Ladner, Gerhart B. “St. Gregory of Nyssa and St. Augustine on the Symbolism of Krüger, Klaus. Kühnel, Harry. "Abbild und Sinnbild in der Malerei Spätmittelalters"des Labuda, Adam. “Israhel van Meckenem und die osteuropäische Malerei. ______. “Buda és Pest szerepe a távolsági kereskedelemben a 15.-16. század______. “Buda ésPestszerepeatávolsági a 15.-16. kereskedelemben Kubinyi András.“Die Nürnberger Hallerin Ofen. Ein Beitrag zurGeschichte des 52 (1963-64): 80-128 52 (1963-64): Künstler, Gustav. “Landschaftsdarstellung undreligiöses Weltbild in der Niehoff,Franz ed. Történeti Szemle Princeton: University Press, 1955,88-95 . Landshut:Museen derStadt 2001 Landshut, Corpus derMittelalterlichen Wandmalereien Österreichs Krohm, Eike Hatmut, Oellermann eds. Bildwörterbuch derKleidungundRüstung.Vom altenOrient biszum . Stuttgart: Kröner,. Stuttgart: 1992 artibus et historiae Die frühe Die frühe Bilskult des Franziskus inItalien.Gestaltund Wort und Bild im späten Mittelalter am Beispiel des Breslauer 36 (1994): 1-5336 (1994): Vor Leinberger :Landshuter Skulptur imZeitalter der Reichen LateClassical and MedievalStudiesin Honor of Albert Mitteilungen des Vereins fürGeschichte der Stadt Münnerstadt Veröffentlichung des fürInstututs mittelalterliche 5 (1984): 23-57 237 Jahrbuch derJahrbuch Kusnthistorischen Sammlungen . Berlin: Reimer,1992 Dietrich Unser Bocholt . Berlin: Gebr. Mann, 1992 Flügelaltäre des späten 33 (1982):1-4 13 (1961):262- 10 (1916):79- . Vol.1. Wien Jahrbuch Religion, CEU eTD Collection Marrow 1968: Marosi 1987: Marica 1971/b:______. Marica 1971/a: Manchester Manchester 1960: Mályusz Mályusz 1988: Mályusz 1970: Machat 2002: Machat ______Machat 1977: Machat Lutze-Wiegand 1937: Linz 2002: Linz 1993: Linz 1965: Lingner 1936: Liebmann 1984: LCI: Baptist from Netherlands”. from Horthern the Baptist Kiadó,1987 siebenbürgischen Flügelaltars“. Seria Art Manchester Történettudományi Intézet, 1988 Intézet, Történettudományi Tanulmányok sorozat, (Studies of social- and cultural history) no. 2. Budapest: MTA society society inof Transylvania MiddleAges),Társadalom the és M society society in Middle Ages Hungary) Akadémiai Budapest: Kiadó, 1971 Rheinland-Verlag, 2002 in Siebenbürgen Jahrhunderts. Oberösterreichisches Landemuseum. Linz:Bibliothek derProvinz,2002 Symposions Schlossmuseum-Stift Florian,1965St. Buchdruckerei der evang.u. Verlagsanstalt Landeskirche A.B.in Rumänien,1936 Meschen am19. Gustav Adolf-Zweig-Vereinfest in Juli 1936 Rom - Freiburg am Breisgau: Herder,1994 Kirschbaum,, Wolfgang Engelbert eds. Braunfels, Schultes, Lothar, Bernhard Prokitsch, eds. Schultes, Lothar ed. Lothar Schultes, Wutzel, Otto ed. Marosi, Ern ă Machat, Christoph. Machat, Mályusz Elemér Mályusz Elemér. Lingner, Erich. Lingner, Marrow, James.“John the Baptist. Lantern for the Lord. New Attributes for the plastic Marica, Viorica Guy. “Altarul de la Jimbor”. . Exhib. Cat. Wythenshawe: William Morris Press,1961 , , Liebmann, Michael J. Michael Liebmann, ,Linz: Oberösterreichisches Landesmuseum,1993 ,Linz: Oberösterreichisches German Art1400-1800 Collectionsfrom inGreat Britain.City Art Museum Leipzig:K.F. Koehlers Antiquarium,1937 . Munich: Verlag des Südostdeutschen Kulturwerks,1977 ă Lutze,Eberhard Wiegand. Eberhard, 18 (1971):203-222 Ę . ed. Die Kunst derDonauschule: 1490-1540 Magyarországi M Meschen. Beiträgezu seiner Geschichte.DenTeilnemern andem “Dürer Werke als Vorbilder für die Gemälde eines . Der Meister des Kefermarkter Altars. Die Ergebnisse des Linzer des Ergebnisse Die Altars. desKefermarkter Der Meister Stadt Schässburg Egyházi társadalom aközépkori Magyarországon Az erdélyi magyar társadalom aközépkorban Die Bergkirche zu Schäßburg und diemittelalterliche Baukunst Revue Roumained'histoire et del'art Deutsche Plastik Oud Holland Ħ vészet 1300-1470körül . Denkmaltopographie . Denkmaltopographie Siebenbürgen Köln:4.1. 238 Gotikschätze Oberösterreich Gotikschätze Lexikon der Christlichen Ikonographie . Leipzig: Seemann,1982 83 (1968):3-12 Die Gemäldedes 13.bis16. Studii . Hermannstadt: Honterus Ħ ú . Exhib. Cat. Linz: vel i Cercet . Budapest:Akadémiai Ę déstörténeti 8 (1971): 13-24 ă ri de Istoria Artei. . (Hungarian . Exhib. Cat. . (Church . CEU eTD Collection Michalski 1993 Misselbacher 1934: Moraht-Fromm 2002: Metzger Metzger 2002: Meschendörfer 2001: Möckel 1943: Mökesch 1839: Muntean-Be Merhán 1936: Meltzl 1892: May 1989:May Melinkoff 1993: 1896: Mediasch 1965:May Marrow 1970: Question inWestern andEastern Europe Kunstwissenschaft, 2002 Hochaltar Gemeinde A.B.Schässburg, 1934 inSchässburg.Jahresbericht derEvangelischenGeimeindeA.B. Heidelberg-Hermannstadt: ArbeitskreisHeidelberg-Hermannstadt: für Siebenbürgische Landeskunde, 2001 Geschichte Migrationund der frühen Integration sowie zur Dokumentationder Siebenbürger Europa von13.bis 17. Jahrhundert.Beitrag Ein zur Herkunftsnamen-Forschung, zur Biertanului“, Forschung inSüdosten Hermannstadt egy egy Árpádkori ref. templomban”. Századok Late Middle Ages Residenz-Verlag, 1965 UniversitätTübingen, 1989 1525 unterbesonderer BerücksichtigungdesSchwabacherHochaltars Holland May, Heidemarie. May, Alfred. ú Meltzl Oszkár. “Az erdélyi szászok ipara és kereskedelme a XIV- és XV.században”. aXIV- iparaéskereskedelme “Az szászok erdélyi Meltzl Oszkár. liu 1993: 85 (1970):188-199 Möckel desMühlbacherMöckel Alfred. “Beiträge Altarwerks“. zurGeschichte ______.. “John the Lantern Baptist. for theLord. A Supplement” 26 (1892): 633-657,26 (1892): 720-739 Merhán, érték “Felbecsülhetetlen Miklós. . Stuttgart: Theiss,. Stuttgart: 2002 Metzger, Christoph. Metzger, : Michalski, Sergiusz. Mökesch, Samuel.Mökesch, Statute der Könliglichen freien StadtStatute derKönliglichen Mediasch freien Mellinkoff, Ruth. Analele Br Analele . Hermannstadt: Hochmeisterschen. Hermannstadt: und Thierrnschen Buchhandlung,1839 Misselbacher, Julius. “Die Wandgemälde der Schässbuger Bergkirche“. . Berkley-Los Angeles-Oxford: University of California Press, 1993 Meschendörfer, Hans. Meschendörfer, Moraht-Fromm, AnnaMoraht-Fromm, ed. Munteanu Be Wien inaltenAnsichten. Das Werden derWiener Vedute 2 (1943) ă Die Entwicklung fränkisch-nürnbergischen Malerei von1495- der ilei 1 (1993): 277-285 Die Pfarrkirche der VerwandtenAugsburger Conf. zu Outcasts: Signs of Otherness inNorthern European Artofthe Hans Schäufelin alsMaler ú The Reformationandthe Visual Arts:theProtestant Image liu, Petre. “Rolul lui deApaîn liu, Petre. Nicolae emanciparea Keleti Újság Siebenbürger -Der Name undseine Träger in . London: Routledge, 1993 Das Kloster Blaubeuren: derChor und sein 239 19 (June 7,1936):5 Ħ m Ħ kincseket pusztított el pusztított a gondatlanság kincseket . Berlin: Verlag für Deutscher . Mediasch: 1896 Stadtmagistrat, Schässburg: Evangelische . Dissertation . Salzburg: Deutsche Oud . CEU eTD Collection Neuner 1995: Nissen 1932: Neustift 1998: Naß 1994: Nagy 1857: Münzenberger-Beissel 1885-1905: Münzenberger-Beissel München 2006: München München 1990: München Müller 1937: Müller 1857b: Müller 1934: Müller 1857a : Müller 1856b: Müller 1856a: Müller 1853: Landesmuseum zu Münster“ Landesmuseum Reihe 28 Bildsprache undAussagekraft einerKompositionsform Verl.-GemeinschaftAthesia Tappeiner,1998 europäischen Spätgotik1498-1998 Hochschulschriften Reihe propriety of Gritti Alajos) Nachf.,1885-1905 Würdigung AltäreDeutschlands dermittelalterlicher Graphische Sammlung, 2006 Münchner Bestand Exhib. Munich: Cat. Prestel, 1990 preussischen Kunstsammlungen 1192-1848“ K.K. Centralkommission 431 k.k. Central-Commission und zuErforschung Erhaltung der Baudenkmale, Archiv Naß, Markus. 1.(1853): 305-362 1.(1853): Nagy Iván. “Gritti Alajost illet Alajost “Gritti Iván. Nagy Nissen, Robert. “Zwei Tafelbilder mit der Marter der Zehntausend im Müller, Max.“Bamberg Ansichten dem aus 15. Jahrhundert” Müller, Georg. “Die Müller,in Landkapitel Georg. deutschen undihre Dechanten Siebenbürgen Müller, Friedrich. “DieBergkirche, Schässbuger ein kunstgeschichtliches Versuch” , Neuner, Antje Maria. Neuner, Rosenauer, Artur. Müller, Friedrich. “Die evangelische Kirche in Birthälm“ Kirche evangelische “Die Friedrich. Müller, ______. “Die Vertheidigungskirchen in Siebenbürgen“. Müller, Friedrich. “Die Schässbuger Bergkirche in Siebenbürgen”. Bergkirche Schässbuger “Die Friedrich. Müller, Kunstgeschichte 242,Frankfurta.M.: Peter Lang,1995 ______.. “Archäologische Skizzen Schässburg” aus Riether, Achim. Riether, Hernad, Béatrice ed. Die ed. Hernad, Béatrice Archiv Exhib. Cat. Statliche Graphische Sammlung. Munich: Statliche Munich: Sammlung. Graphische Statliche Cat. Exhib. 48 (1934-36),3-532 Meister E.S.Studien zu Werk undWirkung 2 (1857): 227–231; 2 (1857): 262 – 271 28, Magyar Történeti Tár Israhel vanMeckenem (um 1440/45-1503) : Kupferstiche -der Michael Pacher und seinKreis. EinTiroler Künstler der Westfalen Kunstgeschichte 220, Frankfurta.M.: Peter Lang,1994 Münzenberger, E.F.A., St[efan] Beissel. Das Triptychon inder altniederländischenfrühen Malerei. 58 (1937): 241-25758 (1937): . Exhib. Cat. Augustiner ChorherrenstiftNeustift. Bozen: Graphiksammlung des Humanisten Hartmann Schedel. Ę , eredeti emlékiratok” (Original memoires in the memoires (Original emlékiratok” eredeti , 17 (1932): 51-54 240 3 (1857): 1-1163 (1857): 2Vols. Frankfurt a.M.: Fösser . Europäische Hochschulschriften Europäische . . Europäische Archiv Archiv Jahrbuch der Zur Kenntniss und Mitteilungen der 1 (1856):167 -172 2 (1856): 205-208 2 (1856): 2(1857):391- Mitteilungen der CEU eTD Collection Opll 1999: Oettinger 1939: ______. Orbán 1869: Oettinger 1938: Oettinger Oettinger 1934: Oellermann 1966: Oberschall 1929: Oberhaidacher 1999: Nutz 1977: Nussbaum 1965: Nussbächer 1983: Nussbächer 1981-2000: Nussbächer 1981: Nussbächer 1974: Nussbächer 1969: Ráth Mór Bizománya,1869 Ráth Mór archeological, historical natural anmd ethnographical of point view) Vol.(Csík-szék). 2. Pest: népismereti szempontból Rohrer,1938 bildende Kunst inÖsterreich.Gotische Zeit Vol.3. : (vonetwa 1250bisum1530). des Vereins für geschichte der StadtWien des Vereins für Neues zu den "Wien auf -Ansichten" Tafelbildern des fünfzehnten Jahrhunderts“. Lambrecht”. 159-174 Flachmalerei“ und 269 in Dürer influence of Hungary). of the critical overview der Ungarischen Nationalgalerie in der UngarischenNationalgalerie Budapest“ Verlag,1965 1000: einearchäologischeundliturgiegeschichtlicheUntersuchung Bra , Walachei zu Beginndes 16.Jahrhunderts. Zum Werk desHermannstädter Malers Vincentius“ Sighi 242 Sighi Aus UrkundenundChroniken . ú ov: Kriterion - Aldus,1981 –2000 ú ú Opll,Ferdinand. "Das Antlitz der Stadt Wien am Ende des Mittelalters, Bakanntes und oara între 1501-1520” oara oara în secolul XV.-lea“. în al secolul oara Nutz, Otto. “Der Altar“ Nutz, Braller Orbán Balázs. ______. “Die des14.und Tafelmalerei 15.Jahrhundertsin Österreich”. Oettinger, Karl. "Hans von Tübingen zu Wiener Neustadt, der Maler von St. Nussbaum, Otto. Oberschall, Magda. “Dürer Magyarországi kritikai hatásának Magyarországi (A Oberschall, Magda.“Dürer áttekintése” Jahrbuch der Kusnthistorischen inWien Sammlungen ______. "Birthälmer Studenten", ______. “Künstlerische Interferenzen zwischen Siebenbürgen und der ______. “Documente Nussbächer, “Documente Gernot. Oellermann, Eike. "Zur Imitation textiler Strukturen in der Spätgotischen Faß- Spätgotischen in der Strukturen textiler Imitation "Zur Eike. Oellermann, Oberhaidacher, "Zur Jörg. Datierung derGüssinger Maria-gravida-Tafel in Amtsbericht des Amtsbericht Bayerischen fürDenkmalpflege Landesamtes ______.. A székelyföld leírása. Történelmi, régészeti, természetrajzi s természetrajzi régészeti, Történelmi, leírása. székelyföld A (The despription of Székelythe land,from hiostorical, "Altdeutsche derOstmark“. Bildschnitzer Vienna: Schroll, 1939 Sub semnul luiClio. Der Standort des Liturgen amchristlichen Altarvor dem Jahre Bucharest: 1971,23-26 Kriterion, Aus Urkunden undChroniken Studii Kirchliche Blätter ú i comunic ú 55 (1999):101-145 i ú 241 tiri tiri privinddocumentare me Pantheon ú Neuer Weg Neuer i Cluj: Academiei, Editura 212-222 1974, ú ă tiri tiri privinddocumentare me ri. MuzeulBrukenthal Archeológiai Értesít 97 (1999):57-60 2 (1977):5. 26 April 1983: 4 . Vols. 1.-5. Bucharest – 8 (1934):29-64 . Bonn: Hanstein Bonn: . ú te 14 (1969): 225- ú Ę ugurile din 43 (1929): 266- ú te 25 (1966): Jahrbuch ú Vienna: ugurile din Die CEU eTD Collection Philippi 1975: Philippi 1983: Pešina 1958: Perger 2005: ______. Piccard 1969: Perger 1980: Perger 1973: Perger -Brauneis 1977: Perdrizet 1908: Pascu 1954: Paris 1991: Pächt 1929: Pál-Antal 2002: Pach 1980: Paatz 1963b: Paatz 1963a: Philippi ed. 1550“. Artia,1958 Prague: Regesten 2 (1969):1-6 Hälfte des16.Jahrhunderts”. Siebenbürger Sachsen,1975,33-44 (1980): 147-150(1980): Ölbergs zu St. Michael in Wien” in Michael St. zu Ölbergs Österreichischen Galerie Klöster Wiens“. Klöster Paris: Fontemoing,1908 of Transylvania until 16th the century).Bucharest: Academiei, Editura 1954 1400-1530. Paris: Musée duLouvre,1991 government) Marosvásárhely:government) 2002 Mentor, fifteenth andsixteenthcenturies fifteenth 2. Heidelberg: Karl Winter Universitätsverlag,1956 Skulptur im15. Jahrhundert. Universitätsverlag,1963 Pach, Zsigmond Pál. Sculture allemandes dela du fin Moyen Agedanslescollection publiques francaises Pächt, Otto. Pascu, Stefan. Pascu, Pešina, Jaroslav. "Tafelamerei der Spätgotik und derRenaissance in Böhmen 1450- ______. "Hans Siebenbürger desHauser -Meister Epitaphs undStifter des Perger, Richard. “Zur Herkunft der Votivtafel Jodok Hauser”.des Paatz, Walter. Paatz, Paatz, Walter. Paatz, . Vienna: Verlag derÖsterreichischen Akademie derWissenschaften, 2005 Piccard, Gerhard. “Der Maler Hans Schüchlin von Ulm“ Philippi Maja. “Die Plebane von Kronstadt im 14. und 15. Jahrhundert”. Hans Philippi, Maja. “Steinmetzen, Maler und Bildschnitzer in Kronstadt in der zweiten Sándor Pál-Antal, Sándor Perdrizet, Paul. Perdrizet, Siebenbürgisch-Sächsiches Hauskalender. Siebenbürgisch-Sächsiches Wiener Geschichtsbücher Österreichische Tafelmalerei derGotik Österreichische Tafelmalerei Perger, Richard, Walter Brauneis. "Die mittelalterliche Kirchen und Wiener Künstler des undderbeginnendenNeuzeitMittelalters : Me Süddeutsche Schnitzaltäre der Spätgotik Prolegomena zueinerGeschichte Spätgotischen derDeutschen ú 17 (1963):7-14 te La Vierge deMiséricorde: Étuded'unthemeiconographique The Transylvanian Routeof The Transylvanian Levantine Tradeat the turnof the ú Anhandlungen der Heidelberger derWissenschaften Akademie ugurile dinTransilvania pân Forschungen zumVolks- undLandeskunde Székely önkormányzat-történet . Budapest: Akadémiai. Budapest: 1980 Kiadó, ÖsterreichiscíheZeitschrift Kunst undDenkmalpflegefür 19/29. Vienna-Hamburg: Paul 19/29. Vienna-Hamburg:Paul Zsolnay,1977 242 München: der Hilfskomitee ă însecolul al XVI-lea . Vienna: Filser,1929 . (The history of local Székely . Heidelberg: Karl Winter . Heidelberg: Karl Beiträge zurLandeskunde 26 (1983):11-20 Mitteilungen der . (The crafts . (The . 34 CEU eTD Collection Rasmussen 1974: Ramisch 2001: Rados 1938: Radocsay 1967: Radocsay 1955: Radocsay 1954: Pulszky 1879: Prox 1997: Prinz-Beyer Prinz-Beyer 1987: Priebisch, 1979: Prague 2007: Popa 1998-1999: Pinder 1924: Pilz 1970: Plummer 1966: Dissertation. Hamburg: Phil.der Ludwig Fakultät Maximilian München,1974Universität der ReichenHerzöge. 1393-1503. (1393-1503)“. Herzöge Nyomda, 1938 medieval Hungary).Budapest: 1967 AkadémiaiKiadó, Medieval AkadémiaiHungary) Budapest: Kiadó, 1955 medieval Hungary) Akadémiai Budapest: Kiadó,1954 Archeológiai Értesít 57-62 und seinerzum Bestände”. Verbleib zum 16.Jahrhundert Vierteljahresblätter Summary Catalogue Transsilvaniae Sighi Rockliff,1966 vonden Anfängen bis zur Tafelmalerei Dürerzeit Renaissance. ú Pilz, Wolfgang. oara”, (The wall paintings of the church on the hill and the history of Schässburg). Prox, Alfred. “Zur Auflösung des Burzenländer Sächsischen Museums in Kronstadt Rados, Jen Pinder, Wilhelm. Pinder, Kotková, Olga. Kotková, Pulszky,“Iparm Károly. Ramisch, Hans. ‚“Der gotische Flügelaltar in Niederbayern zur Zeit der Reicher Plummer, John. Radocsay, Dénes. Radocsay, Radocsay, Dénes. Radocsay, Radocsay, Dénes. Radocsay, Priebisch, Dietmar. “Der Mediascher Meister, ein Epigone“ Popa, Corina. “Pictura mural Rasmussen, Jörg. Wildpark-Potsdam: AkademischeAthenaion,1924 Verlagsgesellschaft Prinz, Wolfram,Andreas Beyer. 8-9 (1998-1999): 175-184 8-9 (1998-1999): Ę . 28 (1979): 116-121 28 (1979): Ę . Weinheim:Acta Humaniora, 1987 Vol.1. National Prague: inGallery Prague, 2007 Magyar oltárok Das Triptychon alsKompositions- undErzählform in derdeutschen 13 (1879):273 Niehoff, Franz ed. Vor Leinberger :Landshuter Skulptur imZeitalter German andAustrianPainting of the14th-16thcenturies. Illustrated Die deutsche Plastik vomausgehenden Mitelalterbis zum Ende der The Hours of CatherineThe Hours Clevesof of A középkori Magyarországfaszobrai A középkoriMagyarországtáblkaképei A középkorimagyarország falképei Die Nürnberger Altarbaukunst derDürerzeit Ħ Landshut: Museum Landshut,der Stadt2001, 59- 113 vészeti jegyzetek”vészeti (Notes to Applied arts) the Zeitschrift fürSiebenbürgischeZeitschrift Landeskunde (Hungarian Altars). Budapest: Királyi Magyar Egyetemi ӽ a „Bisericii din Deal” 243 Die Kunst unddasStudium der Natur vom14. . München: Fink,1970 . London: Berry and Berry London: . . (Wall paintings of ú i istoria ora (The wooden scultures of (Panel paintings of Südostdeutsche . PhD ú ului 20 (1997): Ars CEU eTD Collection Roth 1962-1964: Rosenauer 1969: Roller 2001: Roller 2000: Roller 1999: Ringbom 1969: Riehl 1904: Richter 1992: Richter 1979: Richter 1977: Richter 1976: Reiter 1994a: Reissenberger 1873: Reiter 1994: Reißenberger 1884:______. Reinert 1979: Regensburg 1987: Kunstgeschichte Reflexen in der österreichischen Malerei des 15. Jahrhunderts”. II. in Prag“Part Nationalgalerie der Schweiz Nationalgalerie in Prag“ inI. Part Prag“ Nationalgalerie Kunstverlag, 1999 170 place of Art in Late Medieval Private Piety”. Wort undWelt,1992 Sächsischer Hauskalender. Sächsischer Benediktinerabtei zudenSchotteninWien. Benediktinerabtei Reiter ed. seiner Bildsprache",Cornelia zudenSchotteninWien Benediktinerabtei Transilvanica, no. 5,Köln-Weimar: Böhlau, 1979 Hermannstadt: Eigendruck,1884 Hermannstadt: Wochenblatt Siebenbürgisch-Deutsches Zeit biszumAusgang des Mittelalters Riehl, Altarwerk“. Mühlbächer B[?].“Das Roller, Stefan. “Zwei Arbeiten aus dem Werkstatt Hans Pleydenwurffs in der Roller, Stefan. “Zwei Arbeiten aus dem Werkstatt Hans Pleydenwurffs in der Roller, Stefan. Roller, Reiter, Cornelia ed. Reiter, Reinert, Karl. Reinert, Reiter, Cornelia. "Der Wiener Schottenaltar. Geschichte, Stil und Charakteristika Richter, Gisela, Otmar Richter. Gisela, Otmar Richter, ______.. “Eine Kunsthistorische Entdeckung“ ______-.. ”Der Flügelaltar Heldsdorf“. von Philippi Hans ed. Richter, Otmar. “Der Braller Altar“.Otmar.“Der Braller Richter, Ringbom, Sixten. “Devotional Images and Imaginative Devotions. Notes on the . Vols 1-2. Köln-Graz: Böhlau, Roth, Erich. Rosenauer, “Zu Artur. einer niederländischen Beweinungskomposition ihernund Mütherich, Florentine ed. Florentine Mütherich, Reissenberger, Ludwig.über “Bericht kirchliche Alterthümer“: 22 (1969):157-166 Nürnberger Bildhauerkunst derSpätgotik Die Gründungderevangelischen Kirchen inSiebenbürgen Die Reformation in DieReformation Siebenbürgen. Verhältnis Ihr zu Wittenberg und Munich: derSiebenbürger Hilfskomitee ,1978,33-41. Sachsen Museum imSchottenstift. Kunstsammlungen der “Die evangelische Pfarrkirche in Hermannstadt“ Pfarrkirche evangelische “Die Bulletin of theNational Gallery inPrague, Bulletin of theNational Gallery inPrague . Exhib. Regensburg. Cat. Munich: 1987 Prestel, Museumim Schottenstift: Kunstsammlungen der 6 (1873): 6 (1873): 102 Regensburger Buchmalerei.Von frühkarolingischer Siebenbürgische Flügelaltäre . Vienna: Museum im Schottenstift, 1994 Vienna: Museum im Schottenstift, 1994,172-190 1962, 1964 244 Gazette desBeauxArts Kirchliche Blätter. Korrespondenzblatt Neuer Weg Neuer Wiener Jahrbuch für . Berlin: Deutscher 10( 1976):6 6. No.73 (1969): 159- 27 (1904): 26-2727 (1904): . Thaur bei Innsbruck: 10 (2000):6-17 11 (,2001):20-37 12 Mai 1979: 3-4 Siebenbürgisch . Studia CEU eTD Collection Römer 1912: Roth 1967: Röhrig 1981: Roth-Reitzenstein-Müller 1934: Roth 1999: Roth 1979:______. Roth 1917:______. “ Roth 1914:______-. Roth 1916:______. Roth 1913:______. Roth 1910:______. Roth 1906b:______. Roth 1904b: Roth 1906a: Roth 1904a: Roth 1903: Roth 1902: Meschen am26.August 1912. zur Erinnerung Einweihung andiefeierliche derneuerbauten evangelischenSchulein Wien,1981 Müller. Universitätsverlag,1999 Bayreuth: Oberfrankenstiftung,1979 Spätmittelalters Strassburg: und Heinz Mündel,1916 117-119 Gyula ed. (1910): 9-21.(1910): 1906 1-7; 17-20; 33-36 Korrespondenzblatt Altarwerk“” 125-127 Roth, Elisabeth. Roth, Roth, Harald.Roth, ______.. "Das Mühlbächer Altarwerk". Victor.Roth, “Das Altarwerk zuMalmkrog“ Roth, Victor. “Der Altar der heiligen Sippe zu Schaas“ ______.. “Zu A. Amlachers Kritik meinerArbeit über „Das Mühlbächer Deutsche Kunst inSiebenbürgen ______:. “Der Thomasaltarin der evang. Kirche zuGrossSchenk”. Römer, Carl. Römer, Röhrig, ed. Floridus Magyarország M Korrespondenzblatt . Berlin: E.Schmidt, 1967 Siebenbürgische Altäre “Erdély Szárnyasoltárai” (The winged Retables of Transylvania). Forster 27 (1904):125-141 “Der Hermannstädter Maler“Der Hermannstädter Vincencius“. Kronstadt. Eine siebenbürgische Eine Kronstadt. Stadtgeschichte “A székelyzsombori és szenterzsébeti oltárok“. szenterzsébeti “Aés székelyzsombori Geschichte der deutschen PlastikinSiebenbürgen “ Der Volkreiche des KalvarienberginLiteraturundBildkunst ed. Aus VergangenheitGemeindeund gegenwartder Meschen“ Erdélyi oltárok”. Ħ Oberfranken im Spätmittelalter undzu Beginnder Neuzeit Roth, Victor, Alexander Freiherr von Reitzenstein, Theodor C emlékei Der Albrechtsaltar undsein Meister Mediasch: Druckvon G.A. Reissenberger,1912 27 (1904):78-80 vol.3. Budapest:Franklin,1913, 117-180 . Berlin-Hermannstadt: Deutscher. Berlin-Hermannstadt: Kunstverlag,1934 Archeológiai Értesít . Studien zur deutschen Kunstgeschichte 192. 245 Korrespondenzblatt Archiv 32 (1903):40-87 Korrespondenzblatt Korrespondenzblatt Ę 37 (1917):87-99. . Vienna: Edition Tusch Erdélyi Múzeum . Munich: . Strassburg: Heitz, 25 (1902):109-114; 37 (1914): 29 (1906): Festgabe 17 . CEU eTD Collection Schnack 1979: Schmidt 1992: Schlosser 1902: Scheller 1995: Schindler 1978: Sauser 1957: Sandner 1993: Sammlung Kastner 1992: Salzer 1886-1894: Salzer 1883: Salzer 1881: Salzburg 1972: Salomon 1929: Saliger 2005: Rücker 1988: Stadtarchiv,1979 Martin Schongauers Böhlau, 1992 (1902): 279-286,(1902): 318-326 Mittelalter" Transmission (c.a. intheMiddle-Ages 900 - c.a. 1450 Süddeutschland ÖsterreichundSüdtirol). (1957): 14-17(1957): Kunst,1993 1992 Sammlung Kastner. Buchgesellschaft,1967(Reprint of Buchgesellschaft,1967(Reprint of 1886-1894edition)the Literatur und lateinischen Hymnenpoesie des Mittelalters Druck von Josef Drotleff, 1883 Gräser,1881 Salzburger Museum Augusteum,1972Carolino Krems: Faber,1929 Prestel, 2005. der Dürerzeit Salzer, Michael. Salzer, Michael. Salzer, Saliger, Arthur. Der Wiener Schottenmeister. Munich-Belin-London-New York: Sauser, Ekkard. ”ZurTheologieEkkard. Sauser, desFlügelaltars”. Rücker, Elisabeth. Rücker, Schmidt, Gerhard. Schnack, Jutta. Sandner, Ingo. Scheller, Robert W. Salomon, Karl. Salomon, Gassner, Josef Josef ed. Gassner, Schlosser, Julius von. "Zur Kenntniss der künstlerischen Überlieferung im späten Schindler, Herbert. Schindler, Jahrbuch derJahrbuch Kunsthistorischen der Sammlungen Allerhöchsten Kaiserhauses . Munich: Prestel, 1988 Salzer, Anselm.Salzer, Teil I. Mittelalter und Barock. Linz: Oberösterreichisches Landesmueum, . Bocholter Quellen und Beiträge 2. Aschendorf Münster: Stadt Bocholt Schultes, Lothar ed. Lothar Schultes, Zur ältesten des Geschichte Mediascher Kapitels,. Der königliche freieMarkt Birthälm in Siebenbürgen Spätgotische Tafelmalerei inSachsen Der Passionszyklus inder Graphik Israhel van Meckenems und “ Die ältesten Ansichten der Stadt Krems”. Stadt der Ansichten ältesten Die Hartmann SchedelsWeltchronik.Dasgrößte Buchunternehmen Gotische Bildwerke undihreMeister Spätgotik in Salzburg :dieMalerei,1400– 1530 Die SinnbilderundBeiworte inder Mariens deutschen Exemplum. Model-Book-Drawings andthePracticeArtistic of Der Schnitzaltar (Meisterwerke und Meister in Oberöstrreichisches Landesmuseum. Die Regensburg: 1978 Pustet, 246 ). Amsterdam: University Press, 1995 . Darmstadt: Wissenschaftliche Christliche Kunstblätter . Dresden-Basel: Verlag der . Wien-Köln-Weimar: . 50 Jahre Landzeitung, Hermannstadt: . Vienna: . Salzburg: 95 23 CEU eTD Collection Sinigalia 1984: Sinigalia 1992: Simon 2002: Sibiu 1991: Seidl 1987: Seiwert 1873: Schutz 1939: Seiwert 1872: Seivert 1777: Schwob 1969: Schürer-Wiese 1938: Schultes 2005: ______. Schultes 2001: Scholz 1991: Schock-Werner 1986: d'histoire etdel'art.SérieBeaux-Arts, d'histoire Comisiei Na Einfluß im Einfluß 15. Jahrhundert Wort undWeltVerlag, 1991 church of Germansthe from Sibiu-ThaurTransilvania). bei MuzeulInnsbruck: Brukenthal- 410 Historischen Komission. Deutschen imSüdosten im14.bis 16. Jahrhundert Dissertation Archiv des15.Jahrhundertszweiten Hälfte Fragmente bisRuelandFrueauf Leipzig: Rohrer,1938 (2001): 4-12(2001): bedeutenden desSpätmittelalters” Künstler bedeutenden Deutscher Verlag 1991 fürKunstwissenschaft, Glasmalerei derDürerzeit Kunsthalle Cat. Nürnberg. Exhib. Mittelalter”. Seidl, Christine. Seidl, Nägler, Thomas ed. Nägler,Thomas 10 (1872):314-360 Simon, Achim. Simon, Scholz, Hartmut. Scholz, Schutz, Karl.Schutz, Seivert, Johann.Seivert, Seiwert, Gustav.”Dasälteste Kirchenbuch“.Seiwert, Hermannstädter Seiwert, Gustav.Seiwert, ”Diedes Brüderschaftheiligen Leichnams in Hermannstadt“ Schwob, Ute Monika. Ute Schwob, Schultes, Lothar. ”Der Meister von Mondsee. Neue Beobachtungen zu einem ______. ”LeRetable Nouvelles deBiertan. Recherches”. Sinigalia, Tereza. ”Pictur Tereza. Sinigalia, , Ġ ,Würzburg: Anmühle, 1939 Der Traum vomRaum-Gemalte Architektur aus 7 Jahrhunderten. Ausstellung ionale amonumentelor, ansamblurilor Schürer, Oskar, Erich Oskar, Wiese. Schürer, Schoch-Werner, Barbara.ist ”Bamberg Jerusalem.im Architekturporträt Der deutsche Altarim späten Mittelalter Beiträge zur wiener niederösterreichischen und der Tafelmelerei Österreichische Österreichische Tafelmalerei derSpätgotik.Derniederländische 22. Munich: R.Oldenbourg,1969 Verlag ed. Die Sächsische inHermannstadtStadt-Pfarrer Entwurf undAusführung. Werkstattpraxis inder Nürnberger . Corpus Vitrearum . CorpusVitrearum Medii Aevi, Deutschland Studien 1. Berlin: . Berlin: Dietrich Reimer, 2002 800 deani biserica Germanilor dinTransilvania Die Gotischen Flügelaltäre Oberösterreichs. Vol.2.Retabelund . Linz: Oberösterreichisches Landesmuseum, 2005 Kulturelle Beziehungen zwischen Nürnberg undden Marburg: 1986, 45-55; Hitzeroth, 261-277 : PhD Dissertation. Universität Wien, 1987 ă , sculptur 21 (1984): 57- 80 21 (1984): 57- Belvedere. Zeitschrift fürbildendeKunst Belvedere. Zeitschrift 247 ăú Deutsche Kunst inderZips i art .,Buchreihe derSüdostdeutschen ú i siturilor istorice ă decorativ ,Heidelberger Philosophische ă la Biertan” Archiv 3 (1992): 28 3 (1992): – 36 . Hermannstadt, 1777 . Hermannstadt, . Brno-Vienna- Revue Roumaine (800years, Buletinul 11 (1873):323- 1 CEU eTD Collection Suckale 1984: Strohmer 1955: Suckale 1977: Stuttgart 1996: Stuttgart 1993: Stuttgart Strieder 1993: Streitfeld 1930: Stöcker 1984: Sterling 1971: Stange 1964: Stange Steinmetz 1995: Stange 1934-1961:Stange Stamm 1984: St. Lambrecht 1978: St. Florian 1981: Springer 2004: in Schwaben. 1993 Nachfolger, Langewiesische Korrespondenzblatt mittelalterlicher Andachgstbilder” mittelalterlicher Verlags-Gesellschaft, 1996 Vereins für diePflege derGeschichte für Vereins Bamberg, desehemaligenFürstbistums Württembergisches Landesmuseum, 1993 Nikolaus Weckmann unddieMalerei in Ulm um 1500 Geschichte der bildenden Kunst inWien.Vol.2:Gotik, Ikonographie von derDürers Marter 10.000“ Jahrhundert Untersuchung zurDarstellung einessakralen Requisits 15.vom frühen biszumspäten 16. Deutscher 1934-1961 Kunstverlag, Kunstgeschichte Oberrheins im 14. und frühen 15. Jahrhundert" 1978 der Steiermärkischen Landesregierung, Lambrecht: Sankt Kulturreferat Cat. Florian. , Record. PrincetonUniversityArtMuseum Stange, Alfred. Österreichische Kunsttopographie Österreichische Stamm, Lieselotte. "Zur Verwendung des Begriffs Kunstlandschaft am Beispiel des Suckale, Robert. ”HansSuckale, Robert. Pleydenwurff in Bamberg“. Stöcker, Christoph. ”Dürer, Celtis und der falsche Bischof Achatius. Zur Suckale, Robert. ”Arma Christi. Überlegungen zur Zeichenhaftigkeit Sterling, Charles. "Observations on Petrus Christus". Petrus on "Observations Charles. Sterling, Strieder, Peter. Strieder, Springer, Peter. ”The Princeton Madonna: Views of Sculpure”. a Remarkable Madonna:of Views Princeton ”The Peter. Springer, Westhoff, Hans ed.. Westhoff, Hans Weilandt, Gerhard. Streitfeld, Theobald. ”Etwas über die Kreuzigung des Mediascher Altars.”. Strohmer, Erich. ”Die Malerei der Gotik in Wien” Richard Kurt Donin ed., Steinmetz, Anja Sibylle. Anja Steinmetz, . Weimar: V.D.G., 1995 Birke,Veronika. Exhib. Cat. Württembergisches Landesmuseum Stuttgart. Stange, Alfred. Langer, Elisabeth Langer,Elisabeth ed. 41 (1981):85-91 53 (1930):52-53 Malerei derDonauschule Tafelmalerei inNürnberg 1350-1550 Die Kunstsammlungen desAugustiner-Chorherrenstiftes St. Deutsche Malerei der Gotik Meisterwerke Massanhaft. DieBildhauerwerkstattMeisterwerke Massanhaft. des Graviert, Gemalt, Gepresst: spätgotische Retableverzierungen Städel Jahrbuch Das Altarretabel inder Altniederländischen Malerei. Gotik in derSteiermark.Sankt Stift Lambrecht 48,Vienna: Schroll,198148,Vienna: 63 (2004):47-57 248 artibus et historiae Zeitschrift fürSchweizerische Archeologieund . Munich: Bruckmann, 1971 6, (1977):177-208 . Exhib. Cat. Stuttgart: Vienna: Wiener Verlag, 1944 . Vols. Berlin-Munich: 1-11. Bericht des Historischen Bericht . Königstein: Karl Robert Art Bulletin 9 (1984):121-137 Ulm: Süddeutsche 53 (1971):1-26 120 ( Festschrift . Exhib. . CEU eTD Collection Thulin 1960: Thode 1891: Theil 1901: Teutsch 1896: Theil 1873: Teutsch 1853: Teutsch 1878/1984: Theil 1874: Tangeberg 1989: Sz Szádeczky 1909: Szabó 1881: Suckale 2004: Suckale 2001: Suckale 1995: Ħ cs 1955: Berlin: Evang. Verl. Anst,1960,193-204 Entwicklung bis auf Dürer Entwicklung bisauf Kirchen”. 11 (1853):135 Jahrhunderts edition) Kronstadt das sächsischefür Volk Provinz?” Technik and crafts inthe Hungary) and crafts fifteenth-century the Apafi) the (1881): 189-191(1881): Thorbecke Verlag, 2004, 363-384 Verlag,Thorbecke 2004, Krone und ihreNachbarn zurZeitder Jagiellonenkönige (1471-1526). Nürnberger Kunsted., Wetter Evelin nach Ostmitteleuropa“. Narodna Galeria,77-83 2001, Meisters von St. Lambrecht”. vonSt. Meisters Predigt ehemaligen Fürstbistums Bamberg, 1984,423-438 Gerd Zimmermann Theil, Rudolf. "Die Hetzeldorfer Erbgrafen". Theil, Rudolf. Theil, Theil, “Gehörten Rudolf. die "zwei Stühle" seitdem Jahre 1224zurHermannstädter Sz . Frankfurt a.M.: Fischer Taschenbuch Verlag, 1995 Szabó Károly. ”Vízakna Történetéhez“. (To the history of history the Vízakna) of (To Történetéhez“. Szabó Károly. ”Vízakna . Munich: Callway, 1989 Thode, Henry.Thode, Thulin, Oskar. “Der Altar in reformatorischer Sicht”. Suckale, Robert. ”DerMaler JohannesSiebenbürger (um 1440-1483) als Vermittler Suckale, Robert. “Ein Tüchleinbild der Achatiusmarter aus“EinAchatiusmarter derNachfolgeSuckale, Robert. der des Tüchleinbild Suckale, Robert. Suckale, Ħ Teutsch, Friedrich. “Die Bilder und Altäre in den evangelisch-sächsischen Teutsch, GeorgDaniel. Schässburger "Die Gemeinderechnung von 1522". Korrespondenzblatt Archiv cs Jen Századok Szádeczky Lajos. ”Az Apaffyak sírboltja és hamvai“ (The grave and the ashes of Tengeberg, Peter. . Hermannstadt: . Hermannstadt: Krafft,1873 Teutsch, Georg Daniel Georg Teutsch, and Friedrich, Ę 12 (1874):257-269 . ) Bamberg: Historisches Vereins für Vereins des Historisches die) Bamberg: Pflege derGeschichte Városok és kézm 43 (1909): 185-202;43 (1909): 273-280 Zur Geschichte der Stühlein den zweitenzwei des 15. Hälfte Die Malerschule vonNürnberg im14. und 15.jahrhundert inihrer , Vols. 1-4. Köln-Weimar-Wien:, Vols. 1-4. Böhlau, 1984(Reprintof 1878 the . Frankfurta.M.: Keller,1891 Rogier vanderWeyden. DieJohannestafel. Das als stummeBild Ro 19 (1896):45-46 Holzskulptur und Altarschrein: zuForm, Studien Material und þ enka SlovenskejNárodnej Galérie vBratislave. Ħ vesség atizenötödikszázadi Magyarországon. (Towns Budapest: M 249 Archiv Geschichte der Siebenbürger Sachsen Ħ veltNép, 1955 30 (1901):431-463 Die Länder der DieLänder Böhmischen Reich Gottes und Wirklichkeit. Ostfildern: Jan Történelmi Tár Bratislava: Archiv 4 CEU eTD Collection Vienna 1934: Vetter 1963: 9ăWăú 9ăWăú 9ăWăú Vanyó 1980: Van Os1984-90: Urbach 1996: Ulmann 1984: Török 1993: Török 1992: Török 1995: Török 1985: Tonk 1979: Cat. Vienna: Kunsthistorisches Museum, 1934 Investigaciones Científicas ; Görres-Gesellschaftzur Pflege derWissenschaft, 1963, 379-484 Festschrift1962 - fürJohannesVincke zum11. Mai 1962. Romanian Editura Academiei, countries)Bucharest: 1959 Imprimeria Na Studies in Cluj) Studies Clasice din Cluj”. (The Icon of God’s Mother in the museum of the Institute for Classical 17 (The art collections of the Institute for Classical Studies in Cluj” Studies Classical for Institute the of collections art (The Forsten, 1984,1990 Frührenaissance Sopron: Soproni Sopron: 95-109 Múzeum,1996, Környei Attila, SzendeKatalintáblaképéhez” eds 188 information on the work-methods of altar-building workshops) Kaschauer Elisabeth Altars”. Lothar Schultes ed. Schultes Lothar Altars”. Elisabeth Kaschauer Berlin: Reimer,1992 Krohm, Hartmutin eds. Kaschau”. Oelleermann Eike Oberösterreichisches Landesmuseum,1993,104-106 Oberösterreichisches in Wien Dreifaltigkeitsdarstellung im 15. Jahrhundert”. university in the Middle Ages) Bukarest: Kriterion,1979 ianu 1959:______. ianu 1936: ianu 1933: Tonk, Sándor. Török Gyöngyi.Török “Zur Problematik derstilistischen Wurzeln der Skulpturen des Gyöngyi.Török “Zur Frage derskulpturalen Ausstattung des Altars derhl. Elisabeth Török Gyöngyi. az Török “Újabb ismeretek oltárépít Gyöngyi,Török “Beiträge zurVerbreitung einerniederländischen Vetter, Ewald M. “Virgo in Sole”. 81 (1985):7-31 VanyóLászlóed. Baldass, Ludwig ed. Urbach Zsuzsa. “Megjegyzések a soproni gy Zettl-Langer asoproni “Megjegyzések Urbach Zsuzsa. Ulmann, Arnulf von. Arnulf Ulmann, Van Os, Hendrik Willem. ______. “Icoana Maicii Domului Muzeuldin Institutului de Studii 9ăWăú Ġ ional Volum omagial pentrufra . Darmstadt: Wissenschaftliche. Darmstadt: 1984 Buchgesellschaft, ianu, Virgil. “Colec ă , 1936, 3-8, 1936, Erdélyiek egyetemjárása a középkorban Erdélyiek egyetemjárása Istoria artei feudaleinT Apokrifek Österreichische Tafelmalerei der Spätgotik 1400-1525 Bildhauertechnik des Spätmittelalters unddes (Apocryphs).Szent Budapest: István 1980 Társulat, Ġ iile de art Sienese Altarpieces Sienese Ġ ii Alexandru Homenaje aJohannes Vincke para el11 demayo 250 Jahrbuch der Kunsthistorischen Sammlungen ă Der Meister des Kefermarkter Altars. Kefermarkter des Meister Der de la Institutul de Studii Clasice din Cluj”. . Tanulmányok CsatkaiEndreemlékére.. Tanulmányok ă rile Române Flügelaltäre des Späten Mittelalters. Ę m ú i Ion I.Lapedatu. i Ion Ħ Vols.1-2. Gröningen: Bouma- Madrid: Consejo de Superior helyek munkamódszereir helyek . (Transylvanians going to Ars Hungarica . (The feudal artin the Boabe degr Ħ jtemény osztrák gótikus osztrák jtemény Bucharest: M.O. â u 2 (1995): 181-2 (1995): 4 (1933):1- Ę . Exhib. l” (New Linz: CEU eTD Collection Waltraut 1987: Walsch 1991: Walicki 1963: Walicki 1933: Wagner 1998: Wagner 1977: Wackernagel 1938: Vinke 1997: Vienna 2005: von Pfeil 1995: Vienna 2001: , Vienna 1997: Vienna 1966: Vienna 1939: Diözesanmuseum, 1987 Geburtstag. Rerum Documentis. zur Beiträge Mediävistik.Festschrift Harald für Zimmermannzum 65. Wien. Versuch eines Gelehrtenprofils aus der Hussitenzeit”. Klaus Herbers ed. Auriga, 1963 Lettres deVarsovie,Lettres 1933 Systematik Geschichtliche Grundlagenundformale Siebenbürgens Siebenbürgen. Vol.I.Vonder Reformation bis zum Jahre 1700 Vienna: Böhlau,1977 Technisches Universität,1995 Zeichnungen vorDürerunter derTafelmalerei Berücksichtigung 1600 – präsentiert20.Vienna: Belvedere,2005 Galerie konserviert Österreichische 2001 16. Vienna:– präsentiert– konserviert GalerieGefärdet Belvedere, Österreichische Renaissance: Aufgaben und Auftraggeber, Werkstatt undAuftraggeber, undKunstmarkt Renaissance: Aufgaben Österreichischen GalerieBelvedereunddesBundesdenkmalamtes Österreichischen Vienna: Österreichische Galerie Belvedere, 1997 Galerie Belvedere, Vienna: Österreichische Niederösterreichisches Landesmuseum, 1966 Niederösterreichisches 1939 . Cologne-Weimar-Vienna: 1997 Böhlau, Vincke, Kristin. Vincke, Saliger, Artur ed. Artur Saliger, Saliger, Artur ed. Artur Saliger, Saliger,Arthur ed. Feuchtmüller, Rupert ed. Rupert Feuchtmüller, Altdeutsche Kunst imDonauland. Walsch, Katherine. “Magister Johannes [Siwart] de Septemcastris an der Universität ______.. Walicki, Michal. Walicki, Wagner, Ernst. Wagner, Wagner, Ernst. Wagner, Pfeil, Daniela von. Daniela Pfeil, Waltraut, Kuba-Hauk.Waltraut, Sigmaringen:1991, 557-569 Thorbecke, 22/1. Wackernagel, Martin. Wackernagel, Cologne-Weimar-Vienna: Böhlau, 1998 Malarstwo Gotyk,renesans, polskie; wczesny manieryzm Die Heimsuchung. Marienikonographie inderitalienischen Kunst bis Die Pfarrer und Lehrer der evangelischen Kirche in A.B. Historisch-statistisches Ortsnamenbuch fürSiebenbürgen Veit StossundÖsterreich Der Braunauer Bäckeraltar. Ausstellung Eine der Stilstufen der Stilstufen gotischen inPolen Tafelmalerei im XV. Jahrhundert. Conrad Laib Der Pleydenwurff-Wolgemut Kreis: Studien zu Kreis:Studien fränkischen Der Pleydenwurff-Wolgemut Dom- undDiözesanmuseum Wien Friedrich III. Kaiserresidenz Wiener Neustadt Wiener Kaiserresidenz III. Friedrich Der Lebensraum des Künstlers inder Florentinischen . Exhib. Cat. Österreichische Galerie Belvedere. Galerie Österreichische . Exhib.Cat. Exhib. Cat. 251 . Warszawa: La Société des Sciences et desSciences . Warszawa:LaSociété . Bedeutende Kunstwerke. Gefärdet – Vienna: Kunsthistorisches Museum, . Schriften zur Landeskunde Phd Dissertation. Berlin: . . Vienna: Dom und Bedeutende Kunstwerke. . Leipzig: Seemann,1938 . Warshaw: Ex Ex Ipsis . Vienna: . Cologne- CEU eTD Collection Winkler 1959: Zimmermann 1881: Zelenka-Sauer 1971: Zehnder 1990: Zehnder 1974: Wilm 1923: Werner 1875: Werner 1872: Wetter 2006: Wetter 2004: Wenrich 1889: Weissenhofer 1923: Weinberger 1921: Warnke 1973: 425 Artikel Schusterzunftder Hermannstädter aus dem16. und 17.Jahrhundert”. 16(1881): 355- derDürerzeit Künstlers 1923 Vienna: Schottenstift,1971 Richartz-Museums 11.Cologne: Wallraf-Richartz-Museum, 1990 Cologne: Wallraf-Richartz-Museum,1974, 24-25 Lochner. DieKölner Maler von1300 bis 1430.Exhib. Cat.Wallraf-Richartz Museum, Geburtstag Lambrecht eds., Retabelausstattungen siebenbürgisch-sächsischer Pfarrkirchen”, Joachim Bahlcke, Keren Siebenbürgen sächsische Kirchen.” Ulrich A. Wien and Krista Zach eds., 1872 Erinnerung andieimJahre1872 in Mediasch tagenden Vereine Archiv Vergangenheit”. Verein für derStadt Geschichte Wien, 1923 1973 die Anfänge derDürerschuledie Anfänge 12 (1875):270-311 Wilm, Hubert. Wetter, Evelin. ”Überlegungen zum Bekenntniswert vorreformatorischer Bekenntniswert zum Evelin. Wetter, ”Überlegungen siebenbürgisch- Ausstattung in der Erbe vorreformatorische ”Das Evelin. Wetter, Werner, Carl. “Geschichte der zwei Stühle unter Wladislaus II. und Ludwig II”. Karl.Werner, Warnke, Marton. Warnke, Winkler, Friedrich. Zehnder, FrankGünthered. Zehnder, Frank Günther. “Altarformen in Köln”. Rolf Wallrath ed., Wenrich, Wilhelm. “Künstlernamen aus siebenbürgisch-sächsischen aus “Künstlernamen Wilhelm. Wenrich, . (Leipzig: LepizigerUniversitätsverlagGMBH, 109-126. 2006), . Köln-Weimar-Wien: Böhlau, 2004 Weinberger, Martin. Weissenhofer, Anselm. Zimmermann, Franz. “Das Register der Johannes-Bruderschaft und die Konfessionelle Pluralität alsHerausforderung Archiv Zelenka,Ales, Walter Sauer OSB. Die Wappen der Wiener Schottenäbte. Die Gotische Holzfigur . Kulmbach: Stadtarchiv, 1959 Die MediascherKirche. Festgabe der Mediascher Kommune zur 22 (1889):42-78 Bildersturm: die Zerstörung des Kunstwerks Zerstörung die Bildersturm: . Strassburg: Heitz,1921 Hans vonKulmbach. Lebenund Werk eines fränkischen Nürnberger Malereiander Wende zur Renaissance und Katalog derAltkölnerMalerei Die ältesten Ansichten der Stadt Wien 252 . Leipzig:und Klinkherdt Verlag Biermann, Humanismus in Ungarnund . . Hermannstadt: Steinhausen,. Hermannstadt: Winfried Eberhart zum65. . Kataloge des Wallraf- . Munich: Hanser, . Vienna: Vor Stefan CEU eTD Collection Zykan 1961: Zykan 1955: Kunst undDenkmalpflege und Volk,246-252 1955, Donin, ed. Romanian Sebe Sântimbru ù Roade Pro Prejmer Or Oradea Ocna Sibiului Nem Movile Mo Media 0ӽ Jimbor Jidvei Hunedoara +ă +ă Fi Feldioara Dupu Dealu Frumos Cund Cluj-Napoca Cisn Cincu &ăOăĠ Bruiu Bra Boian Bistri Biertan %ă Arm Iulia Alba Place NameConcordance ae ú ăú gaciu rman lchiu er lâncrav ú ú ú ú tea Mare tea na ă ov ăú tie ú ú ele Ġ ú die a a ú ú eni Zykan, Josef. “Die Restaurierung von Kunstwerken”. von Restaurierung “Die Josef. Zykan, Zykan, Josef. “Die Darstellung desmittelalterlichen Stadtbildes” Richard Kurt Geschichte der bildenden Kunst inWien Vol.2.Gotik. German Schweischer Radeln Mühlbach Niemesch Kronstadt Gross-Wardein Seiden Honigberg Marienburg Schönberg Klausenburg Gross-schenk Weissenburg/Karlsburg Schaas Großprobstdorf Tartlau Broos Salzburg Hundertbücheln Meschen Mediasch Malmkrog Sommerburg Heldsdorf Tobsdorf Reußdorf Heltau Braller Bonnesdorf Bistritz Birthälm Bogeschdorf 15 (1961): 42-44 253 Hungarian Sövénység Rádos Szászsebes Nemes Brassó Nagyvárad, Várad Nagyvárad, Zsidve Szászhermány Földvár Lesses Nagysink Segesd Nagyekemez Prázsmár Szászváros Vízakna Százhalom Muzsna Medgyes Almakerék Székelyzsombor Vajdahunyad Táblás Kund Nagydisznód Brulya Alsóbajom Beszterce Berethalom Szászbogács (Kiskalota) Magyarkelecel Csíkmenaság Gyulafehérvár Csíkszentimre, Höltövény Kolozsvár Österreichische Zeitschrift für Ę Vienna: Verlag für Jugend CEU eTD Collection egyéni sajátságok isellene mondanak.” Balogh 1943, lenne, de ehhez egyel ehhez de lenne, document seriously supporting this idea.“Ilyenstílusfejl could only be interpreted as the stylistic development of one and the same master if we would have some written i Vlaha Tureni Turda Tatârlaua Mure Târgu ù ù Sighi Sibiu She feels that the style of the panels from 1508 differs so muchfrom that of the laterpaintings that this change umuleu oro ú ú tin oara ú Ę re nemcsak a levéltári adatok hiányoznak, hanem az oltárokon megfigyelhet oltárokon az hanem hiányoznak, adatok alevéltári nemcsak re Schorsten Schässburg Taterloch Torenburg Neumarkt Hermannstadt 214. 254 Ę dés illetve átalakulás elvileg ugyan még elképzelhet Sorostély Segesvár Tatárlaka Magyarfenes Torda Marosvásárhely Tordatúr Csíksomlyó Nagyszeben Ę különböz Ę Ę