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The Birth of Sacrifice: Iconographic Metaphors for Spiritual Rebirth in Master Matthias' Isenheim Altarpiece

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The Birth of Sacrifice: Iconographic Metaphors for Spiritual Rebirth in Master Matthias' Isenheim Altarpiece Brigham Young University BYU ScholarsArchive Theses and Dissertations 2006-12-06 The Birth of Sacrifice: Iconographic Metaphors for Spiritual Rebirth in Master Matthias' Isenheim Altarpiece Katherine Lena Anderson Brigham Young University - Provo Follow this and additional works at: https://scholarsarchive.byu.edu/etd Part of the Classics Commons, and the Comparative Literature Commons BYU ScholarsArchive Citation Anderson, Katherine Lena, "The Birth of Sacrifice: Iconographic Metaphors for Spiritual Rebirth in Master Matthias' Isenheim Altarpiece" (2006). Theses and Dissertations. 1027. https://scholarsarchive.byu.edu/etd/1027 This Thesis is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. THE BIRTH OF SACRIFICE: ICONOGRAPHIC METAPHORS FOR SPIRITUAL REBIRTH IN MASTER MATTHIAS’ ISENHEIM ALTARPIECE by Katherine Anderson Tuft A thesis submitted to the faculty of Brigham Young University in partial fulfillment of the requirements for the degree of Master of Arts Department of Humanities, Classics, and Comparative Literature Brigham Young University December 2006 BRIGHAM YOUNG UNIVERSITY GRADUATE COMMITTEE APPROVAL of a thesis submitted by Katherine Anderson Tuft This thesis has been read by each member of the following graduate committee and by majority vote has been found to be satisfactory. Date Joseph D. Parry, Chair Date Allen J. Christenson Date Charlotte Stanford BRIGHAM YOUNG UNIVERSITY As chair of the candidate’s graduate committee, I have read the thesis of Katherine Anderson Tuft in its final form and have found that (1) its format, citations, and bibliographical style are consistent and acceptable and fulfill university and department style requirements; (2) its illustrative materials including figures, tables, and charts are in place; and (3) the final manuscript is satisfactory to the graduate committee and is ready for submission to the university library. Date Joseph D. Parry Chair, Graduate Committee Accepted for the Department Allen J. Christenson Graduate Coordinator Accepted for the College Gregory D. Clark Associate Dean, College of Humanities ABSTRACT THE BIRTH OF SACRIFICE: ICONOGRAPHIC METAPHORS FOR SPIRITUAL REBIRTH IN MASTER MATTHIAS’ ISENHEIM ALTARPIECE Katherine Anderson Tuft Department of Humanities Master of Arts While little is known concerning the events surrounding the commission of the Isenheim Altarpiece or of the artist known to us as Master Matthias Grünewald, much can be ascertained about the message of the Altarpiece through careful study of the socio- historical-religious context from which the work was commissioned and iconographic analysis of the images portrayed by Master Matthias. This thesis explores iconographic metaphors for birth and sacrifice, metaphors which work to create a theological dialogue about Christian redemption within the nine painted panels and the underlying sculpture that makes up the Isenheim Altarpiece. First, we will address the panels in the middle position of the Isenheim Altarpiece, which reveals events from the life of Mary. Since the Madonna is a prominent figure in the Altarpiece panels, understanding her role in sixteenth century Christian theology as birth mother of the Savior and as an especial example of bringing forth good fruit by virtue of obedience and humility is crucial to understanding the Marian iconography of the panels. In the center of the triptych, immediately following the Annunciation panel in the middle position, we see a celebration of Christ’s birth in the Concert of Angels panel. When replaced by the folded wings depicting the Crucifixion, the Concert of Angels panel creates a discussion of rebirth through the sacrifice and death of the Savior which is symbolized by the Resurrection displayed in the final panel of the middle position. Through the use of iconographic devices which reference different panels within the Altarpiece, Grünewald creates a dialogue of redemption and rebirth through Jesus’ mortal birth mother, the Virgin Mary. This dialogue extends to images of saints and disciples who find spiritual rebirth through conversation and help to build the kingdom of God on earth through their exemplary lives. Even the faithful followers of Christ numbered in the audience of the Isenheim Altarpiece are given a role in the dialogue of rebirth through conversion by bearing virtue, rather than vice, in the attitude of Mary and the saints. ACKNOWLEDGMENTS I would like to express deepest appreciation to my committee members for the hours of support spent on this thesis. Their mentorship has guided this project and assisted me in gaining a deeper understanding of the humanities. This thesis was also made possible through the support of the Center for the Study of Europe Foreign Language and Area Studies Graduate Student Fellowship as well as the BYU Humanities, Classics and Comparative Literature Department fellowships. The financial support and educational opportunities provided by these programs encourages students to reach new heights in cultural awareness. This thesis is dedicated to my loving parents, my best friend and husband, and our growing family. vii TABLE OF CONTENTS List of Figures.................................................................................................................... ix 1 The Role of Mary in Doctrine and Devotion Leading up to the 16th Century........... 1 1.1 Introduction............................................................................................................... 1 1.2 The Eva / Ave Parallel .............................................................................................. 2 1.3 Theotokos: Mary as the God-Bearer......................................................................... 8 1.4 Ecclesia: Mary as Mother of the Church ............................................................... 12 1.5 Mary as Intercessor................................................................................................. 15 1.6 Mary as Exemplar................................................................................................... 21 2 Motherhood and Childbirth in Medieval and Early Modern Periods ....................... 25 2.1 Between Eve and Mary........................................................................................... 26 2.2 Motherhood in the Fifteenth and Sixteenth Centuries ............................................ 30 2.3 Labor and the Cross ................................................................................................ 35 2.4 Birth as an Analogy for Conversion ....................................................................... 36 2.5 The Maternal Nature of Jesus ................................................................................. 40 3 The Victory of Sacrifice: Jesus as the Instrument or Song...................................... 44 3.1 The Musicality of Martyrdom................................................................................. 44 3.2 The Metaphor of the Song in the Concert of Angels Panel .................................... 53 3.3 Foreshadowing Death in the Concert of Angels Panel ........................................... 57 3.4 The Song of Conversion ......................................................................................... 62 4 Redemption through the Birth of Sacrifice: Bearing the Word of God.................... 68 4.1 The Birth of Redemption at the Crucifixion.......................................................... 68 viii 4.2 The Birth of the Song in the Angelic Concert Panel .............................................. 79 4.3 The Birth of Conversion ......................................................................................... 86 Works Cited ...................................................................................................................... 98 Appendix A..................................................................................................................... 106 ix LIST OF FIGURES Figure 1: Matthias Grünewald, Isenheim Altarpiece, Middle Position. Figure 2: Matthias Grünewald, Isenheim Altarpiece, Middle Position. Figure 3: Matthias Grünewald, Isenheim Altarpiece, Open Position. Figure 4: Grünewald, Isenheim Altarpiece, Closed Position. Crucifixion, detail. Figure 5: Unknown Artist, Initial F: The Tree of Jesse, detail. Figure 6: Matthias Grünewald, Isenheim Altarpiece, Middle Position. Nativity, detail. Figure 7: Matthias Grünewald, Isenheim Altarpiece. Middle Position. Concert of Angels, detail. Figure 8: Matthias Grünewald, Madonna in the Clouds. Figure 9: Hans Holbein, the Elder, Ulrich Schwarz and his Family. Figure 10: Konrad von Soest, The Crucifixion. Figure 11: Quirizio of Murano, The Savior. Figure 12: Grünewald, Isenheim Altarpiece. Lamentation, predella. Figure 13: Lutenist and Viol Player, from H. Judenkünig: Ain schone kunstliche underweisung. Figure 14: Matthias Grünewald, Isenheim Altarpiece, Closed Position. Crucifixion, detail. Figure 15: Hieronymous Bosch, Garden of Earthly Delights, detail. Figure 16: Day of the Great Revelation, from Hildegard of Bingen, Scivias 3.II Figure 17: Jubal and Tubalcain/Raising of the Cross, from Speculum humanae salvatioris, chapter 23. Bayerische Staatsbibliothek. x Figure 18: Jubal and Tubalcain / Raising of the Cross, from Speculum humanae salvationis
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