Über das -en- in Reenactment

Speculum, 2008

2013

This investigation into Rhenish prints of relic displays and reliquaries was sparked by the unique appearance of a late seventeenth-century print utilized by Avinoam Shalem in his book on Islamic objects in Christian church treasuries. 1 Shalem introduced the print as evidence of objects that had acquired different functions in Western European contexts. The source of the print, a German catalog for the 1972 Rhein und Maas: Kunst und Kultur, 800-1400 exhibition in Cologne and Brussels, influenced some of the early concepts of this thesis, narrowing the focus to the unusual compositional format and the relationship of this form of imagery to pilgrimages. 2 Research began with the premise that an association existed between the imagery and the praesentia of the saintly relics. 3 Similar to Peter Brown's dissolution of time through the reading of hagiography, the idea was that the prints transcended not only time, but also place. 4 Several scholars, including

Mitteilungen des Deutschen Archäologischen Instituts - Römische Abteilung 126, 2020

The “Tomba della Regina” from Sirolo-Numana (Ancona, Italy) is one of the richest graves from the 6th century BC in European archaeology. Found inside a funerary circle, the body of the deceased was completely covered by hundreds of ornaments, mostly made of bronze, silver, iron, amber, ivory, and glass. After almost 30 years since its discovery and excavation, and despite the thorough restora- tion of the majority of its goods, this tomb still requires a comprehensive scientific study. In the context of a new research project led by the RGZM Mainz, the SABAP Marche and the Museum of Ancona some of the finds are now being reconsidered for further conservation and investigation. This paper presents two previous unparalleled full-dress fibulae with bone decoration and amber inlays. A new reconstruc- tion reveals their complex structure and allows a new classification for both objects. Some comparisons with other rich female tombs of Numana also shed new light on the funerary ritual and the tradition of this Picene site.

2002

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Riemenschneider in situ (ed. Katherine Boivin and Gregory Bryda), 2021

The Chapel of Our Lord (Herrgottskapelle) in Creglingen offers a rare chance to study an altarpiece by Riemenschneider in its medieval space and in conjunction with other contemporary furnishings. With its well-preserved architecture and array of integral artworks, the chapel in fact belongs to the richest pre-Reformation ensembles of its type. If it has rarely been investigated as such, then this reflects a discursive focus on Riemenschneider and his workshop's regional production: the "Creglingen Altarpiece" has been treated as an isolated masterpiece and biographical artefact; a single object has become almost synonymous with a multifaceted site. 2 Viewed from the perspective of the impressive altarpiece, with its unusual free-standing position in the middle of the nave, the space has appeared incongruous to many observers (Figs. 1, 2). Initial surprise at the degree of artistic sophistication in a remote setting has often given way to disquietthe chapel has been perceived as an inadequate framework: too modest in size, poorly lit, and lacking other furnishings of comparable quality. Doubts have also emerged on the ensemble's liturgical compatibility, since the retable's Marian focus seems to stray from the eucharistic raison d'être of the altar and its site. For these reasons, some have argued that the work was not made for Creglingen at all-that it was only transferred there after the Reformation. 3 My purpose here is to reconsider the issue by taking a reverse approach: I want to look at Riemen schneider's famous altarpiece from the perspective of its less famous environment. Thus, I will examine the space and its furnishings on their own terms as a late medieval ensemble, the components of which-while not the products of a single patron or workshop-potentially show interrelations on other levels, particularly in terms of their topographical and devotional functions.

Zwischen Rom und Mailand - Liturgische Kircheinrichtungen des Mittelalters in Italien , 2024

This chapter systematically analyses all depictions of pulpits in South Italian Exultet Rolls: location in the rolls in relation to the text, the setting of the pulpit in the image, the construction of the pulpit as depicted, decorative elements, and, finally, the function of the images. Bibliographische Informationen der Deutschen Nationalbibliothek: Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliographie; detaillierte bibliographische Daren sind im Internet über https://dnb.de abrufbar.

A pair of stained-glass trefoils dating from 1502 presents an iconography unique within the vast field of late medieval art and literature focusing on death. Recent discoveries confirm the provenance of the glass as the Tucher House in the Grassersgasse in Nuremberg and the identity of the patron as Canon Sixtus Tucher. The roots of this commission can be traced through several channels: Sixtus Tucher's reaction against the very popular theme of the Dance of Death, his immersion in certain late medieval mystical texts, andperhaps most importanthis opposition to the new humanist tenets dismissing death as a motivating force for life.