Altar Decorations Research Papers - Academia.edu (original) (raw)

Tabernacle shrines-enclosures containing a single saint's effigy equipped with two, four or more wings-are a neglected form of medieval altar decoration. Although they were common across the Latin West, surviving examples are spread very... more

Tabernacle shrines-enclosures containing a single saint's effigy equipped with two, four or more wings-are a neglected form of medieval altar decoration. Although they were common across the Latin West, surviving examples are spread very unevenly over Europe. Most of the c. 500 preserved tabernacle shrines are found in Central Italy, Northern Spain, across Germany, and particularly in Scandinavia. More than one-third of the total European stock is preserved in Sweden, making it the only country where the entire development of such 'Helgonskåp' ('saints' cupboards') can still be gleaned. Departing from the Swedish wealth, this study explores the tabernacle shrine as a European phenomenon in medieval art. The first chapters distinguish and analyse seven different types of tabernacle shrine, while the last sections focus on the object type as an artistic category, as a physical object in medieval church space, and on its remarkable survival in Lutheran Sweden. Justin Kroesen is professor of the Material Culture of Christianity at the University of Bergen (Norway) and research curator of the church art collection of its University Museum. Peter Tångeberg, conservator and art historian, specialises in medieval art, particularly medieval sculpture in Sweden and elsewhere around the Baltic.

Almost every Medieval church had one or more sculptures of saints, many of which were placed on altars, in wall niches or in so-called tabernacle-altarpieces. This last category refers to three-dimensional, canopied structures,... more

Almost every Medieval church had one or more sculptures of saints, many of which were placed on altars, in wall niches or in so-called tabernacle-altarpieces. This last category refers to three-dimensional, canopied structures, embellished with bright colours and equipped with movable wings that housed cult images of the Virgin and Child or saints. This early type of altarpiece became widespread in Europe between c.1150 and 1400. Nowadays, examples are scarce and often fragmented, overpainted and reconstructed. Most of them come from the geographical periphery of Europe and almost all of them are now without their original context, as they hang on museum walls or in churches as isolated relics. The purpose of this book, first published in 2020 as a monographic issue of Medievalia – Revista d’Estudis Medievals (a journal published by the Institut d’Estudis Medievals of the Universitat Autònoma de Barcelona) is to explore and discuss early tabernacle-altarpieces in different regions of Europe: their provenance, patronage, function, and role in popular piety.

Almost every Medieval church had one or more sculptures of saints, many of which were placed on altars, in wall niches or in so-called tabernacle-altarpieces. This last category refers to three-dimensional, canopied structures,... more

Almost every Medieval church had one or more sculptures of saints, many of which were placed on altars, in wall niches or in so-called tabernacle-altarpieces. This last category refers to three-dimensional, canopied structures, embellished with bright colours and equipped with movable wings that housed cult images of the Virgin and Child or saints. This early type of altarpiece became widespread in Europe between c.1150 and 1400. Nowadays, examples are scarce and often fragmented, overpainted and reconstructed. Most of them come from the geographical periphery of Europe and almost all of them are now without their original context, as they hang on museum walls or in churches as isolated relics. The purpose of this international symposium is to explore and discuss early tabernacle-altarpieces in different regions of Europe: their provenance, patronage, function, and role in popular piety. We invite speakers to submit proposals for 15-minute papers to be presented during the symposium. Proposals should go beyond case studies and look at such topics as the use and re-use of tabernacle-altarpieces, media involved in their creation, regional differences, etc.

Textile Bildwerke im Kirchenraum addresses the rich and multi-faceted question of church furnishings in the Middle Ages. In contrast to previous studies, here textiles are the starting point as a temporary (removable) medium of images... more

Textile Bildwerke im Kirchenraum addresses the rich and multi-faceted question of church furnishings in the Middle Ages. In contrast to previous studies, here textiles are the starting point as a temporary (removable) medium of images located within the female monastery of Altenberg/Lahn near Marburg. The still existing church and conventual buildings were constructed under magistra Gertrud (d. 1297), daughter of Saint Elisabeth of Thuringia. Her influence is clearly visible in both the architecture and the church decoration. Six large embroideries with high quality drawings, elaborate images, and detailed inscriptions survive from this monastery. These embroideries—a wall hanging with scenes from the life of St. Elisabeth, a catafalque cover for a temporary tomb with figures of standing sovereigns, and altarcloths for the high altar—were once a key part of three ensembles from subsequent periods of decoration, including also altarpieces, wall- and glass paintings, sculptures, relics, and metalwork. A study of the church furnishing as a whole—and in a context with well preserved written sources complete within the original architectural setting—leads to new conclusions concerning making and patronage as well as the functions and materiality of church decoration. As such, written and visual sources provide a clear view of women’s influence on the art and architecture of a female monastery. The results are striking: this material provides evidence of influence and exchange across the boundaries of enclosure as well as the sophisticated use of visual medias and images for devotional, pastoral, and political purposes both within and outside the monastic enclosure.