By Sarah Blick, Rita Tekippe
This assortment comprises essays at the visible adventure and fabric tradition at medieval pilgrimage shrines of northern Europe and the British Isles, fairly the paintings and structure created to accentuate non secular adventure for viewers. those reviews specialize in local pilgrimage facilities which flourished from the 12th-16th centuries, addressing quite a few facets of visible imagery and architectural house which galvanized devotees to worth cults of enshrined saints and to venerate them in reminiscence from afar. topics comprise pilgrim gown, jeweled and painted reliquaries, labyrinths, complicated processions, published texts of the saint's existence, shrines, sculpture and different architectural ornament, and pilgrim souvenirs. Profusely illustrated with 350 pictures, this paintings will curiosity students and scholars of paintings historical past, background, spiritual stories, and pop culture. individuals contain: Ilana Abend-David, Virginia Blanton, Sarah Blick, Katja Boertjes, James Bugslag, Lisa Victoria Ciresi, Daniel ok. Connolly, M. Cecilia Gaposchkin, Laura D. Gelfand, Anja Grebe, Anne F. Harris, Kelly M. Holbert, Vida J. Hull, Jos Koldeweij, Marike de Kroon, Claire Labrecque, Stephen Lamia, Nora Laos, Jennifer M. Lee, Albert Lemeunier, Mitchell B. Merback, Scott B. Montgomery, Jeanne Nuechterlein, Rita Tekippe, William J. Travis, Kristen Van Ausdall, Benoit Van den Bossche.
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Additional resources for Art And Architecture Of Late Medieval Pilgrimage In Northern Europe And The British Isles Texts (Studies in Medieval and Reformation Traditions)
T loan by the Friedrich von Praunsche Familienstiftung since Sammelns, cat. 143, p. 312. 551 (on permanent 1876). Die Kunst des 552 (on permanent 1876). 6 It was once completely covered with tiny mother-of-pearl plates which formed a grid of narrow pointed ovals in whose squares, small crosses were enclosed. The knob itself is plated with mother-of-pearl hexagons that are ﬁxed with small brass tacks in the center. 7 The rosary consists of seventy wooden beads including seven larger beads, all connected by metal eyelets.
8 Nuremberg, Germanisches Nationalmuseum, Inv. No. T 556 (on permanent loan by the Friedrich von Praunsche Familienstiftung since 1876). Die Kunst des Sammelns, cat. 146, p. 313. 9 Nuremberg, Germanisches Nationalmuseum, Inv. No. Gm 655 (on permanent loan by the Friedrich von Praunsche Familienstiftung since 1876). 7 cm. Die Kunst des Sammelns, cat. 170, pp. 341–2; Kurt Löcher, Die Gemälde des 16. Jahrhunderts (Stuttgart, 1997), pp. 367–8. 10 Linden wood or limewood was the material commonly used by artists in southern Germany in the Middle Ages and early modern period.
Peter, either sewn or painted on the dress, were souvenirs of pilgrims to Rome. The woman carries a shoulder bag and, on her head, she wears a simple black hat with an open veil. The baby girl on her shoulders is also poorly-dressed and wears no pilgrims’ signs. The husband holds the 44 The panel is part of the altarpiece of St. Anne now in the Historical Museum in Frankfurt/Main, Inv. No. B 323. Kurt Köster, “Pilgerzeichen und Wallfahrtsplaketten von St. Adrian in Geraardsbergen. Zu einer Darstellung auf einer ﬂämischen Altartafel des 15.
Art And Architecture Of Late Medieval Pilgrimage In Northern Europe And The British Isles Texts (Studies in Medieval and Reformation Traditions) by Sarah Blick, Rita Tekippe