Tag Archives: metalwork

Conference: Bohlentueren und Eisenkunst des Mittelalters, Esslingen am Neckar, November 21–22, 2018

maulbronn_innen_brunnenhausRegistration deadline: Oct 19, 2018

Anlässlich der Restaurierung der mittelalterlichen Bohlentüren in der Welterbestätte Kloster Maulbronn und des davon unabhängigen Projektes der Restaurierung einer frühgotischen Sakristeitüre in der Johanneskircheim Rheinland-Pfälzischen Neustadt-Mußbach veranstalten die beiden Landesdenkmalpflegeämter von Baden-Württemberg und Rheinland-Pfalz ein wissenschaftliches Kolloquium.

Die Idee für die Tagung entstand aus der Einsicht, dass dem Thema der mittelalterlichen Türen bislang nicht die gebührende Aufmerksamkeit zu Teil wurde. Die eher stiefmütterliche Behandlung von Türen im Allgemeinen und Türen dieser Zeitstellung im Besonderen hat nach unserer Ansicht bereits in der älteren, aber leider auch jüngeren Vergangenheit zu großen Substanzverlusten geführt. Die Gründe hierfür sind zum einen Unkenntnis in Bezug auf die genaue Datierung der Objekte, als auch Unkenntnis über die Wertigkeit der Türen in Bezug auf die hohe Kunstfertigkeit ihrer Herstellungstechnik.

Wir möchten mit dieser Tagung einen aktiven Beitrag zur Aufklärung leisten und damit ein höheres Maß der Sensibilisierung für den künftig adäquaten Umgang mit diesen wertvollen und selten gewordenen Zeugnissen der Vergangenheit erreichen.

MITTWOCH 21. NOVEMBER 2018
8:00 Öffnung des Tagungsbüros
Anmeldung
8:45 Begrüßung
Prof. Dr. Claus Wolf
Präsident des Landesamtes für Denkmalpflege
im Regierungspräsidium Stuttgart (LAD)
Dr.-Ing. Roswitha Kaiser
Landeskonservatorin, Direktion Landesdenkmalpflege
Rheinland-Pfalz (LD RLP)
Moderation
Rolf-Dieter Blumer, LAD
Claudia Gerner-Beuerle, Dipl.-Restauratorin, LD RLP
9:15 Mittelalterliche Türen, Schlösser und Beschläge
vom 13. bis zum frühen 16. Jahrhundert – ein
Überblick
Prof. Dr. Achim Hubel, Regensburg
10:00 Zur Restaurierung von Schmiedeeisenobjekten
aus dem Mittelalter – Herangehensweise
und Umsetzung, Beispiele aus der Praxis
Elisabeth Krebs, Mag. Restauratorin, Wien
10:30 Befundung einer mittelalterlichen Bohlentür
aus Neustadt-Mußbach
Claudia Magin, Dipl.-Restauratorin, Wien
11:00 Fragen und Diskussion
11:15 Kaffeepause
11:45 Drei Sakristeitüren – drei Restaurierungskonzepte:
Kiedrich, Klingen-Heuchelheim, Neustadt-Mußbach
Esther Nickel, Dipl.-Restauratorin, Altenkirchen
12:15 Weniger ist mehr – Zur Erhaltung von mittelalterlichen
eisenbeschlagenen Bohlentüren
Manfried Eisbein, Dipl.-Restaurator,
Landesamt für Denkmalpflege Sachsen, Dresden
12:45 Mittelalterliche Bohlentüren in rheinhessischen
Dorfkirchen des Bistums Mainz – Versuch einer
Bestandsaufnahme
Diana Ecker, M.A., Konservatorin,
Kirchliche Denkmalpflege Bistum Mainz
13:15 Fragen und Diskussion
13:30 Mittagspause
14:30 Ornamental und figürlich bemalte Holz- und
Eisentüren vom 13. bis zum 16. Jahrhundert
im heutigen Hessen
Christine Kenner, Dipl.-Restauratorin,
Landesamt für Denkmalpflege Hessen, Wiesbaden
15:00 Sicher verwahrt – mittelalterliche Metalltüren
für gesicherte Räume in Kirchen
Dr. Ulrich Knapp, Freier Bauforscher, Leonberg
15:30 Die mittelalterlichen Türen der Hahnentürme
des Freibuger Münsters
Stefan King, Dipl.-Ing. M.A., Freier Bauforscher, Freiburg
16:00 Fragen und Diskussion
16:15 Kaffeepause
DONNERSTAG 22. NOVEMBER 2018
08:00 Abfahrt des Busses
Fleischmann- / Ecke Kollwitzstraße
73728 Esslingen am Neckar
10:00 Begrüßung im Kloster Maulbronn
Holger Probst, Architekt, Vermögen und Bau
Baden-Württemberg, Amt Pforzheim
Susann Seyfert und Rolf-Dieter Blumer, LAD
10:30 Die Bohlentüren des Klosters Maulbronn
Führung: Elisabeth Krebs, Mag. Restauratorin, Wien
12:30 Mittagspause
14:00 Weiterfahrt nach Knittlingen
14:15 Faust-Museum Knittlingen
Führung: Dr. Denise Roth, Leiterin des Museums
15:00 „Bin doch ein arm unwissend Kind“
Zur Metallurgie und Chemie des Mittelalters
im Kontext des Doktor Faustus
Prof. Bernhard Mai, Fachhochschule Erfurt
16:30 Abfahrt des Busses in Knittlingen
17:15 Stopp am Bahnhof Vaihingen/Enz
18:30 Ankunft in Esslingen
19:00 Gemütlicher Ausklang (Selbstzahler)
Beutaubesen
Mittlere Beutau 49
73728 Esslingen am Neckar
16:45 Die „Karlstür“ – eine karolingische Tür aus
dem Aachener Dom, Geschichte und Untersuchung
Helmut Maintz, Dombaumeister, Domkapitel Aachen
Norbert Engels, Restaurator,
LVR-Amt für Denkmalpflege im Rheinland, Pulheim
17:15 Beispiele mittelalterlicher Bohlentüren in
Vorpommern – ein Überblick
Elke Kuhnert, Dipl.-Restauratorin, Landesamt für Kultur
und Denkmalpflege Mecklenburg-Vorpommern, Schwerin
17:45 Gut verschlossen! Bohlentüren an Kornspeichern
des 17. und 18. Jahrhunderts auf dem Gebiet der
ehemaligen Herrschaft Kißlegg
Philipp Scheitenberger, M.A., Freier Haus- und Bauforscher,
Kißlegg
18:15 Resümée und Abschlussdiskussion
18:45 Vortragsende
19:30 Gemütliches Beisammensein (Selbstzahler)
Brauhaus Wichtel
Mettinger Straße 113
73728 Esslingen am Neckar

Veranstaltungsort: Salemer Pfleghof, Untere Beutau 8-10,73728, Esslingen am Neckar

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On this day in 1337…

Reposted from IAS Blog

K2779710.11

Reliquary of the Santo Corporale, gold and silver with basse taille enamel, 1.39×0.63 m, 1338 (Orvieto Cathedral). Source: Scala/Art Resource, NY

On 7 May 1337 goldsmith Ugolino di Vieri received the first payment for his masterpiece, the reliquary of the Santo Corporale of Bolsena. Payments are recorded for the following two years, reflecting the long process of creating an artwork as complex and monumental as this.

 

Reliquario_Corporale

Details of the Corporale, showing scenes from the Miracle. Source: Sailko on 
Wikimedia Commons.

The work was commissioned by the Bishop and Canons of Orvieto Cathedral to celebrate a miracle which had taken place in the nearby town of Bolsena in 1263. A priest in the town had become increasingly sceptical of the religious dogma of transubstantiation, namely the real conversion of the wine and bread used at Mass into the body and blood of Christ at the moment of their consecration. As the priest was celebrating the Eucharist one day, the consecrated host started bleeding on the corporal, the linen cloth used to cover the altar at this point of the celebration. Awed by the supernatural event, the priest described it to Pope Urban IV, who recognised it as a miracle and ordered the preservation of the blood-stained corporal as a relic.

Facciata_del_Duomo_di_Orvieto

Façade of the Duomo of Orvieto. Source: Hans Peter Schaefer on Wikimedia Commons

Conceived to contain the square corporal, Ugolino di Vieri’s reliquary abandoned the circular or polygonal shape typical of earlier objects of this type. Instead, it adopted a flat, rectangular structure which evokes an altarpiece or the façade of a church. The gables crowning the object are in fact very similar to those of Orvieto cathedral’s own façade.

 

 

 

maesta_duccio_00

Duccio di Buoninsegna, Maestà (back, conjectural reconstruction by Lew Minter), tempera on panel, 1308–1311. Source: Web Gallery of Art.

The iconography of the reliquary is as innovative as its form. It is decorated with 32 scenes representing the Passion of Christ and the Miracle of Bolsena in colourful basse taille enamel. The former narrative is illustrated with scenes copied from the famous Maestà altarpiece painted by Duccio di Buoninsegna for Siena Cathedral in 1308–11. Instead, the miracle had never been represented in art before, and Ugolino had to invent a completely new iconography to represent the event. Proud perhaps of his great achievement, Ugolino inscribed the reliquary with his name and with its date of completion.

 

On the day of Corpus Christi, 1338, a solemn procession transported the completed reliquary from Ugolino’s workshop to the cathedral. The procession evokes the similar celebration held for Duccio’s Maestà in 1311, as narrated by an anonymous Sienese chronicler:

On the day on which [the Maestà] was carried to the Duomo, the shops were locked up and the Bishop ordered a great and devout company of priests and brothers with a solemn procession, accompanied by the Signori of the Nine and all the officials of the Comune, and all the populace and all the most worthy were in order next to the said panel with lights lit in their hands, and then behind were women and children with much devotion; and they accompanied it right to the Duomo making procession around the Campo, as was the custom, sounding all the bells in glory out of devotion for such a noble panel as was this.

In Orvieto, Ugolino’s reliquary is still paraded every year during Corpus Christi celebrations.


Reference: Geddes, Helen. “Ugolino di Vieri.” Grove Art Online. http://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000086908.

CFP: Edited volume: Illuminating Metalwork: Metal, Object, and Image in Medieval Manuscripts

ca7dc72aa646b86adac774b20222768d-medieval-times-medieval-artCall for Submissions: Edited volume: Illuminating Metalwork: Metal, Object, and Image in Medieval ManuscriptsDeadline
Deadline: December 1, 2017

Edited volume: Illuminating Metalwork: Metal, Object, and Image in Medieval Manuscripts

Volume editors: Joseph Salvatore Ackley and Shannon L. Wearing
Deadline for submitting a proposal (500 words) and brief bio: 1 December 2017

Notification of submission status: 15 December 2017
Anticipated submission of completed texts: 1 October 2018

Historians of Western medieval, Byzantine, and Islamic art are invited to contribute essays to a volume on the representation of precious metalwork in medieval manuscripts.

The makers of medieval manuscripts frequently placed special emphasis on the depiction of precious-metal objects, both sacred and secular, including chalices, reliquaries, crosses, tableware, and figural sculpture. Artists typically rendered these objects using gold, silver, and metal alloys, “medium-specific” materials that richly and pointedly contrasted with the surrounding color pigments. The visual characteristics of these depicted metal things—lustrous yet flat, almost anti-representational—could dazzle, but perhaps also disorient: they grab the eye while creating a fertile tension between the representation of an object and the presentation of a precious stuff, between the pictorial and the material. A gold-leaf chalice signals its referent both iconically, via its shape, and indexically, via its metal material—a semiotic duality unavailable to the remainder of the painted miniature—and such images might accrue additional complexities when intended to represent known real-world objects.

This volume of essays will take inventory of how manuscript illuminators chose to depict precious metalwork and how these depictions generated meaning. The prominent application of metal leaf is one of the most distinguishing features of medieval manuscript illumination (only those books thus decorated technically merit the designation “illuminated”), and yet, despite its hallmark status, it has rarely served as a central subject of scholarly scrutiny and critique. In addressing both the use of metal leaf and the representation of precious-metal objects (via metallic and non-metallic media alike), Illuminating Metalwork seeks to remedy this lacuna. This volume will enhance traditionally fruitful approaches to medieval manuscript illumination, such as those analyzing text/image dynamics, pictorial mimesis, or public vs. private reception, by considering issues of materiality, preciousness, and presence. By focusing on the representation of precious metalwork, these studies will introduce new paths of inquiry beyond the depiction of actual objects and incorporate analyses of the use and simulation of metallic preciousness more broadly.

We invite essays that represent the full temporal and geographic scope of medieval manuscript painting—from Late Antiquity into the early modern era, from the Latin West to the Byzantine and Islamic East—in order to foster trans-historical and cross-cultural analysis. Possible themes include: chronological/geographical specificities in the representation of metalwork in manuscript illuminations; depictions of precious-metal figural sculpture, including idols; artistic technique and technical analysis (e.g. pigment vs. leaf, and the alloys used therein); the semiotics of metal on parchment; the phenomenology of the encounter; and whether we can speak of “portraits” of particular objects and/or visual “inventories” of specific collections.

Please direct all inquiries and submissions to Joseph Ackley (jackley@barnard.edu) and/or Shannon Wearing (slwearing@gmail.com).

Conference: Art and Economy in France and Italy in the 14th century: new research

giottotodeleteConference: Art et économie en France et en Italie au XIVe siècle. Nouvelles enquêtes,Art et économie en France et en Italie au XIVe siècle. Nouvelles enquêtes, Université de Lausanne, 19-20 October 2017

 

 

Programme:

Jeudi 19 octobre 2017

Nicolas Bock, Michele Tomasi
Introduction

14h30 L’Italie au Trecento et au Quattrocento : da Giotto alla morte !

Damien Cerutti
Giotto & Cie. Réflexions sur le marché pictural florentin dans le deuxième quart du Trecento

Katalin Prajda
Finanze e attività imprenditoriale nelle industrie pittoriche, orafe e di carpenteria nella Firenze del primo Rinascimento. Come la seta divenne una specialità fiorentina

Fabio Marcelli
Arte, civiltà comunale ed economia nell’Appennino umbro-marchigiano

Giampaolo Ermini
Il cantiere del coro trecentesco del duomo di Orvieto: manovalanza, materiali, costi e finanziamenti

Paola Vitolo
Spese della morte: investimenti per l’aldilà (e per l’al di qua) e pratica artistica (Italia, XIII-XIV secolo)

 

Vendredi 20 octobre 2017

9h00 Les arts de luxe

Chiara Maggioni
Orfèvreries à Mantoue au XIVe siècle : frais, évaluations, valeurs de marché

Andrea Cravero
Vetri dorati e graffiti del basso medioevo: economia di una bottega assisiate e mercato fiorentino

Giampaolo Distefano
Le occasioni del mercato artistico parigino del Trecento e la carriera dell’orafo Jean le Braelier

11h30  Entre l’Italie et la France

Teodoro De Giorgio
La riorganizzazione del sistema fiscale della corte pontificia avignonese sotto Giovanni XXII (1316-1334) e il nuovo volto del mecenatismo artistico papale

Alain Salamagne
L’usage du bois précieux dans le château en France et en Bourgogne (1350-1450)

14h00 Perspectives méditerranéennes

Doron Bauer
Economic Fluctuations and Artistic Production in The Kingdom of Majorca

Francesco Ruvolo
Prima di Antonello. Nuovi culti, spazio sacro e potere economico, nella Messina tra Due e Trecento

15h00  En ouvrant encore les horizons

Étienne Anheim
L’économie du travail artistique au XIVe siècle en France et en Italie

Wim Blockmans
La spécificité du secteur de l’art dans l’économie du bas Moyen Âge
Conclusions

 

Job: Curator of Medieval Art and Design, V&A Museum, London

Screen Shot 2017-09-01 at 15.46.23.pngJob: Curator of Medieval Art and Design, V&A Museum, London
Deadline: 29 September 2017

The V&A is seeking to appoint a Curator of Medieval Art and Design to join the Department of Sculpture, Metalwork, Ceramics & Glass.

The post-holder will be responsible for the development, care, research, display and interpretation of medieval art and design (excluding manuscripts, which are held in the National Art Library) in the Sculpture, Metalwork, Ceramics & Glass Department. The extensive European medieval collections are of national and international importance, and the post-holder will serve a wider role within the Department and the Museum as one of the medieval specialists, and will be expected to play an active role in the field of medieval studies and collecting, both nationally and internationally.

The successful candidate will have practical experience of collections management, excellent organisational, interpersonal and writing skills and experience in research and publication. They will be comfortable working across decorative arts collections, contributing to the V&A FuturePlan and exhibition projects, and cultivating and cementing good relations with external organisations and communities.

For further information on the post and to submit your application visit the V&A’s Recruitment Portal.

Examining Becket

Reflections on the Thomas Becket Study Day, 7th June 2017, Canterbury Cathedral

There could scarcely be a more appropriate setting for a study day on the theme of Thomas Becket than Canterbury Cathedral, the location of the archbishop’s martyrdom nearly 850 years ago on the 29th December 1170. In the Cathedral Library and Archives, just metres from the site of Becket’s murder in the North West Transept, experts from universities, museums and Canterbury heritage organisations gathered to discuss the saint’s life and cult.

The day began with a series of ‘quick fire’ presentations, each focusing on one theme or object related to Thomas Becket. The range of material gave an immediate sense of the scale and popularity of Becket’s cult in the Middle Ages and beyond. Some objects discussed have likely existed in the vicinity of Canterbury since they were produced, including a fragmentary sandstone ampulla mould discovered in the garden of 16 Watling Street (Dr Paul Bennett, Canterbury Archaeological Trust), a thirteenth-century cartulary made for Christ Church containing charters for the shrine of Thomas Becket (Professor Louise Wilkinson, Canterbury Christ Church University), the seal of Archbishop Simon Sudbury showing Becket’s martyrdom (Dr Sheila Sweetinburgh, University of Kent), and the spectacular miracle windows in the Trinity Chapel of the Cathedral itself (Professor Michael A. Michael, Christie’s Education).

Thomas Becket ampulla (or vessel), now in the British Museum, similar to the kind that would have been produced by the Watling Street mould discussed by Dr Paul Bennet. See more 3D models of pilgrim souvenirs here

Image 2, Sens Chasuble

Chasuble in Sens Cathedral treasury thought to have been worn by Thomas Becket and venerated as a contact relic

Other delegates discussed geographically dispersed objects which originated or were believed to have originated in Canterbury. For instance, pilgrim souvenirs depicting Becket were bought by visitors to Canterbury and, it would seem, lost on the way home. These badges, with their intricate and compelling imagery, would have been worn on the bags, hats and garments of pilgrims as signs of their visit to Becket’s shrine and are now excavated from sites across Britain and Europe (Amy Jeffs and Dr Gabriel Byng, University of Cambridge and convenors of The Digital Pilgrim Project). Likewise, Dr Emily Guerry (University of Kent) discussed a series of vestments owned by Sens Cathedral that were reputedly worn by Becket and possibly used at Sens as contact relics.

 

A number of  significant objects pertaining to Becket originated from further afield, both geographically and chronologically. Dr Tom Nickson (Courtauld Institute of Art), for example, presented on a c. 1200 altar frontal depicting Becket’s martyrdom found in the church of San Miguel in Almazán, which bears early witness to the popularity of Becket’s cult in Spain.

Image 1, San Miguel altar

Altar frontal from the church of San Miguel in Almazán, showing Becket’s martyrdom

Becket’s later legacy was then examined. Lloyd De Beer (British Museum) assessed the sixteenth-century political and religious connotations of the saint’s martyrdom through the lens of Alberti’s The Martyr’s Picture (1581), displayed in the Venerable English College in Rome, and Naomi Speakman (British Museum) discussed Becket’s memory in post-Reformation England and his representation as an anti-martyr.

These evocative objects and themes provoked a lively concluding discussion that centred on the international nature of Becket’s cult and the extent to which the art associated with it imitated and/or innovated in order promote the saint and potency of his cult as a political tool.

Image 4, Cathedral Archives

Examining the Professions of Obedience in the Canterbury Cathedral Archives

This discussion was followed by an opportunity to see first-hand some of the extraordinary items associated with Becket. Cressida Williams, head of the Cathedral Archives and Library, had organised for an array of Becket-themed documents and objects from the Cathedral collections and various heritage organisations in Canterbury to be displayed together in the reading room of the Cathedral Archives. Among this impressive collection were two fragments of pink Tournai marble, discovered during excavations in the Cathedral grounds, which are thought to have come from the shrine of St Thomas himself. Also on display were a number of medieval seals from the Cathedral’s collections, including those of Archbishops Hubert Walter and Stephen Langton, which both depict Becket’s martyrdom. Dr Helen Gittos from the University of Kent discussed a particular treasure of the Cathedral Archive, the Professions of Obedience, a series of 170 documents now bound into a single volume that record the vows made by bishops during their consecration. These small vellum statements, which would have originally been sewn together in a continuous roll, contain the dates of bishops’ consecrations, and are thus immensely helpful in dating other contemporary documents based on a comparison of their palaeography. Becket’s entry is especially marked in the Professions by a statement in red noting his archiepiscopal status.

 

The later half of the afternoon saw the group move to the Cathedral stained glass studio, where Leonie Seliger, Head of the Stained Glass Conservation Department, led us in a discussion of the representation of Becket in the Cathedral glass. Notably, only three original thirteenth-century panels depicting Becket’s head survive, which Leonie encouraged us to find among her printed reproductions – a task that proved surprisingly difficult. We also had the opportunity to see some of medieval stained glass currently under restoration in the studio, and to hear from Leonie about the techniques that would have gone in to making these panels. A particular highlight was seeing how the colour of nine hundred year old stained glass was still bright and vivid when held up to the light.

Image 7, Sudbury's tomb

Kneeling at the resonant prayer niches in Archbishop Sudbury’s tomb, Canterbury Cathedral

A subsequent tour of the Cathedral offered a chance to see the miracle windows we had discussed in the glass studio in situ, along with the site of Becket’s shrine and several archiepiscopal and royal tombs. The tombs of Archbishops Sudbury and Mepham in the south aisle of the Choir afforded a particularly interactive experience; kneeling down at one of the vaulted prayer niches carved into the tombs’ exterior, penitents (or indeed academics) can experience an amplification not only of the music performed in the nearby Choir, but also their own whispered prayers and thoughts.

 

Professor Paul Binski (University of Cambridge) brought the study day to a close with a public lecture entitled ‘Thomas Becket and the Medieval Cult of Personality’. Drawing on many of the objects seen and discussed throughout the day, Professor Binski reflected on the idea of Becket’s ‘persona’ (as opposed to the modern notion of ‘personality’) and its importance in the formation and development of his cult. Much like a mask that can be put on or taken off, the medieval concept of an individual’s persona was related to their outer countenance, and formed by certain archetypal characteristics – both good and bad – often rooted in character types in biblical stories or saint’s lives. Becket’s persona and outer image, Professor Binski argued, was imitated in the art and architecture produced in response to his martyrdom, an aspect that was vital to the rapid dissemination and spread of the cult. Due in part to the accessibility of this image through objects made both for the elite and for the ordinary person, Becket’s persona transcended social as well as geographical boundaries, transforming his cult into a widespread, international phenomenon. Professor Binski’s concluding remarks on the appeal of the Becket’s cult in the Middle Ages had a particular resonance amidst of the full lecture theatre where the lasting legacy of Thomas Becket’s life and death was still very much felt.

Sophie Kelly

PhD Candidate, University of Kent