Ulmer Altar in der Chor Apsis - Hutz Altar - Schaffner Altar -. Ersatz für den ehemaligen Hochaltar - Our Lady Chapel, altar.
Heilige Familie, Heilige Sippe, Holy Family Altar, extended family of Mary
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Churches generally have a single altar, although in the West, as a result of the former abandonment of concelebration of Mass, so that priests always celebrated Mass individually, larger churches have had one or more side chapels, each with its own altar. The main altar was also referred to as the "high altar".
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In der Mitte sitzen Maria mit dem Jesuskind und ihre Mutter Anna einander gegenüber. An den Fingerspitzen berühren sich die Generationen, die hier zugleich für den Alten und den Neuen Bund Gottes stehen.
-
Darunter: Sockelbild
Christus, der mit den Jüngern das letzte Abendmahl feiert. In dem zweiten Apostel links mit dem mittelalterlichen Noppenbecher in der Hand hat sich der Künstler Martin Schaffner selbst verewigt.
Der neue "Hochaltar" aka Hutzaltar, der stand ehemals in der Turmvorhalle, und damit ein Altar von sechzig.
Location: ULM
Places / Germany / Baden-Wurttemberg / Ulm
www.flickr.com/search/?q=Ulmer%20M%C3%BCnster
Muenster unserer Lieben Frau
Minster of Our Lady
Cathédrale de Notre-Dame
La iglesia de monasterio de Nuestra Señora
母大教堂
Mit einer Höhe von 161,53 Meter ist der Hauptturm vom Ulmer Münster nicht nur einer der höchsten Kirchtürme der Christenheit, sondern das im gotischen Stil errichtete Bauwerk ist auch die größte protestantische Kirche weltweit.
°°°
Panasonic LUMIX DMC-TZ 41, TZ 41, TZ 40,
Minitsativ
Settings: 15 sec ƒ/3.4 ISO 100
Focal Length (35mm format) 27 mm
Scene Capture Type Night
Self Timer 2 s
-->> Click , click
© View LARGE on BLACK
or white, or grey
__ For your Eyes only ©
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
The Choir Altar.
The story concerning the altar is eventful: in the choir, which had long been in use, there must surely have stood a high altar before 1473, when Jörg Syrlin the Elder received the commission for a new and better one, for which Michel Erhart was to carve the figures.
Ulmer Schule - Künstler und Werkstätten - Artists and craftsman around the "Ulm Style"
We do not know what became of it. In the iconoclasm everything perished. At any rate, an emergency altar was set up in 1548 for the visit of Charles V. This remained until the present altar replaced it in 1808.
This stood originally in the tower hall where the Hutz family had its altar. Laux Hutz, the "Suire Lukas", was the donor.
While other families, heeding the warning of the council in the face of the iconoclasm, took their donations to safety, the Hutz altar came into the hands of the mason's lodge (Dombauhütte ?) . In 1587 it was brought into the "little church", the Church of the Barefooted. Upon the church's demolition the altar went back to the cathedral and received its present place of honour.
Martin Schaffner is the artist. It was carved in his workshop and the master himself painted the pictures. He placed the date 1521 and his mark MS on it several times. The altar ranks as the most important work of Schnaffner of whom we know neither date of birth nor death, only that he was in Ulm around 1500-30 as city painter, one of the last of the Ulm School. The Hutz altar is also called the Schnaffner altar.
He produced a Holy Family altar, which shows the extended family of Mary as sketched by legends.
Guidebook
°°°
The original main altar was destroyed by the iconoclasts of the reformation. The current altar from the early 16th century is a triptych, showing figures of the Holy Family and the Last Supper in the preadella.
In the shrine - too heavily gilded during the renovation of 1879-80 -: Mary with the child and her mother Anna who extends her hand to the child. The men in back: at the left, Joseph leaning over the chair, then Anna: Joachim, Mary's father, looking at his grandson; at right, Cleophas (green hat) and Salomas (red hat), Anna's further husbands, as if about to discuss the miracle. And in the centre, the Holy Spirit through whom the miracle happened. "Gothic lyrical style" is the scholar's classification.
It is continued on the wings: Anna is supposed to have had a daughter by each of her 2nd and 3rd husbands, half-sisters of Mary. The daughter of Cleophas, Mary Cleophas, is to be seen in the right wing with her husband Alpheus and their sons. Three of the four were supposed to have become apostles. Salomas' daughter, Mary Salome,at left, holds her son John on her lap, to whom the father Zeberdee - a picture of the donor Laux Hutz - gives a pear. Brother James also wishes to be present.
What pious legend exuberantly embellishes belongs to the secret of Catholic faith: the mother of Jesus, herself immaculately conceived by Anna, gave birth to the Saviour. She is the mother of Christ and thus became God-bearer, and therefore also mother of the body of Christ, of the church. In her the church became incarnate.
Renaissance: the group in the shrine is still Gothic, but the wings are new in style. There Schaffner painted an earthly idyl: family portraits of old German style, warm, filled with affectionate parents and children, charming in detail: at left for instance, James practicing the letter A on a tablet: Adam, Abel, Abraham! ...to the right, Simon is also an ABC pupil who shows his father the tablet: below him, Justus, supposed to be Barnabas, holds high a tied-up bird. The arrangement of persons is important and new, their movement and relation to one another, then the space, which is grasped in terms of perspective and gives a view of landscape through the windows. That is Renaissance, Schaffner brings Italian influence. Fifty years have passed since the last judgement was painted in the choir arch, since Syrlin created the choir stalls. Now a break-through has been reached. Luther is making church history, in Rome St. Peter's cathedral is being built. Raphael and Michelangelo are already disagreeing. Man occupies the central position, thanks to Humanism and the Renaissance. And in the Reformation he enquires anew about a gracious God.
The Praedella - the pictue at the base - depicts the Last Supper. Here Leonardo's great painting stood godfather to Schnaffner. Strong in colour and rich in detail: the bread, the wine and the meat. The apostles are animatedly discussing who the betrayer yet John leans toward the master, as in the Gothic tradition.
Guidebook
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ulmer Altar in der Chor Apsis - Hutz Altar - Schaffner Altar -. Ersatz für den ehemaligen Hochaltar - Our Lady Chapel, altar.
Heilige Familie, Heilige Sippe, Holy Family Altar, extended family of Mary
-
Churches generally have a single altar, although in the West, as a result of the former abandonment of concelebration of Mass, so that priests always celebrated Mass individually, larger churches have had one or more side chapels, each with its own altar. The main altar was also referred to as the "high altar".
-
In der Mitte sitzen Maria mit dem Jesuskind und ihre Mutter Anna einander gegenüber. An den Fingerspitzen berühren sich die Generationen, die hier zugleich für den Alten und den Neuen Bund Gottes stehen.
-
Darunter: Sockelbild
Christus, der mit den Jüngern das letzte Abendmahl feiert. In dem zweiten Apostel links mit dem mittelalterlichen Noppenbecher in der Hand hat sich der Künstler Martin Schaffner selbst verewigt.
Der neue "Hochaltar" aka Hutzaltar, der stand ehemals in der Turmvorhalle, und damit ein Altar von sechzig.
Location: ULM
Places / Germany / Baden-Wurttemberg / Ulm
www.flickr.com/search/?q=Ulmer%20M%C3%BCnster
Muenster unserer Lieben Frau
Minster of Our Lady
Cathédrale de Notre-Dame
La iglesia de monasterio de Nuestra Señora
母大教堂
Mit einer Höhe von 161,53 Meter ist der Hauptturm vom Ulmer Münster nicht nur einer der höchsten Kirchtürme der Christenheit, sondern das im gotischen Stil errichtete Bauwerk ist auch die größte protestantische Kirche weltweit.
°°°
Panasonic LUMIX DMC-TZ 41, TZ 41, TZ 40,
Minitsativ
Settings: 15 sec ƒ/3.4 ISO 100
Focal Length (35mm format) 27 mm
Scene Capture Type Night
Self Timer 2 s
-->> Click , click
© View LARGE on BLACK
or white, or grey
__ For your Eyes only ©
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
The Choir Altar.
The story concerning the altar is eventful: in the choir, which had long been in use, there must surely have stood a high altar before 1473, when Jörg Syrlin the Elder received the commission for a new and better one, for which Michel Erhart was to carve the figures.
Ulmer Schule - Künstler und Werkstätten - Artists and craftsman around the "Ulm Style"
We do not know what became of it. In the iconoclasm everything perished. At any rate, an emergency altar was set up in 1548 for the visit of Charles V. This remained until the present altar replaced it in 1808.
This stood originally in the tower hall where the Hutz family had its altar. Laux Hutz, the "Suire Lukas", was the donor.
While other families, heeding the warning of the council in the face of the iconoclasm, took their donations to safety, the Hutz altar came into the hands of the mason's lodge (Dombauhütte ?) . In 1587 it was brought into the "little church", the Church of the Barefooted. Upon the church's demolition the altar went back to the cathedral and received its present place of honour.
Martin Schaffner is the artist. It was carved in his workshop and the master himself painted the pictures. He placed the date 1521 and his mark MS on it several times. The altar ranks as the most important work of Schnaffner of whom we know neither date of birth nor death, only that he was in Ulm around 1500-30 as city painter, one of the last of the Ulm School. The Hutz altar is also called the Schnaffner altar.
He produced a Holy Family altar, which shows the extended family of Mary as sketched by legends.
Guidebook
°°°
The original main altar was destroyed by the iconoclasts of the reformation. The current altar from the early 16th century is a triptych, showing figures of the Holy Family and the Last Supper in the preadella.
In the shrine - too heavily gilded during the renovation of 1879-80 -: Mary with the child and her mother Anna who extends her hand to the child. The men in back: at the left, Joseph leaning over the chair, then Anna: Joachim, Mary's father, looking at his grandson; at right, Cleophas (green hat) and Salomas (red hat), Anna's further husbands, as if about to discuss the miracle. And in the centre, the Holy Spirit through whom the miracle happened. "Gothic lyrical style" is the scholar's classification.
It is continued on the wings: Anna is supposed to have had a daughter by each of her 2nd and 3rd husbands, half-sisters of Mary. The daughter of Cleophas, Mary Cleophas, is to be seen in the right wing with her husband Alpheus and their sons. Three of the four were supposed to have become apostles. Salomas' daughter, Mary Salome,at left, holds her son John on her lap, to whom the father Zeberdee - a picture of the donor Laux Hutz - gives a pear. Brother James also wishes to be present.
What pious legend exuberantly embellishes belongs to the secret of Catholic faith: the mother of Jesus, herself immaculately conceived by Anna, gave birth to the Saviour. She is the mother of Christ and thus became God-bearer, and therefore also mother of the body of Christ, of the church. In her the church became incarnate.
Renaissance: the group in the shrine is still Gothic, but the wings are new in style. There Schaffner painted an earthly idyl: family portraits of old German style, warm, filled with affectionate parents and children, charming in detail: at left for instance, James practicing the letter A on a tablet: Adam, Abel, Abraham! ...to the right, Simon is also an ABC pupil who shows his father the tablet: below him, Justus, supposed to be Barnabas, holds high a tied-up bird. The arrangement of persons is important and new, their movement and relation to one another, then the space, which is grasped in terms of perspective and gives a view of landscape through the windows. That is Renaissance, Schaffner brings Italian influence. Fifty years have passed since the last judgement was painted in the choir arch, since Syrlin created the choir stalls. Now a break-through has been reached. Luther is making church history, in Rome St. Peter's cathedral is being built. Raphael and Michelangelo are already disagreeing. Man occupies the central position, thanks to Humanism and the Renaissance. And in the Reformation he enquires anew about a gracious God.
The Praedella - the pictue at the base - depicts the Last Supper. Here Leonardo's great painting stood godfather to Schnaffner. Strong in colour and rich in detail: the bread, the wine and the meat. The apostles are animatedly discussing who the betrayer yet John leans toward the master, as in the Gothic tradition.
Guidebook
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~