View allAll Photos Tagged apokalypse
Last Friday I was on a trip with my friend Roland Ster in Italy at the old train station.
See the other photos of this series here
Last Friday I was on a trip with my friend Roland Ster in Italy at the old train station.
See the other photos of this series here
Aufgenommen am Place de la Concorde mitten in Paris. Eine schwere Wolke über der Stadt läßt nur einen dicht gebündelten Sonnenstrahl auf die Erde fallen. Es entsteht eine surreale Stimmung.
The sun will go down and the night will come. And the creatures of the darkness. Reminds me to so much horror-films. The still moment before the zombie apocalypse will starts - Old picture with Ophelia Overdose.. --
Ein altes Bild aus dem Archiv. Shooting mit Ophelias Overdose von 2008.
"Es existiert
In deiner Fantasie
Ein bisschen Größenwahn
gepaart mit Lethargie".. lyrics from "Rituale Romanum", by Agonoize.
pic and postwork: www.darksightberlin.com
Le panneau central montre Michael triomphante sur les forces du mal qui apparaissent ici dans le réalisme lugubre des créatures hybrides diablement aliénés. Leur chiffre sept fait penser aux sept péchés capitaux. Dans une petite scène secondaire dans le fond est montré la bataille des anges sous le leadership de Michael, dans l'Apocalypse prophétiseé, contre les anges de Satan, d'abord brouillés et maintenant transformé en démons. Sur les ailes: à l'intérieur, le saint Jérôme et saint Antoine de Padoue, à l'extérieur, le Saint-Sébastien et une sainte avec un garçon.
Die Mitteltafel zeigt Michael triumphierend über die Kräfte des Bösen, die hier in der unheimlichen Realistik teuflisch verfremdeter Mischwesen erscheinen. Ihre Siebenzahl lässt an die sieben Todsünden denken. In einer kleinen Nebenszene im Hintergrund ist der in der Apokalypse prophezeite Kampf der Engel unter der Führung Michaels gegen die abgefallenen und nun in Dämonen verwandelten Engel des Satans dargestellt. Auf den Flügeln: innen die Heiligen Hieronymus und Antonius von Padua, außen der Heilige Sebastian und eine weibliche Heilige mit einem Knaben.
Altarpiece of the Archangel Michael
Austria Kunsthistorisches Museum
Federal Museum
Logo KHM
Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture
Founded 17 October 1891
Headquartered Castle Ring (Burgring), Vienna 1, Austria
Management Sabine Haag
www.khm.at website
Main building of the Kunsthistorisches Museum at Maria-Theresa-Square
The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.
The museum
The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.
History
Archduke Leopold Wilhelm in his Gallery
The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building .
Architectural History
The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währingerstraße/ Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the opera ring, and Ludwig Zettl the southeast side of the grain market (Getreidemarkt).
From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience with of Joseph Semper at the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.
Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.
Construction of the two museums began without ceremony on 27 November 1871 instead. Semper moved to Vienna in the sequence. From the beginning, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, built in 1878, the first windows installed in 1879, the Attica and the balustrade from 1880 to 1881 and built the dome and the Tabernacle. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.
The lighting and air conditioning concept with double glazing of the ceilings made the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times .
Kuppelhalle
Entrance (by clicking the link at the end of the side you can see all the pictures here indicated!)
Grand staircase
Hall
Empire
The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891 , the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol will need another two years.
189, the farm museum was organized in seven collections with three directorates:
Directorate of coins, medals and antiquities collection
The Egyptian Collection
The Antique Collection
The coins and medals collection
Management of the collection of weapons, art and industrial objects
Weapons collection
Collection of industrial art objects
Directorate of Art Gallery and Restaurieranstalt (Restoration Office)
Collection of watercolors, drawings, sketches, etc.
Restoration Office
Library
Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.
1914, after the assassination of Franz Ferdinand, heir to the throne, his " Estonian Forensic Collection " passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d' Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.
The First World War went by, apart from the oppressive economic situation without loss. The farm museum remained during the five years of war regularly open to the public.
Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.
First Republic
The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.
It was not until the Treaty of Saint-Germain of 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.
On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House" , by the Republic. Of 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.
Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.
With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the
Egyptian and Near Eastern Collection (with the Oriental coins)
Collection of Classical Antiquities
Collection of ancient coins
Collection of modern coins and medals
Weapons collection
Collection of sculptures and crafts with the Collection of Ancient Musical Instruments
Picture Gallery
The Museum 1938-1945
Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.
With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the empire.
After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to perform certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.
The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. This was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.
The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.
The museum today
Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).
The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.
In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.
Management
1919-1923: Gustav Glück as the first chairman of the College of science officials
1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director
1933: Arpad Weixlgärtner first director
1934-1938: Alfred Stix first director
1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief in 1941 as first director
1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections in 1949 as general director of the historical collections of the Federation
1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections in 1949 as general director of art historical collections of the Federation
1949-1950: Hans Demel as administrative director
1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation
1951-1952: Fritz Eichler as administrative director
1953-1954: Ernst H. Buschbeck as administrative director
1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director
1967: Edward Holzmair as managing director
1968-1972: Erwin Auer first director
1973-1981: Friderike Klauner first director
1982-1990: Hermann Fillitz first director
1990: George Kugler as interim first director
1990-2008: Wilfried Seipel as general director
Since 2009: Sabine Haag as general director
Collections
To the Kunsthistorisches Museum are also belonging the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.
Kunsthistorisches Museum (main building)
Picture Gallery
Egyptian and Near Eastern Collection
Collection of Classical Antiquities
Vienna Chamber of Art
Numismatic Collection
Library
New Castle
Ephesus Museum
Collection of Ancient Musical Instruments
Arms and Armour
Archive
Hofburg
The imperial crown in the Treasury
Imperial Treasury of Vienna
Insignia of the Austrian Hereditary Homage
Insignia of imperial Austria
Insignia of the Holy Roman Empire
Burgundian Inheritance and the Order of the Golden Fleece
Habsburg-Lorraine Household Treasure
Ecclesiastical Treasury
Schönbrunn Palace
Imperial Carriage Museum Vienna
Armory in Ambras Castle
Ambras Castle
Collections of Ambras Castle
Major exhibits
Among the most important exhibits of the Art Gallery rank inter alia:
Jan van Eyck: Cardinal Niccolò Albergati, 1438
Martin Schongauer: Holy Family, 1475-80
Albrecht Dürer : Trinity Altar, 1509-16
Portrait Johann Kleeberger, 1526
Parmigianino: Self Portrait in Convex Mirror, 1523/24
Giuseppe Arcimboldo: Summer 1563
Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07
Caravaggio: Madonna of the Rosary (1606-1607)
Titian: Nymph and Shepherd to 1570-75
Portrait of Jacopo de Strada, 1567/68
Raffaello Santi: Madonna of the Meadow, 1505 /06
Lorenzo Lotto: Portrait of a young man against white curtain, 1508
Peter Paul Rubens: The altar of St. Ildefonso, 1630-32
The Little Fur, about 1638
Jan Vermeer: The Art of Painting, 1665/66
Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559
Kids, 1560
Tower of Babel, 1563
Christ Carrying the Cross, 1564
Gloomy Day (Early Spring), 1565
Return of the Herd (Autumn), 1565
Hunters in the Snow (Winter) 1565
Bauer and bird thief, 1568
Peasant Wedding, 1568/69
Peasant Dance, 1568/69
Paul's conversion (Conversion of St Paul), 1567
Cabinet of Curiosities:
Saliera from Benvenuto Cellini 1539-1543
Egyptian-Oriental Collection:
Mastaba of Ka Ni Nisut
Collection of Classical Antiquities:
Gemma Augustea
Treasure of Nagyszentmiklós
Gallery: Major exhibits
Last Friday I was on a trip with my friend Roland Ster in Italy at the old train station.
See the other photos of this series here
Marc Chagall, Witebsk 1887 - Saint-Paul-de-Vence 1985
Apokalypse in lila, Capriccio - Apocalypse in lilac (1945)
Ben Uri Collection, London, UK
At the end of the 1930s, Chagall found a visual language for the political and personal events of his era in religious and primarily Christian motifs. For the artist, the crucified Christ became the central allegory for the suffering of European Jews.
Last Friday I was on a trip with my friend Roland Ster in Italy at the old train station.
See the other photos of this series here
Last Friday I was on a trip with my friend Roland Ster in Italy at the old train station.
See the other photos of this series here
A detail of one of the figures that can be found in the delightful Arentshof in Bruges, Belgium. The figures are of the four horsemen of the apocalypse (representing conquest, war, famine, and death) and were made by the Flemish sculptor Rik Poot.
Judging by the lack of teeth I would guess that this one is famine :-)
Add MS 15243
www.bl.uk/manuscripts/FullDisplay.aspx?ref=Add_MS_15243
Date c 1350-c 1370
Title Apocalypse, in German
Content Apocalypse, in German.Begins: 'Apokalipsis dit ist die offenbarunge ihesu cristi'.Ends: 'Hye endit dass buch der hymelichen offenbarunge. Explicit Apocalypsis. Amor vincit omnia'.Decoration:14 full-page miniatures, without borders, in gold, silver and colours (ff. 2v, 4r, 10r, 12r, 15r, 19r, 21r, 23r, 25r, 31r, 32r, 34r, 35r, 36r), outlined by black ink pen.The subjects of the miniatures are as follows:f. 2v: St John sitting in a cave in a rock with trees growing on it (representing the cave on the island of Patmos: Rev. 1:9).f. 4r: Christ with a huge gold key. The seven stars in a vertical column over his right hand (representing the angels of the seven churches). St John is lying before his feet. A hand out of a cloud touches him. The label 'vorchte dich nicht' ('Fear not') (Rev. 1: 16-18).f. 10r: The Elders. The Lamb: the Lion of Judah crowned. Below, St John. Four Elders adoring (Rev. 5:5-14)f. 12r: The Four Riders, the fourth a skeleton mounted on a crowned lion (Rev. 6:1-8).f. 15r: The Locusts emerging from the pit (Rev. 9:3-10).f. 19r: The Temple of God and the Ark of His Testament; the Woman and the Dragon (Rev. 11:19, 12:1-5).f. 21r: The Woman flying. Below, St John. The dragon vomiting water (Rev. 12:13-15).f. 23r: Kings, in a row, and soldiers, representing the 144,000. The Lamb nimbed, with gold cross (Rev. 14:1-5). M.R. James described the scene below as 'the Annunciation, with the Dove', but it may represent the angel preaching to those on earth (Rev. 14:6).f. 25r: Christ aloft on a cloud, holding an open book in his left hand a sickle in his right hand. Two figures below: one holding a blank speech scroll; the other, St John, is gesturing to Christ and a grapevine. An angel to the right, harvesting grapes with a knife (Rev. 14:18-20).f. 31r: An angel bearing a millstone and casting it into the sea; St John witnessing the scene at the side (Rev. 18:21).f. 32r: A crowned rider, with an angel and birds above. On the right, an angel giving a rod to the Virgin (Rev. 19:11-15).f. 34r: An angel holding the key of the bottomless pit, and a chain attached to the neck of a devil who is with others in a Hell-mouth (Rev. 20:1-3).f. 35r: The Judgement (Rev. 20:11-15). Two crowned women are on the left, with Christ in a mandorla in the centre. Two Apostles (?) are on the right. Below, there are three Apostles (?), a hell-mouth and six corpses.f. 36r: The Holy City, with twelve towers, and an Apostle in each (Rev. 21:10-14).For further details and similarities with other German Apocalypses, see James, The Apocalypse in Latin (1927).Other decoration:Large initial in gold outline, with zoomorphic penwork decoration in red and blue, and foliate pen-flourishing in gold with additional penwork (f. 3r).14 small initials in gold. Three small initials in red and green with pen-flourishing.43 small in initials in red and green.
View: bindings
88 images available
Languages German, Middle High
Physical Description
Materials: Parchment.
Dimensions: 345 x 255 mm (text space: 255 x 160 mm).
Foliation: ff. 39 (f. 1 is a paper slip containing notes in German in a 15th/16th-century hand pasted to the inside of the front binding; one unfoliated modern paper flyleaf at beginning and end; f. 39 is half a leaf).
Collation: irregular, with many inserted leaves/singletons; i1 (f. 2, followed by two stubs), ii8+3 (ff. 3-13; 2nd, 8th and 10th leaves (ff. 4, 10 and 12) are singletons, the 10th leaf being stitched behind the 2nd), iii8+5 (ff. 14-26; 2nd, 6th, 8th, 10th and 12th leaves (ff. 15, 19, 21, 23 and 25) are singletons; two blank, unfoliated strips of parchment stitched around the quire as sewing guards), iv4+7 (ff. 27-37; 2nd, 4th, 5th, 6th, 8th, 9th and 10th leaves (ff. 28, 30, 31, 32, 34, 35 and 36) are singletons, the 10th leaf being stitched behind the 2nd, and the 7th leaf being stitched behind the 4th leaf; two blank, unfoliated strips of parchment inserted as sewing guards, the first immediately after the opening bifolium of ff. 27/37, the second around the outside of the other bifolium of ff. 29/33), vsix-four (ff. 38-39; 3rd-6th leaves excised, probably blank; 2nd leaf a half leaf).
Script: Gothic (Textura Quadrata).
Binding: Pre-1600. Kyriss workshop no. 93; Einbanddatenbank (Binding Database) no. W000112 (www.hist-einband.de/). Erfurt, Thuringia; 1490-1520. Blind-tooled pig-skin, with two brass clasps engraved with leaves attached to rear. Features motifs 1, 4, 6, 8 and maybe 2 in Kyriss, Verzierte gotische Einbande, 4 vols in 1 (1951-58), 2: Tafelband, p. 70.
Ownership Origin: Germany (Thuringia, possibly Erfurt).Provenance: Augustus Frederick, Duke of Sussex (b. 1801, d. 1843); his sale, 31 July 1844, lot 81, bought by Thomas Rodd, London bookseller, for the British Museum (note on f. 1r).
Bibliography
Thomas J. Pettigrew, Bibliotheca Sussexiana: A Descriptive Catalogue, Accompanied by Historical and Biographical Notices, of the Manuscripts and Printed Books Contained in the Library of His Royal Highness the Duke of Sussex in Kensington Palace, 2 vols (London: Longman & Co., 1827-39), I, pt 1, pp. ccxlii-ccxliii.
Catalogue of Additions to the Manuscripts in the British Museum in the Years 1841-1845 (London: Printed by Order of the Trustees, 1850), List of Additions to the Department of Manuscripts, 1844, p. 118.
O. Behaghel, 'Zwei deutsche Übersetzungen der Offenbarung Johannis', Zeitschrift für deutsches Alterthum und deutsche Litteratur, 22 (1878), 97-142 (pp. 128-36).
L. Delisle and P. Meyer, L'Apocalypse en français au XIIIe siècle (Bibl. Nat. Fr. 403) (Paris: Firmin Didot, 1901), p. cxxxviii (no. 52).
Robert Priebsch, Deutsche Handschriften in England, 2 vols (in 1 vol.) (Hildesheim: Georg Olms, 1979), II: Das British Museum mit einem Anhang über die Guildhall-Bibliothek (first publ. as 2 vols: Erlangen: Fr. Junge, 1896-1901), p. 132.
W.H. James and Lawrence Taylor, Early Stamped Bookbindings in the British Museum: Descriptions of 385 blind-stamped bindings in the Departments of Manuscripts and Printed Books (London: British Museum, 1922), p. 111 (no. 246), pl. xviii (15).
M.R. James, The Apocalypse in Latin: MS 10 in the Collection of Dyson Perrins, F.S.A. (Oxford: University Press, 1927), p. 45.
M.R. James, The Apocalypse in Art: The Schweich Lectures of the British Academy (London: Published for the British Academy by H. Milford, Oxford University Press, 1931), p. 13.
Wilhelm Neuß, 'Die ikonographischen Wurzeln von divers Apokalypse', in Sonderdruck aus Volkstum und Kulturpolitik: Eine Sammlung von Aufsätzen: Gewidmet George Schreiber zum 50. Geburtstag (Cologne: Gilde, 1932), p. 4.
Arthur Thomas Hatto, 'Eine deutsche Apokalypse des 14. Jahrhunderts', in Neue Texte zur Bibelverdeutschung des Mittelalters, ed. by Hans Vollmer, Bibel und deutsche Kultur, 6 (Potsdam: [n. pub.], 1936), pp. 175-99, table 1.
Ernst Kyriss, Verzierte gotische Einbande im alten deutschen Sprachgebiet, 4 vols (Stuttgart: Max Hettler, 1951-1958), II (1956), p. 70.
Die Parler und der schöne Stil, 1350-1400: Europäische Kunst unter den Luxemburgern, Ein Handbuch zur Ausstellung des Schnütgeb-Museums in der Kunsthalle Köln, ed. by Anton Legner, 5 vols (Cologne: Museen der Stadt Köln, 1978), III, p. 202.
Richard Kenneth Emmerson and Suzanne Lewis, 'Census and Bibliography of Medieval Manuscripts containing Apocalypse Illustrations, ca. 800-1500', Traditio: Studies in Ancient and Medieval History, Thought and Religion, 42 (1986), 443-72 (p. 447, no. 126).
Katalog der deutschsprachigen illustrierten Handschriften des Mittelalters by Hella Frühmorgen-Voss, Norbert H. Ott, Ulrike Bodemann and Gisela Fischer-Heetfeld, 6 vols (Munich: C.H. Beck, 1991), I:4, pp. 244-46 (no. 6.2.4) and App. 132, 133.
Robert Suckale, Die Hofkunst Kaiser Ludwigs des Bayern (Munich: Hirmer, 1993), pp. 161, 199.
Carola Redzich, 'Aspekte produktiver Rezeption von Bibelübersetzung: Überlieferungs- und Gebrauchszusammenhänge der Johannesapokalypse im bairisch-fränkischen Raum', in Metamorphosen der Bibel, ed. by Ralf Plate and Andrea Rapp, Beiträge zur Tagung Wirkungsgeschichte der Bibel im deutschsprachigen Mittelalter, vom 4. bis 6. September 2000 in der Bibliothek des Bischöflichen Priesterseminars Trier, Vestigia Bibliae, 24/25 (2002/2003) (Bern: Lang, 2004), p. 166n.
Heiliges Römisches Reich Deutscher Nation, 962 bis 1806: Von Otto dem Grossen bis zum Ausgang des Mittelalters , ed. by Matthias Puhle and Claus-Peter Hasse, 29 Ausstellung des Europarates in Magdeburg und Berlin und Landesausstellung Sachsen-Anhalt, 2 vols (Dresden: Sandstein, 2006), II, pp. 380-83.
Carola Redzich, Apocalypsis Joannis tot habet sacramenta quot verba: Studien zu Sprache, Überlieferung und Rezeption hochdeutscher Apokalypseübersetzungen des späten Mittelalters, Münchener Texte und Untersuchungen zur deutschen Literatur des Mittelalters, 137 (Berlin: De Gruyter, 2010), pp. 172, 475-89, 597-99.
Nigel Morgan, ‘Latin and vernacular Apocalypses’, in The New Cambridge History of the Bible, 4 vols (Cambridge: Cambridge University Press, 2012- ), II: From 600 to 1450, ed. by Richard Marsden and E. Ann Matter (2012), pp. 404-26 (p. 417).
Ludwig der Bayer: Wir sind Kaiser!, ed. by Peter Wolf and others, Katalog zur Bayerischen Landesausstellung 2014, Regensburg Minoritenkirche, St. Ulrich am Dom, Domkreuzgang, 16. Mai bis 2. November 2014 (Regensburg: Schnell and Steiner, 2014), p. 272 (no. 5.30).
Illustration (Alex Schomburg) aus:
Startling Stories / Vol. 27 Nr. 3
Better Publications Inc.
(Chicago/Illinois) Oktober 1952
ex libris MTP
Last Friday I was on a trip with my friend Roland Ster in Italy at the old train station.
See the other photos of this series here
Original artwork called "Apokalypse" was made by Ali Holzer. This adaptation was made by nine women: Maia Alverby, Marie Falk, Ing-Britt Fogelberg, Ingela Fredevi, Lilian Grauers, Madeleine Karlsson, Siv Peterson, Sylvia Robertsson & Carina Svensson. A part of the KonstAnten project.
Exhibited at Palladium in Alingsås.
"Ich trage keinen Glauben an ein falsches Ideal
Die ewige Verdammnis ist mir völlig scheißegal!" from the lyrics "Gottlos", by Agonoize.
pic and postwork: www.darksightberlin.com
Copyright held by: Pickering And Inglis, 24-26 Bothwell Street, Glasgow, Lanarkshire G2 6PA
ANTICHRIST
The word occurs only in the first and second epistles of John. It signifies an opponent or adversary of Christ. The idea expressed by it had its origin in Judaism.
According to prophetic anticipations, the Messianic time was to be immediately preceded by a great conflict, in which Jehovah would fight out of Zion for His own people, and defeat the concentrated opposition of the world.
An Almighty leader on the one side seemed to require an antagonist on the other, a head of the army of darkness against the Prince of light. Thus Ezekiel depicts Gog proceeding out of Magog, to hazard a decisive battle against the Lord and His saints on the eve of the Messianic age (chapters xxxviii. And xxxix.)
The idea was subsequently embodied in Antiochus Epiphanes, who tried to eradicate Judaism with savage hatred. When we consider the insane violence he exhibited against the Jews and their temple, his prohibition of Jehovah's worship, the solemnization of the Sabbath, and circumcision, it was natural to regard him as the representative of heathenism in its opposition to the true religion.
Accordingly, the worshippers of Jehovah termed the small altar erected by him to Olympian Jove in the holy temple at Jerusalem (168 B.C.) the abomination of desolation (Daniel ix. 27, xi. 31, xii. 11; Mat. Xxiv. 15). The apocalyptic visions of Daniel exerted an important influence upon the Jews after the time of Antiochus, animating them with hopes of the near approached of a better day, preceded, it is true, by a fearful struggle, in which a powerful prince, the impersonation of heathenism in its fiercest hate, should persecute the chosen people.
The future of Israel was brightened by the vision of one whose predictions had been at least partially fulfilled. After this the idea seems to have been in abeyance till the reign of Caligula (40 A.D.), when Greeks in Alexandria and Syria attempted to introduce images of the emperor into the Jewish synagogues.
The express command of Caligula addressed to the Jews, to erect his image in the temple at Jerusalem, in the form of Olympian Zeus, excited an intense commotion throughout Palestine, and must have recalled to the Jews familiar with their Scriptures the similar conduct of Antiochus, as though the prophet Daniel had foretold the blasphemy of the Roman emperor.
In the discourse of Christ recorded by Matthew (chapter xxiv.), a personal opponent or antichrist does not appear, but the second advent is preceded by great affliction, the desecration of the temple, false Messiahs, and false apostles. This evangelic eschatology, however, appears in its present form to belong to a late redactor, so that it is difficult to separate Christ's own utterances from other elements probably incorporated with them.
Various sayings of Jesus relative to his second appearing were evidently misapprehended or confused in the reminiscences of the early disciples.
St Paul resumes the idea of antichrist. Whatever Jewish conceptions he laid aside, and he emancipated himself from the grossest of them, he did not abandon the idea of an antichrist or terrible adversary of the true religion.
The prophecies of Daniel, whether in their supposed relation to Antiochus or Caligula, and the impious command of the latter in particular to desecrate the Jewish temple, furnished him with traits for the portrait of Christ's great enemy, whose manifestation in the Roman empire the state of the world led him to suspect, especially as the empire was then identified by he Jews, as well as by Paul himself, with the fourth and last kingdom of Daniel's visions.
Blending together the notions of an antichrist and false Christ, the picture which St Paul draws is that of the man of sin, "the son of perdition; who opposed and exalteth himself above all that is called God, or that is worshipped; so that he as god sitteth in the temple of God, showing himself that he is God; the wicked one whose coming is after the working of Satan with all power and signs and lying wonders," &c. (2 Thess. ii 3-9).
Here the epithet appears to be borrowed from Isaiah xi. 4, the apostle coinciding with the Chaldee interpretere in understanding the passage of antichirst. The hindrance to the manifestation of the terrible enemy, to which Paul obscurely alludes, seems to be the Roman empire in one or other of its aspects; for we cannot adopt the ingenious conjecture that Claudius is meant, though the name fits the apostolic expression o katexwv, qui claudit, Claudius.
Apart from the fact that the neuter to katexov is used as well as the masculine, it is scarcely probable that one whose reign was marked by cruel actions and bloodshed should be called the obstacle in the way of antichrist's manifestation. The apostle, not ignorant of Caligula's blasphemous edict, seems to have thought of some Caesar in whom the persecuting power of heathenism should culminate, without pointing at either Claudius as the withholder, or Claudius's successor as the man of sin.
The idea of antichirst was not historically fixed in his mind.
Here we differ from Hitzig and Hausrath; though the date of the Thessalonian epistles (about 52 A.D.) presents no obstacle to the hypothesis, as De Wette thinks it does.
The author of the Revelation presents the antichrist idea in a more definite form than St Paul. Borrowing characteristic traits from Antiochus Epiphanes, perhaps too from Caligula, whose blasphemous order to set up his own image in the attitude of Olympian Zeus within the holy temple at Jerusalem created intense excitement throughout Palestine, aware of the fearful persecution which the Christians had suffered from Claudius's successor on the throne of the Caesars, the apostle John makes the man of sin or antichrist to be Nero returning from the East, according to report then current. In his view the vicious cruelty of paganism had its incarnation in the monster who set fire to Rome, torturing the Christians there, and hesitating to commit no crime. If the capital of the heathen world had such a head, the character of the great antichrist stood forth in him.
Accordingly, the writer describes Nero as the fifth head of the beast that rose out of the sea, i.e., Rome, who received a deadly wound which was healed, who made war upon the saints and overcame them, who disappeared amid the wondering of the world, to return with renewed power for three years and a half. The number of the beast or head, 666, points unmistakably to Nero, for it is the equivalent of ___ [Hebrew word] Kaesar Neron, __ = 50, ___ = 200, __ = 6, __ 50, ___ = 100, ___ 60, ___ = 200.
He is the beast that was and is not, the fifth fallen head, one of the seven; the eight, because he should reappear after his deadly wound was healed. The succession of emperors is Augustus, Tiberius, Caligula, Claudius, Nero, Galba, Renan has again sanctioned the reckoning of Julius Caesar as the first of the list, on the authority of Josephus, Suetonius, Aurelius Victor, &c.; but Suetonius's commencement of his lives of the Caesars with Julius is scarcely a valid proof of his reckoning him to be the first of the line.
Tacitus, Aurelius Victor, and Sextus Rufus, not to speak of Hippolytus, favour the opinion that Augustus was the first emperor; and as the birth of Christ was under him, Christianity has nothing to do with Julius Caesar. In the view of the apocalyptist the latter is of no importance.
The apostle writing under Galba (68 A.D.), held the opinion then prevalent among Christians as well as others, that the emperor was not really dead, but was in the East, whence he would return with an army of Parthians to conquer and destroy Rome (Tacitus, Hist ii. 8; Suetonius, Nero, cap. 57, Dio Chrysostom, Or. xxi.) Such belief had then taken possession of the minds not only of the Jewish Christians in Palestine, but of the Jews themselves, who were in a state of feverish excitement because Jerusalem was besieged.
Terror had seized all worshippers of the true God, because of the aspect which the empire assumed (Revelation xiii 3-8, xvii 11). The apocalyptist also states that false or antichristian prophetism was to unite with the healed beats, and cause men to worship him or be put to death (xiii. 14, 15). We assume that the second beast, which rises out of the earth as the first does out of the sea, is identical with the false prophet in xvi. 13, xix. 20, xx. 10, and that it is a personification of false or heathen prophesying with its soothsaying and auguries.
But though Irenaeus sanctions this view it is not without difficulties, since the second beast ought in consistency to be historical definite like the first. It cannot be that the writer means the apostle Paul; for John; with all his Jewish tendencies, and hints unfavourable to Paul, would not speak so strongly against the latter. If John were not the author, as some incline to think, an unknown writer, with lively Judaic prepossessions, might perhaps describe the apostle Paul in such dark colours, but even then it is highly improbable.
Renan supposes that some Ephesian impostor is meant, a partisan of Nero's, perhaps an agent of the pseudo-Nero, or the pseudo-Nero himself. One thing is pretty clear, that a polity is not represented by either of the two beasts in the Apocalypse, or by Paul's man of sin. It is remarkable how long the legend about Nero's revival continued, and how widely diffused it became, though his body was buried publicly at Rome. Not till the 5th century did it become extinct.
The author of John's first epistle has a more general and spiritual conception of antichrist, partly I consequence of the Alexandrian philosophy which had leavened thought in Asia Minor, as is perceptible in the fourth gospel.
He finds antichrist within the church in any false teacher who corrupts the true doctrine respecting the Father and the son through a tendency idealizing away the practical basis of Christology. Such development of the idea agrees better with the general representation in the discourses of Jesus than the restricted individualizing it received from Paul and John outside Christianity, though the latter bears the older and Judaic stamp. The author of 1 John writes: "As ye have heard that antichrist shall come, even now are there many antichrists.
He is antichrist, that denieth the Father and the Son. This is that spirit of antichrist, whereof ye have heard that it should come; and even now already is it in the world" (ii. 18, 22, iv. 3).
He that denied the Father and the son, that did not confess Jesus, was an antichrist in this author's opinion. Probably Gnosticism was in his view more than any other form of error.
There was a tendency among the later New Testament writers, as far as we can judge from 2 Peter ii. 15, to find antichrist in erroneous doctrine rather than an individual. False teachers are called followers of Balaan. In the Apocalypse itself certain heretics are termed Nicolaitanes or Balaamites, i.e. destroyers of the people.
The sibylline oracles agree with the Apocalypse in identifying antichrist and Nero. In those of Christian origin belonging to the earliest centuries, we find the current belief that Nero, having fled beyond the Euphrates, should return with an army to perpetrate farther cruelties in Rome.
The descriptions in question are based, in part, on those of the apocalyptist, and the tyrant is directly identified with antichrist or Beliar.
When the legend about the tyrant's return from the East ceased, the true interpretation both of the fifth head and his mystic number 666 was lost. Irenaeus himself did not know the interpretation of 666, and has given several conjectural words more or less suitable to the number.
The idea of a personal antichrist was retained by the Christian writers of the 2d and 3d centuries who held the sensuous view of Christ's speedy reappearing to set up his reign on earth for a thousand years. The figure of this great adversary in connection with the millennial reign was important for such interpreters.
The Alexandrian school, however, whose method of interpretation was less literal and gross, generalized the idea in the manner of him who wrote St John's first epistle, making the principle of error or departure from the faith to be personified in antichirst.
The great opponent of Christ is an abstraction, a sceptical tendency or principle, not an historical person.
The later Jews had also their antichrist or anti-Messiah, whom they furnished with peculiar attributes, and termed Armillus.
The name appears already in the Targum of Jonathan on Isaiah xi. 4, where the godless Armillus is said to be slain with the breath of Messiah's mouth. In their description he becomes a terrible giant, golden haired, twelve ells in heights, as many breadth, having the width of a span between his deep red eyes. Born in Rome, he will assume to be the Messiah, and obtain many adherents.
The first Messiah, Joseph's son, will make war upon him, but be overcome and slain at Jerusalem. After this the second Messiah, David's son, will defeat. Armillus with the breath of his mouth, and then God will reassemble the dispersed of Israel, forming them into a united people, Christians and unbelievers being destroyed.
In the apocryphal Ascension of Isaiah, published by Laurence, a Jewish-Christian production written in Greek not earlier than the 3d century, the angel Berial, prince of this world, identical with Sammael or Satan, and representing antichrist, is said to descend in the last days, in the form of an impious monarch (Nero), the murderer of his mother.
The world will believe in him, and sacrifice to him; his prodigies will be displayed in every city and country, and his image set up. After exercising dominion for three years seven months and twenty-seven days, the Lord will come with His angels and drag him down into Gehenna.
The writer's description is evidently moulded on that of the apocyalyptist.
Nor is antichrist unknown to Mohammedan theology, in which he is called al Masih al Dajjal, the false or lying Christ, or simply al Dajjal. He is to be one-eyed, and marked on the forehead with the letters C.F.R., i.e., cafir, or infidel.
Appearing first between Irak and Syria, or, according to others, in Khorasan, he will ride on an ass, followed by 70,000 Jews of Ispahan, and continue on earth forty days, of which one will be equal in length to a year, another to a month, another to a week, and the rest will be common days; he is to lay waste all places except Mecca, or Medina, which are guarded by angels; but at length he will be slain by Jesus at the gate of Lud, near Joppa, assisted by the Imam Mahedi, after which the Moslem religion will coalesce with the Christian into one.
There is a saying that Mohammed foretold several antichrists, as many as thirty, but one of greater note than the rest.
During the Middle Ages, and those which immediately followed, current opinion discovered antichrist in heretics and sects.
The apocalypse and second epistle to the Thessalonians were supposed to point at false doctrine and its leading representatives. In their zeal against such as did not belong to the same church as their own, ecclesiastics mistook the sense of the passages relating to the dreaded adversary of Christ.
Thus Innocent III. (1215) declared the Saracens to be antichrist, and Mohammed the false prophet; and Gregory IX. (1234) pronounced the emperor Frederick II. to be the beast that rose up out of the sea with names of blasphemy on his head (Rev. xiii. 1-6).
As the corruption of the Romish Church increased, and the necessity of reform became more apparent, anti-ecclesiastical thought found antichrist in the Papacy; and that again naturally provoked the church to characterize all heretics as the collective antichrist.
The strong language of the apostles became a polemic weapon, easily wielded against any adversary possessing worldly power inimical to the church's interests or holding opinions incompatible with traditional orthodoxy.
The Church of Rome led the way in misapplying the Apocalypse during her contest with civil powers and heretics; her opponents followed the example in turning the instrument against herself. Antichristianism could be embodied in the Papacy as well as in Protestantism. It might be in a corrupt church as well as in heretical doctrine outside it.
Accordingly, the Waldenses, Wicliffe, Huss, and many others, found antichrist in the Pope. Luther hurled a powerful philippic adversus execrabilem bullam antichristi; and the articles of Schmalkald embody the same view, affirming: "Der Pabst aber, der allen die Seligkeit abspricht welche ihm nicht gehorchen wollen, ist der rechte antichrist."
The history of opinion respecting antichrist, or rather the interpretation of such Scriptures as present the idea, is by no means instructive. Conjectures too often supply the place of sound exergesis.
Much error has arisen from mixing up portions of Daniel's vision with those of the Apocalypse, because they refer to different subjects. The apostle borrows characteristic features from Daniel's Antiochus Epiphanes to fill out his picture of Nero. The combination of St Paul's man of sin with St John's antichristian Nero has also led to misapprehension.
The idea is variously developed according to the mental peculiarities and knowledge of those who entertained it. Vague and general at first, it was afterwards narrowed, somewhat in the manner of the Messianic one. Its different forms show that it was no article of faith, no dogma connected with salvation. Less definite in the second epistle to the Thessalonians, it is tolerably specific in the Revelation.
The author of John's first epistle gave it a spiritual width, consistently with the pantheistic direction which he follows with feeble footsteps. In each case, however, the writers moved within their own times, their knowledge bounded by the necessary limits of the human intellect, so that their subjective views can hardly be accepted as the emanations of minds projecting themselves into he world's outer history with full intelligence of its details.
Limited to the horizon of their age, they did not penetrate into the future with infallible certainty. What they express about antichrist is their development of an idea which sprang out of Jewish soil and does not harmonise well with the gradual progress of Christ's spiritual kingdom. It is not unusual, however, for men living in times of peculiar commotion, when the good are oppressed and vice triumphs, to embody rampant opposition to truth and righteousness in a person who concentrates in himself the essence of antichristian hate.
If Christ is to conquer gloriously, a mighty adversary is given Him who must be finally and for ever overthrown. Then commences the universal reign of peace and purity under the benign scepter of the Victor. Over against Christ as King is set a formidable foe, not an abstract principle, - the latter being an incongruous or less worthy adversary in the view of many. Yet it is the very individualizing of the antichrist idea which removes it from the sphere of actual realization.
The extension, indeed, of the divine kingdom will encounter opposition; and the reaction of the world may appear, if not become stronger as that extension is more decided; but the personality and intenseness which the apostles impart to the reaction transfer it to the region of the improbable.
Humanity is not so vicious as to break away from God with the extreme insanity which the feelings of the sacred writers conjure up in times of fear for the church. (Comp. Gesenius's article "Antichrist" in Ersch and Gruber; De Wette's Kurze Erkarung of the Second Epistle to the Thessalonians and the Revelation; Lucke's Versuch einer vollstandigen Einleitung in die Offenbarung des Johannes, zweite Auflage; Bleek's Vorlesungen ueber die Apokalypse; Ewald's Commentarius in Apocalypsin Johannis, and his Die Johanneischen Schriften vebersetzt und erklart; Lunemann, Ueber die Briefe an die Thessalonicher in Meyer's Kommentar ueber das Neue Testament; Davidson's Introduction to the Study of the New Testament, vol. I; Renan's L'Antechrist; Jowett's Epistles of St Paul to the Thessalonians, &c., vol. i.) (S. D.
The above article was written by the Rev. Samuel Davidson, D.S., Professor of Biblical Criticism at the Royal College, Belfast, 1835; Professor of Biblical Literature at the Manchester Congregational College, 1842-62; one of the Old Testament Revisers; author of The Canons of the Bible and Critical and Exegetical Introductions to the Old and New Testaments.
Create Free Spaces -
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Photo exhibition in the abandoned hotel ruin
'Atlante del Sol' in Lanzarote
Free-Space-photos by Wolfgang Sterneck
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31.05.2017 - natural end.
Coordinates: 28°53'27"N - 13°52'24"W
Nearby villages: Yaiza, La Hoya, Playa Blanca.
No paved street - take a walk on the seaside.
Take care: risk of collapse of parts of the building!
Do not leave any rubbish - please respect nature.
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Inside dystopia.
Apocalyptic.
Create free spaces.
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Skeletal Megalomania *
Atlante del Sol in Lanzarote.
A golf hotel ruin in nowhere.
A decaying monument
of megalomania, greed for profit and failure.
Skelettierter Größenwahn *
Atlante del Sol in Lanzarote.
Eine Golfhotel-Ruine im Nirgendwo.
Ein zerfallendes Monument
des Größenwahns, der Profitgier und des Scheiterns.
Skeletal Megalomania -
Atlante del Sol in Lanzarote.
www.flickr.com/photos/sterneck/albums/72157699172919565
Photo: Wolfgang Sterneck, 2017.
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fotografiert am 31. März 2006 am Luther-Haus in Eisenach
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Text:
"Und wenn ich wüßte, daß morgen die Welt unterginge, so würde ich doch heute mein Apfelbäumchen pflanzen."
Translation:
And if I aware, that tomorrow is the end of world, so I would plant my appletree."
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"Es ranken sich noch weitere Legenden um Luther und die Bäume. Eine der bekanntesten sei noch erwähnt: Der berühmte Spruch: "WENN ICH WÜSSTE, DASS MORGEN DIE WELT UNTERGINGE, WÜRDE ICH HEUTE EIN APFELBÄUMCHEN PFLANZEN!" wird Luther in den Mund gelegt.
Allerdings mag zu denken geben, daß der erste schriftliche Nachweis dieses Spruches erst 1944 zu finden ist... " Quelle: www.luther.de/legenden/baeume.html
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"Luthers Eltern waren der Bauer, Bergmann, Mineneigner und spätere Ratsherr Hans Luder (1459–1530) und dessen Ehefrau Margarethe, geb. Lindemann (1459–1531), die aus Möhra stammten.
Luther wurde als ihr erster oder zweiter Sohn in Eisleben geboren. Am folgenden Martinstag (11. November 1483) wurde er auf den Namen des Tagesheiligen in der St.-Petri-Pauli-Kirche getauft. Er wuchs im benachbarten Mansfeld auf, wo der Vater als Hüttenmeister im Kupferschieferbergbau bescheidenen Wohlstand erwarb. Beide „Lutherstädte“ liegen im Mansfelder Land und heute im Landkreis Mansfeld-Südharz in Sachsen-Anhalt und hatten damals einige tausend Einwohner.
Luther erfuhr eine damals normale, strenge väterliche, aber auch liebevolle Erziehung. Seine Eltern waren kirchentreu, aber nicht übermäßig fromm. Von 1488 bis 1497 besuchte er die Mansfelder Stadtschule und danach für ein Jahr die Magdeburger Domschule. Dort unterrichteten ihn die Brüder vom gemeinsamen Leben, eine spätmittelalterliche Erweckungsbewegung. 1498 schickten ihn die Eltern auf das Franziskanerstift Eisenach, wo er eine musikalisch-poetische Ausbildung erhielt. Er galt als sehr guter Sänger.
Verwirrungen gab es um Luthers Geburts- und auch das Sterbehaus in Eisleben. Das Geburtshaus ging 1689 in Flammen auf, 1693 errichtete die Stadt auf dem Grundstück einen würdevollen Barockbau, der als eines der ersten deutschen Museen in Deutschland gilt. An der Stelle des Sterbehauses am Markt 56 entstand Ende des 16. Jahrhunderts ein Neubau, heute ein Hotel. Die ursprünglichen Eigentümer zogen in ein Haus am Andreaskirchplatz, das seitdem als das Sterbehaus angesehen wurde. Diese Verwechslung kam durch einen Irrtum in der Erforschung der Baugeschichte zustande." Quelle und weitere Informationen: Wikipedia: Martin Luther / Elternhaus und Jugend
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