View allAll Photos Tagged openwork
The lower sections look like damask, but they're made with shallow indentations punched with a nail in the wood.
The center sections {in red} built by Esias Compenius from 1603-13 ; the lateral extensions by Adolf Reubke, 1859.
Coat-of-arms of the cathedral chapter of Halberstadt
A thorough history of the instrument can be found at www.compenius-orgel.de/geschichtederorgel.htm
The Borobudur Temple Compounds is one of the greatest Buddhist monuments in the world, and was built in the 8th and 9th centuries AD during the reign of the Syailendra Dynasty. The monument is located in the Kedu Valley, in the southern part of Central Java, at the centre of the island of Java, Indonesia.
The main temple is a stupa built in three tiers around a hill which was a natural centre: a pyramidal base with five concentric square terraces, the trunk of a cone with three circular platforms and, at the top, a monumental stupa. The walls and balustrades are decorated with fine low reliefs, covering a total surface area of 2,520 m2. Around the circular platforms are 72 openwork stupas, each containing a statue of the Buddha.
Tribute bearer with an oryx, a monkey, and a leopard skin
Period: Neo-Assyrian
Date: ca. 8th century B.C.
Geography: Mesopotamia, Nimrud (ancient Kalhu)
Culture: Assyrian
Medium: Ivory
Phoenician ivory carvers were strongly influenced by the themes and style of Egyptian art owing to traditionally close ties between the two cultures. Some Phoenician ivories illustrate purely Egyptian themes, but many use Egyptian motifs in entirely original compositions.
Phoenician-style ivories were used primarily as furniture decoration. Some are solid plaques, while others are carved on one or both sides in a delicate openwork technique. Many originally were covered by gold leaf and inlaid with semiprecious stones or colored glass. Such rich combinations of ivory, gold, and brightly colored stones made the thrones of the Assyrian kings famous for their exquisite beauty. Most ivories carved in the Phoenician style were probably produced during the late eighth and seventh centuries B.C.
Built in large granite bati, it has a bell tower with three openwork ceilings, wearing a dome. The main doors are hung on the wall chains and crosses worn by the red penitent on Good Friday. Note the superb Baroque altarpiece, in polychrome marbles exported to the seventeenth century of Liguria and Tuscany.
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️ eXploration (5) Church Santa Maria Assunta {Sartène} (Corsica - Corse)
🌟 Church Santa Maria Assunta {Sartène} (Corsica - Corse)
💫 (Corsica - Corse) France/Europe World
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⛪ Church Santa Maria Assunta {Sartène} (Corsica - Corse)
📝 Type : Ground eXploration
🎨 Style : eXploration of the Church Santa Maria Assunta
🔊 Language : International (🇬🇧 description in English, but comprehensible by the whole world)
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❓ WHY : To eXplore the Church Santa Maria Assunta
📍 WHERE : Sartène (Corsica - Corse) (🇫🇷France)
🕓 WHEN : 19 July 2017
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Finely detailed carved ivory openwork panel with nine scenes of the Passion.
The lowest register, left to right: the Betrayal by Judas Iscariot, the judgement by Pontius Pilate, and the Flagellation of Christ..
The British Museum, London
For a similar panel with twelve scenes, go to
www.britishmuseum.org/research/search_the_collection_data...
Gold openwork mouth cover in the form of an owl head with copper inlay eyes. Gold mouth cover in the form of a bat. Moche, c. 400 AD. Tomb of the Lady of Cao, Huaca Cao Veijo, El Brujo, Peru. From the Museo Cao, Magdalena de Cao, Peru. Special Exhibit, Golden Kingdoms: Luxury and Legacy in the Ancient Americas. Metropolitan Museum of Art, New York, New York, USA. Copyright 2018, James A. Ferguson.
Disney Mickey Mouse "Mickey Mania" Charm - PANDORA
Disney openwork Mickey charm in sterling silver with red, light yellow, black and white enamel
£21.98
24% OFF
www.pandorasale2012.com/disney-mickey-mouse-mickey-mania-...
Disney Mickey Mouse "Mickey Mania" Charm - PANDORA
Sanctuary
Built in 1864. The glowing centrepiece of the high altar is a detailed carving by Thomas Earp, showing Christ in Glory, framed by a mandorla and surrounded by angels. On either side of this there are enamelled mosaic panels depicting even more angels. These were installed in 1899 to replace earlier ones designed by Burne-Jones, which had, unfortunately, deteriorated beyond repair. The sanctuary lamps date from 1897. The East window, by Clayton & Bell, was designed by George Edmund Street.
Reredos. The upper portion of the reredos is in alabaster, showing the four Evangelists, and on either side medallions of their emblems. The centrepiece shows Christ in Majesty. On either side are a host of angels.
Church of St Peter, Hinton Road, Bournemouth
Grade I Listed
List Entry Number: 1153014
Listing NGR: SZ0888791218
Details
101756 768/13/1 HINTON ROAD 11-OCT-01 (East side) CHURCH OF ST PETER
GV I
13/1 HINTON ROAD 1. 5l86 (East Side) Church} of St Peter
SZ 0891 13/1 5.5.52.
I GV
2. South aisle 1851, Edmund Pearce, rest of church, 1855-79, G E Street, large, Purbeck stone with Bath stone dressings, built in stages and fitted out gradually. Dominating west tower, 1869, and spire (important landmark, 202 ft high), 1879: west door up steps with 4-light Geometrical window over, 3rd stage with steeply pointed blind arcade with encircled quatrefoils in spandrels, belfry with paired 2-light windows, elaborate foliage-carved cornice and arcaded panelled parapet, spire of Midlands type, octagonal with 3 tiers of lucarnes and flying buttresses springing from gabled pinnacles with statues (by Redfern) in niches. Western transepts with 4-light Geometrical windows, 1874. Nave, 1855-9, has clerestory of 5 pairs of 2-light plate tracery windows between broad flat buttresses, with red sandstone bands to walls and voussoirs and foliage medallions in spandrels. North aisle has narrow cinquefoiled lancets, Pearce's south aisle 2-light Geometrical windows (glass by Wailes, 1852-9); gabled south porch with foliage-carved arch of 3 order and inner arcade to lancet windows. South transept gable window 4-light plate tracery, south-east sacristy added 1906 (Sir T G Jackson). North transept gable has 5 stepped cinquefoiled lancets under hoodmould, north-east vestries, built in Street style by H E Hawker, 1914-15, have 2 east gables. Big pairs of buttresses clasp corners of chancel, with 5-light Geometrical window- south chapel. Nave arcade of 5 bays, double-chamfered arches on octagonal colunms, black marble colonnettes to clerestory. Wall surfaces painted in 1873-7 by Clayton and Bell, medallions in spandrels, Rood in big trefoil over chancel arch, roof of arched braces on hammerbeams on black marble wall shafts, kingposts high up. North aisle lancets embraced by continuous trefoil-headed arcade on marble colonnettes, excellent early glass by Clayton and Bell, War Shrine Crucifix by Comper, l917. Western arch of nave of Wells strainer type with big openwork roundels in spandrels. Tower arch on piers with unusual fluting of classical type, glass in tower windows by Clayton and Bell. South-west transept has font by Street, 1855, octagonal with grey marble inlay in trefoil panels, south window glass by Percy Bacon, 1896. Chancel arch on black shafts on corbels, low marble chancel screen with iron railing. Pulpit, by Street, carved by Earp, exhibited 1862 Exhibition: circular, pink marble and alabaster with marble-oolumned trefoil-headed arcaded over frieze of inlaid panels, on short marble columns, tall angel supporting desk. Lectern: brass eagle 1872 (made by Potter) with railings to steps by Comper, 1915. Chancel, 1863-4, has 2-bay choir has elaborate dogtooth and foliage-carved arches on foliage capitals, with clustered shafts of pink marble and stone, sculptured scenes by Earp in cusped vesica panels in spandrels, pointed boarded wagon roof with painted patterning by Booley and Garner, 1891. Choir stalls with poppyheads, 1874, by Street, also by Street (made by Leaver of Maidenhead) the ornate and excellent parclose screens of openwork iron on twisted brass colunms, pavement by Comper, l9l5. Sanctuary, also 2 bays, rib-vaulted, with clustered marble wall shafts with shaft rings and foliage capitals, painted deocrations by Sir Arthur Blomfield, 1899 (executed by Powells). First bay has sedilia on both sides (within main arcade), backed by double arcade of alternating columns of pink alabaster (twisted)and black marble. Second bay aisleless, lined by Powell mosaics. East window has fine glass by Clayton and Bell, designed by Street, 1866. Reredos by Redfern, also designed by Street has Majestas in vesica flanked by angels, under gabled canopies, flanked by purple and green twisted marble columns, flanking Powell mosaics of angels, 1899, echoing design of predecessors by Burne-Jones which disintegrated. North transept screen to aisle by Comper, 1915, Minstrel Window by Clayton and Bell, 1874, sculpture of Christ and St Peter over doorway by Earp. South transept screen to aisle and altar cross and candlesticks to chapel by Sir T G Jackson, l906, murals by Heaton, Butler and Bayne, 1908, windows in transept and over altar by Clayton and Bell, 1867, and to south of chapel (particularly good) by Morris, Marshall, Faulkner and Co, 1864.
The Church of St Peter, Churchyard Cross, Lychgate, Chapel of the Resurrection, and 2 groups of gravestones form a group.
Listing NGR: SZ0888791218
historicengland.org.uk/listing/the-list/list-entry/1153014
St Peter's church in the centre of Bournemouth, Dorset; one of the great Gothic Revival churches of the 19th century and now serving as the parish church of Bournemouth. On the site of a plain, slightly earlier church, this building was commissioned by the priest, Alexander Morden Bennett, who moved to the living from London in 1845.
In 1853 Bennett chose George Edmund Street, architect of the London Law Courts, to design the proposed new church. The church grew stage by stage and Street in turn commissioned work from some of the most famous names of the era, including Burne-Jones, George Frederick Bodley, Sir Ninian Comper, William Wailes and Thomas Earp. There is even one small window by William Morris.
Made by Me&My Mom
Set for Sale
Includes:
- openwork sweater
- blouse
- skirt
- flower
- stockings
New, handmade
This famous pendant, one of the finest and best-known examples of Minoan art, was found in Malia and represents two bees or wasps storing away a drop of honey in a comb. The composition is centered round the circular drop, which is shown schematically as a disc with granulated decoration.
The two insects face one another, their legs touching the drop, their bodies and wings finely detailed with minute granulation. Gold discs hang from their wings, while an openwork sphere and suspension ring stand atop their heads. This masterpiece of Minoan jewelry, brilliantly conceived and naturalistically rendered, illustrates the fine craftsmanship of the Protopalatial period.
From: meetcrete.com/article/region/all/Museums/232/The-Archaeol...
Overview of rooms in the museum:
The museum, as it is now, is completely renewed. Old information about rooms and their numbers are still not updated, not even in Wikipedia. They mention twenty rooms, and their names, but there are 27 rooms, XXVII
Maybe wiki will update their page soon, as it is in October 2015, it is not updated.
en.wikipedia.org/wiki/Heraklion_Archaeological_Museum
~
This serial of photos offers an impression of details of the collection with Minoan Art, belonging to the Palace of Knossos. the Archaeological Museum in Heraklion has been completely renewed. Lots of amazing information can be read next to art objects.
It is not allowed to use flash when making photos. This, and the many visitors made it hardly possible to make really sharp photos in some seconds.
My camera is a rather cheap one and creates curved lines.
Some photos are not sharp, but I kept them anyway.
Altogether it has been a deeply impressing visit, moving, deeply moving because of the mystical, spiritual, mental and emotional depth of the Art.
The Minoans were utterly creative.
Their art is comparable with our modern art. Their use of colors makes the art characteristic: pastel colors (modest in pigmentation), terra colors, with blue, green and ochre.
Often I edited the photos in several ways. Or cropped them, to attract the attention for details.
Enjoy the collection of photos. If you want to read more about the Minoans:
Openwork gold ornament with heraldic dogs (?), men (?) and horses and chains with pendant disks, doves and carnelian beads. Aigina Treasure, Minoan, Crete, 1850 BC - 1550 BC. British Museum, London, England. Copyright 2017, James A. Glazier. The poor lighting, awkward angles and highly reflective and dirty glass at the British Museum make seeing anything, let alone photographing it a challenge. Ironic that many Italian museums now have much better display conditions than the British Museum.
This clothes hanger is from a store called Hvetlandaaffären with Hv instead of V !
The telephone number to the store is 130
This fourteenth-century Bishop's Chair with an impressive carved canopy made for J L Pearson, Cathedral architect fom 1870-93. It is unlikely, however, the chair originally ever had an integral canopy. The chair is of primitive joined construction. It has been assembled with a series of stub tenons secured by pegs. The decorative front panel has two tiers of openwork quatrefoils, carved from a single piece of oak. The arms feature carved lions, the heads of which are restorations under Pearson. There is a chapter on the chair in the book "Britain's Medieval Episcopal Thrones" by Charles Tracy, Oxbow Books, 2015.
Seduction Socks from Interweave
Vintage baby yarn in a rose-flecked pink
#2 needles
It's hard to see the pattern, but it's alternating stripes of a cable-like twist and an openwork vine. Very stretchy and comfy, though I'm a little worried that I should have used #1's - they're kind of big.
The Sedilia, 1869.
Church of St Peter, Hinton Road, Bournemouth
Grade I Listed
List Entry Number: 1153014
Listing NGR: SZ0888791218
Details
101756 768/13/1 HINTON ROAD 11-OCT-01 (East side) CHURCH OF ST PETER
GV I
13/1 HINTON ROAD 1. 5l86 (East Side) Church} of St Peter
SZ 0891 13/1 5.5.52.
I GV
2. South aisle 1851, Edmund Pearce, rest of church, 1855-79, G E Street, large, Purbeck stone with Bath stone dressings, built in stages and fitted out gradually. Dominating west tower, 1869, and spire (important landmark, 202 ft high), 1879: west door up steps with 4-light Geometrical window over, 3rd stage with steeply pointed blind arcade with encircled quatrefoils in spandrels, belfry with paired 2-light windows, elaborate foliage-carved cornice and arcaded panelled parapet, spire of Midlands type, octagonal with 3 tiers of lucarnes and flying buttresses springing from gabled pinnacles with statues (by Redfern) in niches. Western transepts with 4-light Geometrical windows, 1874. Nave, 1855-9, has clerestory of 5 pairs of 2-light plate tracery windows between broad flat buttresses, with red sandstone bands to walls and voussoirs and foliage medallions in spandrels. North aisle has narrow cinquefoiled lancets, Pearce's south aisle 2-light Geometrical windows (glass by Wailes, 1852-9); gabled south porch with foliage-carved arch of 3 order and inner arcade to lancet windows. South transept gable window 4-light plate tracery, south-east sacristy added 1906 (Sir T G Jackson). North transept gable has 5 stepped cinquefoiled lancets under hoodmould, north-east vestries, built in Street style by H E Hawker, 1914-15, have 2 east gables. Big pairs of buttresses clasp corners of chancel, with 5-light Geometrical window- south chapel. Nave arcade of 5 bays, double-chamfered arches on octagonal colunms, black marble colonnettes to clerestory. Wall surfaces painted in 1873-7 by Clayton and Bell, medallions in spandrels, Rood in big trefoil over chancel arch, roof of arched braces on hammerbeams on black marble wall shafts, kingposts high up. North aisle lancets embraced by continuous trefoil-headed arcade on marble colonnettes, excellent early glass by Clayton and Bell, War Shrine Crucifix by Comper, l917. Western arch of nave of Wells strainer type with big openwork roundels in spandrels. Tower arch on piers with unusual fluting of classical type, glass in tower windows by Clayton and Bell. South-west transept has font by Street, 1855, octagonal with grey marble inlay in trefoil panels, south window glass by Percy Bacon, 1896. Chancel arch on black shafts on corbels, low marble chancel screen with iron railing. Pulpit, by Street, carved by Earp, exhibited 1862 Exhibition: circular, pink marble and alabaster with marble-oolumned trefoil-headed arcaded over frieze of inlaid panels, on short marble columns, tall angel supporting desk. Lectern: brass eagle 1872 (made by Potter) with railings to steps by Comper, 1915. Chancel, 1863-4, has 2-bay choir has elaborate dogtooth and foliage-carved arches on foliage capitals, with clustered shafts of pink marble and stone, sculptured scenes by Earp in cusped vesica panels in spandrels, pointed boarded wagon roof with painted patterning by Booley and Garner, 1891. Choir stalls with poppyheads, 1874, by Street, also by Street (made by Leaver of Maidenhead) the ornate and excellent parclose screens of openwork iron on twisted brass colunms, pavement by Comper, l9l5. Sanctuary, also 2 bays, rib-vaulted, with clustered marble wall shafts with shaft rings and foliage capitals, painted deocrations by Sir Arthur Blomfield, 1899 (executed by Powells). First bay has sedilia on both sides (within main arcade), backed by double arcade of alternating columns of pink alabaster (twisted)and black marble. Second bay aisleless, lined by Powell mosaics. East window has fine glass by Clayton and Bell, designed by Street, 1866. Reredos by Redfern, also designed by Street has Majestas in vesica flanked by angels, under gabled canopies, flanked by purple and green twisted marble columns, flanking Powell mosaics of angels, 1899, echoing design of predecessors by Burne-Jones which disintegrated. North transept screen to aisle by Comper, 1915, Minstrel Window by Clayton and Bell, 1874, sculpture of Christ and St Peter over doorway by Earp. South transept screen to aisle and altar cross and candlesticks to chapel by Sir T G Jackson, l906, murals by Heaton, Butler and Bayne, 1908, windows in transept and over altar by Clayton and Bell, 1867, and to south of chapel (particularly good) by Morris, Marshall, Faulkner and Co, 1864.
The Church of St Peter, Churchyard Cross, Lychgate, Chapel of the Resurrection, and 2 groups of gravestones form a group.
Listing NGR: SZ0888791218
historicengland.org.uk/listing/the-list/list-entry/1153014
St Peter's church in the centre of Bournemouth, Dorset; one of the great Gothic Revival churches of the 19th century and now serving as the parish church of Bournemouth. On the site of a plain, slightly earlier church, this building was commissioned by the priest, Alexander Morden Bennett, who moved to the living from London in 1845.
In 1853 Bennett chose George Edmund Street, architect of the London Law Courts, to design the proposed new church. The church grew stage by stage and Street in turn commissioned work from some of the most famous names of the era, including Burne-Jones, George Frederick Bodley, Sir Ninian Comper, William Wailes and Thomas Earp. There is even one small window by William Morris.
Das Goldene Wunder, as the altar is called, measures 5.65x7.4m when fully opened, and contains 36 painted panels & 36 sculptured panels, plus a number of painted panels on the ousides of the closed shutters. It was commissioned in 1521 from Jan Gilleszoon Wrage sculptor, and Adriaan van Overbeck, painter, of Antwerpen.
Jacket. Black bolero style. Taffeta braid sewn into openwork patterns. Short sleeves. Waist length.
Hanging: Tops and Blouses (OFF-SITE STORAGE)
Middlesex University Fashion Collection
This late 15C house (now a library) is carved with 400 scallop shells in its golden stone wall. It has decorative Isabelline windows and beautiful wrought-iron grilles. The patio has delicate mixtilinear arches and openwork balustrades, carved lions' heads and coats of arms.
Another view Inside a spire showing the openwork construction. It had been dark, gloomy and bitterly cold all along. During the course of my climb, the skies really opened up, and it poured like crazy. This shot came out rather badly, as the overcast sky apart, I was limited by a Fuji Z2 camera with internal folding lens and a min aperture of circa f3.5, not very amenable to low light shooting. (Jan. 2008)
Das Goldene Wunder, as the altar is called, measures 5.65x7.4m when fully opened, and contains 36 painted panels & 36 sculptured panels, plus a number of painted panels on the ousides of the closed shutters. It was commissioned in 1521 from Jan Gilleszoon Wrage sculptor, and Adriaan van Overbeck, painter, of Antwerpen.
Moscow. Gorky Park. «Openwork arbor»
Peeped scenes (street photo)
Photo from a series: «Lomography».
Variations on a theme «...with a film across Moscow»
Camera: «Diana F+ 35mm Back»
Film: Fujifilm Superia X-Tra 400 ISO (expired film, the shelf life is ended 11.2006)
Scanned copy of the original negative + minimal changes in the level and contrast (photo editor LightRoom 5). Color correction, noise filtering (grain) and other manipulation of the image is not carried out. In the «as-is»
Scanner: Epson perfection 4870 (4800 dpi; 3,8 D; 48 bit), function Digital Ice when scanning is disabled.
Amulet holder
late 19th–early 20th century
Central Asia or Iran , Teke
Silver, fire-gilded and chased, with decorative wire, ram’s-head terminals, openwork, slightly domed cabochon and table-cut carnelians, turquoise beads, wire chains, and spherical bells
14 x 12 5/8 in. (35.6 x 32.1 cm)
Gift of Marshall and Marilyn R. Wolf 2005.443.9
Hand Knitted openwork in olive green vintage mohair.
© KnittingGuru, 2011. All rights reserved. All images and finished designs, including the name and description, are the intellectual property of KnittingGuru.
The Freiburg Minster (officially Münster Unserer Lieben Frau ) is the Roman Catholic parish church of Freiburg im Breisgau, begun in the Romanesque style and largely completed in the Gothic and late Gothic style . It was built from about 1200 to 1513. With the founding of the ecclesiastical province of Freiburg, the church became the bishop's seat of the Archdiocese of Freiburg in 1827 ; thus the Freiburg Minster was elevated from a parish church to a metropolitan church and has been an official cathedral ever since , although it is traditionally still referred to as a "minster". The minster parish belongs to the Freiburg Mitte pastoral unit in the Freiburg deanery .
In 1869, the art historian Jacob Burckhardt said in a series of lectures about the 116-meter-high tower in comparison with Basel and Strasbourg : And Freiburg will probably remain the most beautiful tower on earth . This probably gave rise to the often-heard, but not entirely literal quote about the most beautiful tower in Christendom . Art historians from all over the world praise the Freiburg Minster of Our Lady with its prominent west tower as an architectural masterpiece of the Gothic period. The Minster has a total length of 125.83 m. The interior height of the central nave is 25.70 m, the crossing dome measures 30.36 m. The total volume of the building is 80,300 m³.
Construction history
The city centre wil be destroyed on 27 November 1944
The first church building in Freiburg, the "Conradine" church, named after the city's founder Conrad I of Zähringen , dates from the founding phase of the city around 1120-1140. Only the remains of the foundations of this first building still exist .
While the Dukes of Zähringen were traditionally buried in the monastery of St. Peter in the Black Forest , founded by Berthold II of Zähringen (1078–1111), Berthold V (d. 1218) wanted to create a suitable burial place in Freiburg. The Conradine parish church of 1120/30 was to be replaced by a collegiate church in the late Romanesque style, modeled on the Basel Minster . It is likely that the new church, begun around 1200, was planned as a gallery basilica with a double-tower façade ; the openings of the galleries are still visible today on the west wall of the crossing . The transept and the lower floors of the side towers, the so-called "cock towers", have been preserved from these late Romanesque beginnings ; these were supplemented with openwork spires during the Gothic construction phase.
From around 1230, construction continued in the new French Gothic style with the nave and the dominating west tower. This was already completed by 1330 and has the earliest tracery tower helmet of the Gothic period. The town council then decided to replace the late Romanesque choir with a much larger choir with ambulatory and chapel wreath, and commissioned Johann von Gmünd to carry out the work. An inscription on the north portal records the laying of the foundation stone on 24 March 1354: From God's birth MCCCLIIII year to our happy evening in the evening the first stone was laid on this choir . However, from around 1375/80 to 1471, construction of the cathedral made little progress, so that in 1475 the town council complained: We have a choir that was built many years ago by our ancestors and has been unused for a hundred years . It was not until 1510 (date in the choir vault) that the vault of the new choir was closed: Ludwigck Horneck von Hornberg has walled up the last stone in the vault, blessed be God . The consecration of the new cathedral choir was carried out on 5 December 1513 by the auxiliary bishop of Constance, after the Bishop of Constance, Hugo von Hohenlandenberg, had already celebrated an "intermediate consecration" in the presence of King Maximilian on the occasion of the Imperial Diet in Freiburg in 1498. The king donated stained glass to the choir to ensure his memory . The chapel ring of the high choir was not completed until 1536, marking the completion of the construction of the cathedral. Later, additions were occasionally added, such as the Renaissance porch on the south façade of the Romanesque transept in the 16th century and the supporting struts around the high choir in the 19th and 20th centuries, which were not necessary for structural stability.
While the building is still referred to as a parish church (“ecclesia parochialis”) in a Latin document dated May 27, 1298, the name “Münster” first appears on December 24, 1356 in a document by Countess Palatine Klara of Tübingen , the daughter of Count Friedrich of Freiburg , who died on November 9, 1356 : “zuo Friburg in dem münster”. The name that had become the name for large churches was thus adopted for the Gothic extension.
The cathedral, as the city's outstanding architectural monument, has been depicted repeatedly in the visual arts, for the first time in the Margarita philosophica by Gregor Reisch (1504) and then especially in the Cosmographia by Sebastian Münster (1549), in the two Freiburg views by Gregorius Sickinger (1589), in the Thesaurus philopoliticus by Daniel Meisner and Eberhard Kieser (1623) and in the Topographia Germaniae by Matthäus Merian (1644). Subsequently, the number of graphic representations and paintings with the motif of the cathedral became unmanageable.
The cathedral remained largely undamaged during the Second World War , although the surrounding buildings were reduced to rubble by the bombing raid of 27 November 1944 by the Royal Air Force. Only the roof was damaged, but with the support of Berlin army authorities, the Basel monument conservationist and young people from the cathedral parish, it was completely re-closed by the winter of 1945/46. The medieval stained glass windows were also preserved because they had been removed in time before the bombing raids. Other windows and stone figures that were replaced with restored copies on the building can be seen in the Augustinermuseum in Freiburg.
In 2011, the cathedral's exterior lighting was converted to LED . As part of the "Municipalities in a New Light" competition, the Federal Ministry of Education and Research covered the costs of 750,000 euros. [15] However, the lamps were too weak and vulnerable. Therefore, they were replaced again at the beginning of 2017 for 330,000 euros.
In 2018, the city acquired a previously unknown medieval architectural drawing of the cathedral tower from a British art dealer. The drawing dates from a time about 100 years after the tower was completed, when no construction work was being carried out on the cathedral. In addition, it does not show the current portal vestibule, but a different figure hall. The drawing will later be on display in the Augustinermuseum, but only for two hours a week due to its sensitivity to light.
Legal situation
Freiburg Minster is a special place in terms of its legal situation. From the beginning, the Minster did not belong to the church.
Berthold V of Zähringen commissioned the construction of the present-day cathedral around 1200. As patron and main financier, the cathedral was under his control. After the founder's death, rights and obligations initially passed to his heirs, the Counts of Freiburg . However, after the counts were no longer able to meet their obligations due to a lack of money from the middle of the 13th century, the citizens took over responsibility for the construction of the cathedral and set up many foundations. The first reference to the cathedral factory fund occurs in 1295. The " fabrica ecclesiae " itself is first mentioned in 1314: This legal institution encompasses the construction of the cathedral and the fund set up for its maintenance. This "fabrica ecclesiae" was under the control of the city council, which appointed cathedral caretakers who, with numerous employees, ensured new construction, reconstruction and repairs.
In 1464, the Münster parish became a benefice of the university founded by the Habsburgs in 1457. However, this did not mean that the assets of the Münster factory were included - it remained independent and was still required to build.
The transfer of the city of Freiburg to the Grand Duchy of Baden in 1805 brought with it a new legal situation. All church property was placed under state administration. In 1813, the patronage of the university was abolished.
After the founding of the Archdiocese of Freiburg in 1821/27 and the elevation of the Minster to the cathedral of the Archbishop of Freiburg, a new legal situation arose. In addition to the Minster Factory Fund, the Cathedral Factory Fund has existed since then, which is primarily responsible for the needs of the cathedral services. The responsibilities are precisely divided, so the two institutions are not to be seen as being in any kind of mixed situation.
The question of ownership was finally settled in 1901 in a contract between the city of Freiburg, the Archbishop's Ordinariate and the Catholic Foundation Council of the Münster parish. The Münster therefore belongs to the Münsterfabrikfonds and is also responsible for the construction. The city was granted certain rights to use the tower (for example ringing the bells on New Year's Day, etc.) and the square.
The Freiburg Cathedral Building Association , founded in 1890 out of the urgent need to renovate the cathedral, operates the cathedral building workshop and is responsible for the maintenance of the exterior of the cathedral. It does not own the building. The cathedral factory fund or the cathedral factory fund is responsible for the interior, the vestibule, the bells and the organ. This division of labor was established in 1891 by decree of the Archbishop's Ordinariate and still exists today.architecture
Nave
The construction of the new cathedral began around 1200 in a late Romanesque architectural style. The oldest sections of the building from this period that still remain are in the eastern part of the cathedral. The original plans called for a Romanesque three-aisled church with a transept and a polygonal choir. [18] The replanning of the nave took place around 1220 to 1230 - at a time when there was a change in architectural style on the Upper Rhine from late Romanesque to early Gothic. This development on the Upper Rhine was shaped by the Strasbourg Cathedral , which set new standards in this area.
The nave has the structure typical of the High Gothic period: each nave bay corresponds to one side aisle bay. Clustered pillars serve as supporting supports.
The artistic design of the eastern bays was still quite modest and mistakes were certainly made in the construction and statics of the building due to a lack of knowledge of the new architecture. Nevertheless, the architectural significance of the eastern bays should be emphasized, as they embody the transition from the late Romanesque to the High Gothic architectural style in the region.
The two east bays that were already standing were rebuilt from the 1230s onwards. The statics of the building were significantly improved by raising the buttresses and using flying buttresses that were led over the roof and connected to the clerestory of the nave. The master who completed the construction of the east bays is said to have also carried out the plans for the west bays of the nave and for the impressive Gothic west tower.
The four western nave bays built afterwards, whose proportions seamlessly connect to the eastern bays, are characterized by a much more delicate design. Characteristic are the fine details of the forms, especially the window tracery, as well as the clear structure of the building elements, such as "plinths, bases, services with capitals". Of particular importance is the southern Lamb Portal , the design of which is based on the blind arcades of the inner west wall of the side aisles. The nave was painted in the Middle Ages. When the grey paint applied in the course of the Baroque renovation in 1792 was removed in the 19th century, these paintings were largely destroyed. Some fragments of the medieval painting are still visible. In 1955, a depiction of St. Martin from the 15th century was removed and preserved on the east wall of the south aisle. It is now kept in St. Martin's Church .
Tower
The cathedral's striking tower , once described by the Swiss art historian Jacob Burckhardt as the "most beautiful tower on earth", is 116 metres high and offers a viewing platform at a height of 70 metres. After the completion of the 116-metre-high west tower around 1330, Freiburg Cathedral was one of the tallest church buildings for over a century and thus also one of the tallest buildings in the world at that time. Almost at the same time, around 1333, the 123-metre-high crossing tower of Salisbury Cathedral was completed, followed around 1350 by the almost 125-metre-high double-tower façade of St Mary's Church in Lübeck .
Until now, the planning and construction history of the Freiburg Minster tower had been based on a "two-master theory", according to which a first conservative master builder planned a simple, rather block-like tower and only an innovative second master made the transition to the tower octagon and, above all, designed the famous tracery tower helmet. Today, after examining the preserved medieval tower drawings, the planning history of the Minster tower is more differentiated, because the various redesigns were limited to the mezzanine floor. The crucial tower elements, however, the octagonal floor and, above all, the openwork tracery helmet, were part of the Freiburg planning from the very beginning. The second in the series of preserved tower plans can be attributed to Erwin von Steinbach's hand. This confirms the tradition written down in 1724, which attributes a significant role in the planning of the Freiburg tower to the Strasbourg master: "And Ervinus von Steinbach, who completed the cathedral in Strasbourg this year, is said to have also made the plan for this (ie Thann) as well as for Freyburg." Another medieval tower plan in Freiburg was discovered in 2016.
Bread measures on the tower base
At the foot of the tower, the building is almost square in plan; the walls are massive and almost without openings. The tower is surrounded by the twelve-sided star gallery about three thirds of its total height. Above the gallery, the tower continues as an octagon. The octagonal part leads into the so-called lantern , which can also be walked through. At this height, the tower is already perforated in many ways; four of its eight high pointed arch windows offer a view outside. Above the lantern is the spire, which is also octagonal, delicate and has many perforations. The ribbed arches are decorated with crabs . The tower gains its expressiveness from the architecturally perfect and playful transitions from the square to the twelve-sided and octagonal shape in the spire and up to the finial on the highest point. The main building material used was sandstone , which was mainly quarried on the Lorettoberg in the Middle Ages .
It is the only Gothic church tower of its kind in Germany that was completed in the Middle Ages (around 1330) and has since then survived the test of time almost miraculously, including the bombing raid of November 27, 1944, which destroyed the houses in the immediate vicinity of the tower. However, the building was badly damaged by the tremors. The fact that the delicate spire also survived the tremors is attributed to the iron anchors embedded in lead, which serve to connect the individual segments of the spire. Also unique for the time of construction is the weather vane with a sun and crescent moon above the finial at the top of the tower; it symbolizes the reign of Christ by day and night. There is much to suggest that the motif of this weather vane, made of fire-gilded copper sheet and renewed in 1861, was invented in Freiburg and then spread from here.
At the foot of the tower, to the left of the first portal arch, medieval measurements (length measurements, bread sizes, grain measures and others) are carved (13th and 14th centuries). Placing them on the church was intended to give these measurements special legitimacy . An inscription also lists the dates for the city's two annual fairs .
The tower also contains a large tower clock by Jean-Baptiste Schwilgué, dating from 1851. It still works, but no longer drives the hand on the large outer dial or strikes the bells. The tower also contains a control clock by Schwilgué, installed the same year for the tower keeper .
In terms of art history, the Freiburg Minster tower, completed in the Middle Ages, is of great importance as an architectural model, as it was copied as a template for a large number of neo-Gothic tower completions or newly built church towers, especially in the 19th century. Very close by is the church tower of the Protestant St. Stephen's Church in Mulhouse (97 meters), built between 1859 and 1866. The tower of the Protestant Reformed Church in Warsaw (built between 1866 and 1880 by Adolf Loewe ) was also modeled on the tower of the Freiburg Minster. This also served as a model for the new tower of the Lamberti Church in Münster , which was built in 1888/89 to replace an older tower that had become dilapidated.
Reinhold Schneider also created a literary monument to the Freiburg Minster with his sonnet The Tower of Freiburg Minster . It contains, among other things, the line "You will not fall, my beloved tower." It is noteworthy that Schneider wrote it months before the bombing raid, in which the tower was barely damaged.
The spire was scaffolded for twelve years from February 2006 for renovation. In August 2016, the scaffolding was dismantled to a third. The spire was exposed a year earlier. Work on the spire was completed in May 2018. The dismantling of the scaffolding was then completed by the end of August. From 2017 to 2018, the wood in the tower and bell room was renovated. Because of this, the tower was closed to visitors. After mid-August 2018, the tower was again visible without scaffolding, except for the construction elevator on the north side. However, the scaffolding still had to be dismantled in the spire. The spire could not support the outer scaffolding itself. After a total of 200,000 hours of work , the end of this work and the reopening of the visitor platform and the tower room were celebrated in mid-October 2018. A zero-euro note was issued for this occasion. The cleaning of the figures in the portal vestibule had also been completed by then. The redesign of the tower room was awarded the International Design Prize of the State of Baden-Württemberg "Focus Special" in the area of Public Design/Interior Design and the Iconic Award 2019 by the German Design Council .
Interior of Freiburg Cathedral
Choir
The choir with its chapel ring , whose characteristic spur-shaped appearance was developed from a simple geometric process, is the main work of the architect Johann von Gmünd, who came from the Parler family . Contrary to older research opinions, the choir was planned from the beginning with a basilica cross-section and not as a hall choir. After the long interruption of construction from around 1370 to 1471, the sections subsequently built were given a late Gothic character with net vaults and arched tracery according to plans by the architect Hans Niesenberger and his successors. To support the completion of the choir, Pope Sixtus IV granted an indulgence , which the Freiburg theology professor Johann Pfeffer used in 1482 as the basis for his treatise "Tractatus de materiis diversis indulgentiarum" on the indulgence system.
The cathedral choir has been under renovation since 2014. Over several decades, the neo-Gothic buttresses have had to be replaced because they are decaying and the stones are in danger of coming loose. Rainwater and pollutants (pigeon droppings) have corroded the sandstone. The new pillars are made of Neckar Valley red sandstone .
Furnishing
Late Romanesque choir cross
Böcklin Cross from around 1200
Madonna and Child on the central post of the main portal
Madonna in Starry Dress (main portal around 1300)
Choir room
→ Main article : High altar of Freiburg Minster
The most important item in the inventory is the high altar by Hans Baldung Grien. The high altar, painted between 1512 and 1516, is a winged altar which, at Christmas time, shows four Christmas pictures with the themes of the Annunciation , the Visitation , the Birth of Christ and the Flight into Egypt . For the rest of the year, the central picture is the Coronation of Mary , surrounded by the twelve apostles , six on each of the folding wings, with Peter and Paul clearly in the foreground on each of the wings. On the back, which can only be seen when viewing the chapel ring, the Crucifixion of Christ is painted. Here Hans Baldung has portrayed himself in one of the servants.
Since 2003, the choir has been draped during Lent with the Lenten veil painted by François Arparel in 1611/1612 , which conceals the high altar behind it. This veil, measuring 1014 × 1225 cm, is the largest surviving piece of its kind in Europe and has been restored and provided with a supporting fabric . It weighs over a ton .
In the choir is the tomb of Franz Christoph von Rodt (1671–1743), a Habsburg general and commander of the fortress of Breisach , created by the sculptor Johann Christian Wentzinger between 1743 and 1745. In the barriers between the inner choir and the ambulatory there are four Zähringer picture panels by Franz Anton Xaver Hauser in keel-arch framed niches.
The redesign of the chancel ( altar , ambo , bishop's chair and choir stalls ) by the Münstertal artist Franz Gutmann , which was completed in December 2006, was controversial. The simple redesign, especially the planned removal of the Annen and Epiphany altars and the position of the bishop's seat, initially provoked some violent protests from the population and believers. On Sunday, December 10, 2006, the new altar was consecrated by Archbishop Robert Zollitsch .
Since December 2009, the oldest work of art in the cathedral has been hanging in the chancel, a late Romanesque monumental cross, the so-called Böcklin Cross, which was made from oak around 1200 and covered with silver plates. It is 2.63 metres high and 1.45 metres wide and was previously located in one of the choir chapels. The cross, possibly donated by Duke Berthold V, was originally hung as a triumphal cross in reference to the Duke's grave, as indicated by the remains of a hanging device on the cross.
Chapel wreath
At the beginning of the 16th century, the chapels in the choir gave some wealthy citizens and nobles of Freiburg the opportunity to keep the memoria , the memory of members of their family, alive in their family chapels and at the same time to show off their own status. As places of worship and burial sites, the chapels are an expression of deep piety, but they also testify to the desire to strengthen the importance and reputation of the family through the furnishings of the chapel. The imperial family donated the two central chapels, and the university , founded in 1457, also secured a place to commemorate its members with a chapel in the choir.
All chapels were furnished with valuable windows, often with portraits of the donors and their patron saints, and with precious altars. Many of the coloured grilles on relief stone bases bear the date of their creation and the donors' coats of arms, which can also often be found in the colourful vault keystones . Over the centuries, some ownership changed and many furnishings, especially altars and epitaphs , were added, so that today the tastes of very different times can be seen there.
The chapels from south to north:
Stürzel Chapel
Holy Helpers Altar in the Stürzel Chapel, Augsburg around 1530
The lawyer and court chancellor of Emperor Maximilian I, Konrad Stürzel von Buchheim (ca. 1437–1509), donated the family chapel in 1505, which, along with the university chapel, is one of the earliest choir chapels to be completed. The expansion took place promptly, as the scaffolding timbers for the vaults of the Stürzel and university chapels were acquired after 1506. The interior design took a long time, as the vault keystones were not painted until 1524, the glazing with bull's eye panes was installed in 1525, the glass paintings were installed in 1530 and the chapel grilles were finally completed in the same year. The consecration date of the chapel is unknown.
The windows show the praying donor and his family, his brother, his son, as well as Stürzel's sons and daughters and his second wife Ursula Laucher. Stürzel is towered over by Saint Bishop Nicholas , who is carrying three loaves of bread on a book. This motif is a reference to an event from the legend of Bishop Nicholas, also known as the grain miracle. On the left is the Virgin Mary with the Child and the Three Wise Men , who had a special influence on Stürzel. He dedicated the chapel in his city palace to the kings and made them the theme of the altar there. The Three Kings Altar came to Freiburg Minster at the beginning of the 19th century, and has been in the south aisle since 2009. The scenes in the paintings are painted against backgrounds of different colors and patterns; furthermore, Renaissance architecture with garlands and putti tops them off. The windows were designed by Hans Baldung Grien around 1528. The original panes are on display in the Augustinermuseum in Freiburg, as they were replaced in the chapel in 1910 by copies by Fritz Geiges .
The artist and the time of creation of the painted winged altar, the so-called Altar of the Holy Helpers , are not known. Stylistic features of the main picture and the four paintings on the two standing and folding wings point to a painter from the Augsburg school of painting around 1530. The artist of the paintings on the altar base and the top part can be seen in the circle of Hans Baldung Grien. The open altar shows in the middle section Saint Augustine , Anthony the Hermit and the patron saint of the plague Rochus , as well as Saint Christopher and Sebastian . When the wings are closed, it shows forty-four small figures of saints in eight rectangular fields. These include the Fourteen Holy Helpers , who are called upon by believers in times of need and distress. The top part shows the Descent from the Cross, depicting Mary , John and two mourning women. The predella is decorated with depictions of the Holy Trinity , God the Father with his crucified Son and the Holy Spirit dove , Our Lady of Sorrows , and Saint Anne with her daughter Mary and the baby Jesus , also known as Anna Selbdritt . The altar is no longer in its original condition, as it was restored twice in the 19th century and in 1915 the framework was renewed, the paintings restored and the wooden parts refreshed with new colorful paint. At the beginning of the 20th century the altar block was decorated with a tapestry of the Nativity , dated around 1501, which is now in the Augustinermuseum .
The Baroque epitaph on the west wall commemorates the mayor of Freiburg, Johann Stephan Bayer, and was donated by his sons. The impressive epitaph is 3.60 m high and 1.80 m wide. It has a gilded, blue-green frame with twisted columns and angels sitting on top, holding an oval image of the resurrection between them. The Descent from the Cross adorns the main image - here you can see Mary, Mary Magdalene , Nicodemus and the body of Christ . The deceased mayor is honored by the inscription beneath the image. Flower reliefs and decorated coats of arms of Bayer, his wife and his son Franz adorn the lower part of the epitaph. This work by an unknown artist was removed at the end of the 19th century. In 1909 the frame was returned to the chapel, and the initially missing paintings followed later. At that time, two further memorial plaques were added to the chapel. A memorial plaque for the Freiburg councillor and colonel Andreas Flader, which showed the resurrection of Christ , adorned a spot on the Bayer epitaph. In front of the chapel, another epitaph was created for Mariä Annä Freifrau von Greuth, who was buried in the ambulatory. The works, which can no longer be seen today, were probably removed at the end of the 18th century.
Until 1819, the baroque baptismal font was located in the south aisle , where baptisms had taken place since the Middle Ages. After the cathedral was remodeled in the neo-Gothic style, it was moved to the chapel. The font and lid were adapted to match the Gothic temple and painted an inconspicuous grey colour. The baptismal font consists of a strongly curved wooden lid that can be opened halfway, and a stone basin. The basin is partially covered by three angel children holding a heavy cloth in place. The arched lid is decorated with fine profiles and delicate rocailles , and it also features a carved group of figures depicting the Baptism of Christ . It shows John the Baptist and the kneeling Christ , with water being poured over his head from a shell. The cross flag represents Christ's victory over death. Although the Upper Rhine artist Johann Christian Wentzinger designed the baptismal font, it was ultimately built by his employees alone. The basin was created by the sculptor Joseph Hörr around 1768 , and the lid was made by carpenter Johann Adam Brötz and sculptor Anton Xaver Hauser.
At that time, there were three confessionals by Joseph Dominik Glänz in the chapel, which were removed and destroyed between 1956 and 1959.
The wrought iron grilles were made between 1529 and 1530 by the metalworker Urban. Consisting of vertical and horizontal square iron, they are divided by late Gothic pointed arches with a diamond pattern and tracery . Flower motifs decorate the grilles and top them off. The coats of arms cut from sheet iron and painted on the outside show the coat of arms of Konrad Stürzel on the left and a coat of arms of unknown origin on the right. On the base stones there are two floral tendrils on the left and the sculptural coat of arms of the Stürzel family with the image of the griffin on the right .
The vault keystones feature the motif of the family coat of arms with a tournament helmet and two griffins . The mythical creatures face each other due to their mirror-image arrangement.
In front of the altar are two gravestones , of which the rear one, which is well preserved, is that of Johannes Sebastian Stürtzel von Buchheim, who died in 1661. Nothing is known about the second gravestone, as hardly anything can be recognized on it. Under the altar are the remains of a third gravestone, for which nothing is known about the deceased.
The external painting by Hans Bär on the epitaph of Michael Küblin shows the Marian altar by Hans Baldung Grien in the high choir
The contract for the construction of the chapel was signed in 1505 between the University of Freiburg and the city of Freiburg , and construction was completed in 1507. The graves in the chapel were intended for professors. Burials took place in the chapel until 1789. In total there are eight crypt chambers , two in and six in front of the chapel in the ambulatory, in which, according to the contract, someone new could be buried every eight years. 36 burials are recorded, but there were probably several more. The image program in the chapel refers strongly to the university's patron saint, Saint Jerome , and the university's coat of arms, which depicts the twelve-year-old teaching Christ . [54] Furthermore, the coats of arms of Old Austria, Freiburg and the Habsburgs are very often found in the chapel, since Freiburg was on Austrian territory at the time and the university was founded by Albrecht VI , a Habsburg.
The original windows are all still in the chapel. The lower ones are part of the original furnishings, but were heavily painted over in the 19th century. They were commissioned by the university senate and executed between 1524 and 1527 by Hans von Ropstein. On the left side you can see the twelve-year-old Christ teaching. He is enthroned on the left between scribes, and Mary , Joseph and another scholar are approaching the scene from the right. Above this depiction are arches with angels holding the Habsburg imperial coat of arms. The coats of arms of the Austrian countries can be seen at the base of the arches. On the right side you can see the four patrons of the university's faculties . From left to right, the Evangelist Luke for the medical faculty, Saint Catherine of Alexandria for the philosophical faculty, the Evangelist John for the theological faculty and Saint Ivo for the law faculty. They stand in front of a mountainous landscape. Above them, angels hold laurel garlands. These stand on consoles with coats of arms , on which the university's patrons are also depicted. Only the theological faculty is not represented here by John, but by the Apostle Paul . At the top in the middle of the two arches, each of which spans two patrons, there is another coat of arms, on which St. Jerome is also depicted on the left. The stained glass windows on the top left are the newest elements in the chapel. They were added in 1886 through a donation in the will of the botanist and naturalist Karl Julius Perleb . These windows were made according to designs by the Freiburger Wilhelm Dürr the Younger by the royal Bavarian court glass painter Franz Xaver Zettler . On the left is St. Jerome with a book as a reference to his translation of the Bible and many other learned writings that he wrote. On the right is Archduke Albrecht VI, the founder of the university, who is holding the founding charter in his hand.
The upper crowning of the stone epitaph for Ulrich Zasius shows a relief portrait bust of the lawyer and professor in a medallion
One of the most important pieces of equipment in the entire cathedral is the so-called Oberried Altar, which has been in the chapel since 1554. In the middle of the altar are two original wing paintings, made in 1525/26 by Hans Holbein the Younger . These actually belonged to another altar, which the Basel councilor Hans Oberried probably commissioned for his chapel in the Basel Charterhouse . He is depicted with his family at the bottom of the picture. After his death, his relative, the Basel canon Ludwig Baer, bequeathed the two wings to the University of Freiburg, and they were integrated into a new altar in 1554. What happened to the actual central panel of the original altar is not known. On the left, the Nativity is depicted in an ancient ruin, and on the right, the Adoration of the Magi . In the spandrel, which opens up at the top between the two panels, there is a relief with St. Jerome and the coats of arms of Freiburg, Austria and the Habsburgs. The altar wings show the four church fathers Augustine , Jerome , Gregory and Ambrose . Above their heads is one of the symbols of the four evangelists .
Today there are epitaphs or memorial plaques in and in front of the chapel. These are mostly dedicated to the professors buried in the chapel. There are three epitaphs on the back wall of the chapel. On the left is the epitaph for the lawyer and professor Theobald Bapst (died 1564). A portrait of him can be seen above the inscription plaque. To the right of this is the epitaph for the lawyer and professor Ulrich Zasius (died 1535), the first person buried in the chapel. A portrait of him can also be seen above the inscription plaque. Above these two in the middle is the epitaph for the theology professor and cathedral pastor Jacob Christoph Helbling von Hirzfeld und zu Buchholz (died 1719). There are five memorial plaques on the right-hand wall. At the very top is an epitaph for the professor and physician Gallus Streitsteimer (died 1595). It shows the parable of the Good Samaritan . Below the picture is a memorial text for the deceased with his coat of arms. Below on the left is the epitaph for the professor and physician Gregor Meier (died 1609). Above the inscription is a relief showing the deceased kneeling in front of the cross, and below the inscription is his coat of arms. To the right of this is the epitaph for the theology professor Christoph Eliner, who died in 1575, which depicts the vision of the prophet Ezekiel . At the very bottom left is the memorial plaque for the chaplain and assisus of the Basel cathedral chapter Michael Kübler von Kißlegg (died 1605). This has been in the chapel since 1827. It is a sliding image. On the front panel you can see the sacrifice of the mass in front of the high altar of the cathedral . If you slide this image to the side, you can see a portrait of Kübler, which was made during his lifetime and is attributed to the Ravensburg painter Hanns Baer. Kübler donated to the university, which is why this plaque hangs in the chapel. [63] To the right of it is a similar case, a memorial plaque for the abbot of Saint-Jean du Jard, Theobald Hening, who died in 1651. In 1630 he donated 10,000 guilders to the university. Opposite the chapel in the ambulatory are two further bronze memorial plaques of two university members who were not buried in the chapel. The upper one in Renaissance style is for Heinrich Glarean , who died in 1563 and taught poetry. Above the inscription plaque is his portrait in relief. Below is the plaque for the Greek and Hebrew professor who died in 1579.Johannes Hartung , his portrait can also be seen as a relief above the inscription.
The keystones also refer to the iconographic program within the chapel. On the stone in the chapel, Christ teaching is depicted between two scribes, surrounded by the coats of arms of the city of Freiburg, Old Austria and the Habsburgs. In the ambulatory in front of the chapel, Saint Jerome is depicted with the same coats of arms. Nothing is known about the gate in front of the chapel. As the numbers above the door indicate, it was built in 1554. Opposite the chapel in the ambulatory is a figure of John the Baptist and one of Saint Catherine . These were probably created around 1500. They stand on consoles with the coats of arms of Freiburg and that of the cathedral workshop.
Lichtenfels-Krozingen Chapel
It is a joint foundation of two related families from Lichtenfels and Krozingen . The only date that has been handed down is the date of the window inscription (1524), which was destroyed in the Second World War and could refer to the completion of the chapel. The metal letters above the entrance to the chapel record the year 1538 as the completion of the chapel grille. The family coats of arms of both families appear in many of the chapel's furnishings: on the chapel grille and its sandstone bases; inside the chapel on the stained glass, the gravestones, on the altar, as a design of a still preserved part of a wall epitaph; also on the vault keystones: in the ambulatory in front of the chapel, in the middle of the vaulted ceiling, is the coat of arms of the von Krozingen family (eight-spoked black wheel on a silver shield, here crowned by a Spangenhelm with crest decoration) and in the middle of the vaulted ceiling in the chapel is the coat of arms of the von Lichtenfels family (golden axe and golden wings on a black shield, here crowned with a helmet and above it with a golden crown with two swan necks winding around it).
The Annunciation Altar (around 1615) with the saints and patron saints of the families of Lichtenfels and Krozingen
The stained glass windows, which also date back to 1524 and were donated by both noble families, show the donors with their coats of arms and their patron saints: on the left, Cornelius von Lichtenfels, canon at Basel Minster and provost of the Münster-Granfelden monastery, kneels before St. Germanus; on the right, in knight's armour, his brother Hans von Lichtenfels with his two wives Maria von Landegg and Anastasia Pfau von Rüpurr before Christ as the Man of Sorrows. The two right-hand window panels show members of the von Krozingen family: on the left, Christoph von Krozingen, clergyman and chaplain at Freiburg Minster, kneels before St. Christopher; on the right, his brother Trudberth von Krozingen, knight and mayor, and his two wives, Anna Bechtoldin and Margaretha von Graben, before the apostle James the Elder. [68] The windows were so extensively reworked in 1872 that only remnants of the original remain.
The life-size sandstone figure of the first Archbishop of Freiburg, Dr. Bernhard Boll, in the Lichtenfels-Krozingen Chapel
Cornelius von Lichtenfels (d. 1535) and Christoph von Krozingen (d. 1563) were both buried in the chapel. The rear gravestone in the chapel floor belongs to Cornelius von Lichtenfels, whose mother was a von Krozingen. The front gravestone, with the two striking iron handles, is dedicated to Christoph von Krozingen. The brothers Peter (d. 1615) and Reinhard von Dettingen (d. 1617) were buried in front of the chapel, which was also known as the "Dettinger Chörlein" . Their relationship with the chapel founders (their great-grandparents were Diemo von Dettingen and Agathe von Lichtenfels) underlines the importance of the family ties in connection with this chapel. In 1918, the brothers' gravestones, which had been set in the floor in front of the chapel, were brought into the chapel and attached to the rear wall of the chapel, below the windows. Peter von Dettingen, provost of the cathedral in Basel, died exactly in the year that his successor Wilhelm Blarer von Wartensee donated the altarpiece for this chapel.
In the chapel is the "Annunciation Altar", donated in 1615 by the Basel cathedral curator Wilhelm Blarer von Wartensee , son of Barbara von Lichtenfels. The main picture on the altar shows the Annunciation to Mary by the Archangel Gabriel in the lower part of the picture. Mary, kneeling in the prairie, has placed some sewing on a small chair in front of her. The archangel approaching her holds a lily in his hand, and his greeting "Hail, full of grace, the Lord is with you" decorates the arch of the altar frame. Mary's answer: "Behold, I am the handmaid of the Lord, and let it be done to me according to his will" is written on the ledge below the picture. The Annunciation scene opens up in light, where God the Father appears in the arch, surrounded by a light-filled glory. Choirs of angels playing music on clouds accompany the event. In a compact, spatially staggered arrangement, figures with inscriptions are shown next to the main figures. These are figures from the Old Testament, whose prophetic words, understood as references to the Virgin Mary and the proclaimed Son of God, are shown to have been fulfilled here. Many saints are depicted in the decorative system of the frame architecture: they are the patron saints of the relatives of Wilhelm Blarer von Wartensee. Their names can be read on the dedication inscription on the predella, which also refers to the donor himself and his call to imitate the religious zeal and virtues of his ancestors.
The statue of the first Archbishop of Freiburg, Dr. Bernhard Boll (died 1836), was not placed in this chapel until 1936. The sculpture previously stood between the Gothic blind arcades of the northern aisle, very close to the archbishop's burial place. The life-size sandstone figure was created in 1839, three years after Bernhard Boll's death, by the Strasbourg sculptor André Friedrich. The archbishop depicted, who is shown in his vestments with mitre and crosier, raises his right hand in a blessing gesture.
Schnewlin Chapel
Stained glass with Johannes Schnewlin in front of his namesake John the Baptist (right) and the beheading of John (left) in the right window of the Schnewlin Chapel
Freiburg's mayor and knight Johannes Schnewlin (born 1291) commissioned the Schnewlin Chapel. However, Schnewlin's wish to build a chapel under his name was not fulfilled until 150 years after his death in 1347. Several payments made by the Schnewlin-Gresser Foundation between 1508 and 1516 meant that the chapel could finally be built in 1525, with the implementation and furnishing being carried out by the foundation's administrators. Johannes Schnewlin came from a wealthy family of Freiburg patricians who owned several silver mines. The family owned land and several family members worked in the administration. The chapel is not a family chapel, but is dedicated solely to the reputation of Johannes Schnewlin and his namesake, John the Baptist .
The stained glass windows of the chapel were donated in the same year that construction of the chapel began, as can be seen from the inscription beneath the windows. Payments for the windows were made before 1525, however, as payments from the Schnewlin-Gresser Foundation are recorded as early as 1522/23. It is assumed that the Zurich painter Hans Leu , who painted the windows of the university chapel, also made the windows of the Schnewlin Chapel. The two picture cycles of the four stained glass windows show the patron saint of Johannes Schnewlin and depict John the Baptist in various themes: The two windows on the left show the beheading of John. The table set by Herod and Herodias can be seen , while from the right Salome and two servants carry the saint's head in on a plate. The scene is framed by an architectural interior, which creates a spatial structure through arcades with Ionic columns. Lion heads are visible in the round arches of the arcades. In the third window in the row, one can see the beheading of Schnewlin's namesake, which is taking place in front of a mountain landscape. John is depicted in front of a rotunda in a red robe with a halo. In the fourth window, John the Baptist is depicted in monumental form, again in a red robe and facing the viewer. He carries the saint's attribute of the lamb on his arm. In front of him, kneeling, is the chapel's founder, Johannes Schnewlin. He has folded his hands in a prayerful gesture and is wearing a coat that reflects the colors of the orange-green Schnewlin coat of arms. The coat of arms itself can be seen at the feet of the Baptist in the lower left edge of the picture. It shows a gilded Spangenhelm and a miter of the same color with a peacock's tail . The windows were restored in the 19th century.
The Schnewlin altar, for which Hans Baldung Grien contributed the design, stands in an elevated position on a grey plinth on the right-hand wall of the chapel. The carved group of figures of the Holy Family entitled "Rest on the Flight" stands out. It was made by Hans Wydyz in 1515, while the background painting of the mountain landscape was made by Hans Leu. The side wings refer to Schnewlin's patron saint John the Baptist and show scenes from his life: the left side wing is open and shows John the Baptist about to baptize Jesus. On the right you can see the "Vision of the Evangelist John on Patmos". When the side wings are closed, the Annunciation to Mary by the Archangel Gabriel can be seen across the frame on both wings. On the sides of the altar wings you can see patron saints, which were added by an unknown artist around 1600.
In 1831, the wing sides of the Schnewlin altar were sawn through, creating two altars. The altar with the portraits of John went to the northern Imperial Chapel, the portraits of the Annunciation to the Blumeneck Chapel. The other altar pieces disappeared and were partly lost. In 1847, the altar from the Imperial Chapel was to be returned to its original location. In 1890, the John panels were attributed to Hans Baldung Grien, and it was concluded that the Annunciation panels must also be in the cathedral, as it was known that the altar had been dismantled. At the end of the 17th century, restoration work was carried out on the altars. This was done in view of the destruction in 1831, but the altar context of the previous years was not restored. Nevertheless, the altar was counted among the old Gothic works of the cathedral as early as 1820 due to the combination of painting and sculpture, and the altar was particularly valued. In 1956, the altar was reassembled in its original form and brought to the northern Imperial Chapel. Another change of location took place in 2009 and the altar was returned to the Schnewlin Chapel, where it remains to this day.
Another altar in the chapel is the neo-Gothic carved altar of the "Application of Christ". It was created in 1869 and was commissioned by Xaver Marmon . In the decorative top, the so-called Gesprenge , you can see John the Baptist on the left, the priest Simeon in the middle and the prophetess Hannah on the right. On the predella under the picture of the Lamentation, two angels hold the veil of Veronica . In the altar block you can see the busts of David , Solomon, Isaiah and Jeremiah .
A gilded rococo epitaph , which is located above the Schnewlin altar, commemorates Sigismund Stapf (d. 1742) and his son Georg Stapf (d. 1756), who accepted teaching positions at the University of Freiburg. Their graves are now in the university chapel.
Furthermore, a grave monument commemorates Ignaz Anton Demeter , the second Archbishop of Freiburg. In front of it stands a processional candlestick from the 18th century, probably made by Anton Xaver Hauser. The worn gravestone in front of the Schnewlin altar is by the Basel canon Markus Tegginger .
The coats of arms of the Schnewlin Chapel not only adorn the glass windows, but are also found on the outside of the chapel grilles: on the left you can see the Schnewlin coat of arms and on the right that of the Tegginger family. The third is unknown. Finally, vault keystones adorn the chapel: in the chapel in the vault ring you can see Schnewlin's coat of arms, and in the ambulatory you can see that of his namesake John the Baptist, who is holding the sacrificial lamb on a book with a victory flag.
Imperial Chapels
The two Imperial Chapels were founded by Emperor Maximilian I. He is shown in a window of the northern Imperial Chapel kneeling before Freiburg's patron saint, Saint George (right).
The southern and northern Imperial Chapels are located at the top of the choir; from here you can see the back of the high altar by Hans Baldung , with a crucifixion, the city and university patrons, and the cathedral caretakers and conductor who organized and supervised the construction work.
The foundation of the Imperial Chapels by Emperor Maximilian I was probably planned and discussed with the city of Freiburg as early as 1498 and 1511/1512, as the Emperor stayed in Freiburg for a long time during the Imperial Diet in 1498 and afterwards. [81] The construction of the chapels was completed with the grilles, which record the end of the construction in 1572 with dates cut from sheet metal. In addition to the chapels, the Emperor also donated three high choir windows of the Freiburg Minster.
The primary theme of the representation of the Habsburg imperial house is particularly evident in the numerous coats of arms in the windows and keystones. In addition, the imperial chapels are not intended as a final resting place, as the emperor and his successors are all buried elsewhere: Emperor Maximilian himself was buried in the castle in Wiener Neustadt in Lower Austria.
Both chapels stand out architecturally from the other chapels due to their richly decorated vaults.
Southern Imperial Chapel
King Ferdinand I (right) kneels before Saint Leopold (right), the patron saint of Austria, who holds a model of Klosterneuburg in his hand.
Of the original furnishings of the southern Imperial Chapel, only the windows, chapel grilles and vault keystones can be seen today.
The glass paintings show the grandchildren of Emperor Maximilian kneeling at prayer desks before the respective patron saints. On the left, Emperor Charles V kneels before the mighty figure of the Apostle James, the patron saint of Spain. In the right window, King Ferdinand I is shown kneeling before Saint Leopold, patron saint of Austria. The coats of arms of both rulers can be seen next to the figures: on the left, the coat of arms of Charles as Emperor of the Holy Roman Empire with the double-headed eagle covered by the imperial crown is shown, on the right, the royal coat of arms of Ferdinand, which is composed of the symbols of the various territories. The rulers are depicted in the imaginative, monumental Renaissance architecture with mighty barrel vaults. Renaissance frames with the Latin inscriptions (destroyed after the bombing in World War II and reconstructed in 2013) name the various titles and territories of the people depicted.
The same coats of arms as on the windows are also depicted in the vault keystones. The keystone in the chapel shows the imperial coat of arms. The coat of arms of Ferdinand I can be found on the keystone in the ambulatory.
The chapel grilles and stone plinths of the Southern and Northern Imperial Chapels are almost identical and are striking due to their particularly rich design with leaf ornaments. The counts depicted on the plinths in turn hold the coats of arms of the Habsburgs.
Nativity scene of the neo-Gothic altar of the Marmon workshop in the southern Imperial Chapel
Nothing is known about the artist, the appearance and whereabouts of the medieval altars in both imperial chapels. Today, in the southern imperial chapel, there is a neo-Gothic, colorfully painted and partially gilded altar from 1875 from the workshop of Franz Xaver Marmon, whose workshop created a total of six altars for the Freiburg Minster. The Maria Immaculata altar, which depicts the Immaculate Conception of Mary (Immaculata conceptio), shows Mary as the central figure, stepping on the head of the serpent with her left foot as a sign of her victory over worldly sin.
There are two Renaissance epitaphs in the chapel. The upper, richly decorated Renaissance memorial plaque is dedicated to the former cathedral pastor and university teacher Georg Hänlin († 1621). He was buried in the ambulatory in front of the chapel. At the beginning of the 20th century, however, the gravestone was attached to the left window wall to protect it from further damage. The epitaph below was donated by Barbara von Lichtenfels in memory of her two husbands Wilhelm Stürzel († 1559) and Christoph von Bernhausen († 1563).
In 1936, the statue of the Freiburg Archbishop Hermann von Vicari (1773–1868) was moved to the Southern Imperial Chapel. The life-size figure, carved from Carrara marble, originally stood in the northern aisle, where Vicari is still buried today.
Northern Imperial Chapel
King Philip I of Spain kneeling before Saint Andrew (left).
The stained glass windows of the Northern Imperial Chapel show Emperor Maximilian I himself in the left window, and his son King Philip I of Spain in the right window . Emperor Maximilian I, dressed in a grey-blue cloak, kneels in a representative prayer chair in front of his personal patron saint, the crusader Saint George. He is considered the oldest patron saint of the city of Freiburg and is depicted in his easily recognizable armor with the dragon at his feet. The two figures are framed by majestic Renaissance architecture with a coffered barrel vault, reminiscent of the triumphal arches of Roman antiquity. In the lower left corner next to the emperor is the imperial coat of arms, crowned by a miter crown. The Freiburg coat of arms can also be seen to the right of Saint George in the lower right corner. King Philip I of Spain, also called Philip the Fair, is also depicted on the right kneeling in a prayer chair with his patron saint, the holy apostle Andrew. Saint Andrew on the left, who is easily recognizable with the X-shaped St. Andrew's Cross as an attribute, is also the patron saint of the Burgundian Order of the Golden Fleece , to which the emperor belonged. The figures are surrounded by two richly sculpted columns decorated with flowers and floral patterns. Above them, a garland connects the two parts of the window, in which playing putti can be seen. In this window, too, a coat of arms is depicted to the right of the king, which refers to the territories of King Philip I.
The Schnewlin altar was initially located in the Northern Imperial Chapel in the 16th century and after the Baroque period it was again located there until 1956. Almost nothing is known about the Baroque altar that was located there during the Baroque conversion of the cathedral, just as little is known about the medieval altar. The Mary altar in the Northern Imperial Chapel was made in 1891 by Anton Warth as the last altar of the Marmon workshop and has only been in its current location since 2009. This is the former sacrament altar of the cathedral, which previously stood on the east wall of the south aisle and was used as a sacrament altar until 1990. After 1990 the Blessed Sacrament was placed in the tabernacle on the altar table of the Alexander Chapel. When closed, the Mary altar resembles the outline of a three-aisled basilica, consisting of three niches decorated with triangular gables. The middle niche stands out somewhat with a magnificent canopy, in the center of which a silver crucifix is displayed. When closed, the outer niches show two paintings by the Regensburg painter Ros, on the left the Annunciation scene with the Archangel Gabriel and the Holy Mary on a gold background. In the right niche, the birth of Jesus is depicted, also on a gold background. When opened, four picture fields can be seen showing the "Sending of the Holy Spirit", "Assumption of Mary", "Resurrection of Jesus" and "Ascension of Jesus". In addition, four reliefs with other picture themes can be seen inside. The "Visitation", the "Circumcision of Jesus", the "Presentation of Jesus" and the "Twelve-Year-Old Jesus Teaching in the Temple" are the picture themes of these reliefs. At the top, the altar ends with a group of figures above the canopy, which depicts the Coronation of Mary with Mary, Jesus and the Holy Spirit dove. The group is crowned by an octagonal pinnacle. The predella of the altar is highlighted by an elaborate wooden cabinet, which served as a former tabernacle until 1990 to store the Blessed Sacrament. The wooden cabinet is covered with a precious enamel panel and has the Alpha and Omega of the Greek alphabet on the doors and stands out from the flanking glazed arched niches. The niches, which are set slightly back, contain gilded reliquaries. The altar front of the table is divided into three picture fields by wooden columns, which are decorated with carved images of symbolic animal representations.
The two epitaphs in the Northern Imperial Chapel commemorate Basel clergy. The octagonal painting epitaph is dedicated to Christoph Pistorius († 1628), who was the cathedral pastor for eighteen years, Archducal Councillor of Austria, member of the Basel Cathedral Chapter and at the same time provost of the collegiate foundation St. Martin in Colmar. The painting is framed by a Renaissance frame decorated with columns entwined with tendrils, garlands of flowers and fruit. The Latin inscription panel below the painting is flanked by two busts of angels. The painting shows a scene from the legend of Elisha, showing a person rising from a grave, to the right and left of it two grave bearers retreating in shock. In the background one can make out approaching riders. The second epitaph below is dedicated to Nikolaus von Brinikhoffen († 1576), the former dean of the Basel Cathedral Chapter. In the middle part is a simplified version of the Coronation of the Virgin Mary from the high altar. Below Jesus on the left is the deceased himself, with a suit of knight's armor lying in front of him. The painting is flanked on the left and right by the eight coats of arms of the paternal and maternal ancestors.
There are also three gravestones in the chapel. One is the gravestone of the professor of philosophy and medicine Franz Joseph Vicari († 1735). The former canon of Basel, Humbert Brimpsi von Herblingen († 1596), also has his gravestone in the chapel, as does the lawyer Johannes Setrich von Sirk († 1595). Both were buried in front of the chapel.
The grilles and base stones are almost identical to those of the southern Imperial Chapel. The canopy above the door is decorated with an imperial coat of arms carried by two griffins ; on the right edge of the grille you can see a small tin coat of arms of Burgundy. The base stones each have two griffins in relief, which end in cornucopias and are decorated with rich floral flower and leaf ornaments. On the left, the griffins hold the imperial coat of arms with the double-headed imperial eagle and on the right the multi-part coat of arms of the Habsburg imperial house. The coats of arms can also be found in the vault keystones.
Villinger-Böcklin Chapel
Annenaltar in the Villinger-Böcklin Chapel (around 1515) with neo-Gothic shrine
The chapel was initially donated by Jakob Villinger (1480–1529), the treasurer of Emperor Maximilian I. Payments were made in 1526/27, and the chapel grille was not installed until 1570. The stained glass windows show the first donors with their namesakes ( James the Elder and Ursula of Cologne ). The chapel received its double name through a dual donation that goes back to the Magdeburg cathedral provost Wilhelm Böcklin von Böcklingsau .
Suter Chapel
The chapel was donated by Peter, Paul and Theobald Suter, brothers and clergymen. Payments are documented for 1522/23, and in 1538 the chapel was consecrated together with the Locherer Chapel. The stained glass windows show the three kneeling brothers with their patron saints, Peter, Paul and the crescent moon Madonna. Due to a restoration in the 19th century, not much of the original windows, which were probably designed by Hans Baldung Grien, have been preserved.
Completed in 1812 by Johan Willem Timpe, foreman of Heinrich Hermann Freytag, who had died in 1811. Carvings on façade and balcony are by M. Walles & son.
Byzantine, circa 400 AD.
gold
This bracelet is from a set discovered at Tartous in Syria, but it was probably made in the bustling center of Alexandria, Egypt, during the Byzantine period. Part of an engagement or wedding ensemble given by a groom to his bride, it is an extraordinarily preserved example of opus interrasile. This technique required piercing, cutting, and filing a solid gold sheet to create incredibly delicate motifs. The bracelet is D-shaped in profile, with walls curving gently outward from the top and bottom, and divided into eight segments profusely decorated with patterns that include openwork crosses and various vine scrolls. The central section contains a Greek inscription that has been translated, "Pretty one, wear [it] in good health."
"Dublin - Decorated Wood: Wood was carved in a distinctively Dublin interpretation of the insular version of the so-called Ringerike art style. This ornamentation appears on everything from large planks to small sliding case lids. Selected elements of the style were often carved into furnishings and tool handles. It can be deeply carved, lightly scored or even done in openwork. Apart from this high art decoration in wood, simple tools, handles and stools were often decorated in a fairly (rectilinear) primitive or rustic style, which was particularly favoured by the makers of single piece wooden containers. Dublin woodworkers often carved animals and sometimes humans. The less artistic doodled producing graffiti among which ships were the most conspicuous. (1-3) Three decorated wooden handles (Fishamble street), (4) Wooden bowl handle (Christchurch place), (5) Wooden carpenter's plane (Christchurch place), (6) Decorated wooden plank (Christchurch place), (7) Decorated wooden bracket (Christchurch place), (8) Wooden chair or bench end (Christchurch place), (9) Wooden chair back? (Fishamble street); (10) Decorated wooden spoon handle (Christchurch place); (11-12) Two decorated wooden spoons (Fishamble street); (13) Decorative wooden spoon (High St.); (14) Decorated wooden handle (Fishamble St.); (15) Decorated bow or handle (Christchurch Place), (16-17) Two animal-headed handles (Fishamble St.); (18) Animal-headed handle (Michael's Hill, Dublin); (19) Fragments of wooden cross (Christchurch place); (20.) Decorated wooden churn lid ( Christchurch place); (21) Decorated wooden box with sliding lid (Christchurch Place); (22) Decorated wooden box (Fishamble st.); (23) Decorated wooden box (High St.); (24) Decorated wooden box lid (Fishamble St); (25-26) Two wooden snake pendants (Fishamble st., High St.); (27) Wooden figurine of wolf with ball (Fishamble street); (28) Carved human head (Christchurch Place); (29) Carved human head (Fishamble St.); (30) Wooden stopper carved with human head (Christchurch place); (31) Decorated wooden bucket stave (Christchurch Place); (32) Iron stylus with decorated wooden handle ( fishamble st.); (33) Wooden Handle (High st.); (34) Decorated wooden handle (Fishamble street);(35-36). Two wooden cylindrical objects (Fishamble st.); (37) Decorated wooden object (Fishamble st.)" ~ Display at the Museum of Archaeology Ireland, Dublin, Ireland. "A Medieval Christmas Exhibit" - Museum of Archaeology Ireland (www.technogypsie.com/reviews/?p=1090) in Dublin (www.technogypsie.com/reviews/?p=885), Ireland (www.technogypsie.com/reviews/?p=884). Cian's Adventures with a Medieval Xmas - Walking with the Ancestors, Part 2 - Ireland - 2013 - Sunday, December 8, 2013. Photography (c) 2013 Thomas Baurley, Eadaoin Bineid, Leaf McGowan, Technogypsie Productions. www.technogypsie.com/photography/. To follow the stories and tales visit www.technogypsie.com/reviews/ and www.technogypsie.com/chronicles/?p=8691.
One of the two calcite lamps found in Tutankhamun's burial chamber. The cup takes the form of an open lotus flower and is flanked on both sides by rich, openwork decoration in which the god Heh is depicted kneeling on a number of papyrus plants with his arms raised. With one hand he is holding a palm branch (the hieroglyphic symbol for 'a year') that forms one edge of the scene, while the other touches the ankh symbol placed alongside Tutankhamun's cartouches. The cartouches, one containing his birth name (nomen) and the other his coronation name (prenomen) of Nebkheperure, are set above the hieroglyph signifying gold. This elaborate decoration contains the wish for unity and a long reign for the pharaoh. When employed as a lamp, the cup was part filled with oil - perhaps sesame oil - traces of which still remain, and provided with a floating wick. When lit from within, a scene becomes visible which is painted upon the outer surface of a thin calcite liner cemented inside the cup. The side shown here shows Ankhesenamum, Tutankhamun's wife, presenting him with two long palm branches symbolizing 'millions of years'. The other side carries Tutankhamun's prenomen and nomen between horizontal bands of petal ornamentation. www.grisel.net/tut.htm
Byzantine, circa 400 AD.
gold
This bracelet is from a set discovered at Tartous in Syria, but it was probably made in the bustling center of Alexandria, Egypt, during the Byzantine period. Part of an engagement or wedding ensemble given by a groom to his bride, it is an extraordinarily preserved example of opus interrasile. This technique required piercing, cutting, and filing a solid gold sheet to create incredibly delicate motifs. The bracelet is D-shaped in profile, with walls curving gently outward from the top and bottom, and divided into eight segments profusely decorated with patterns that include openwork crosses and various vine scrolls. The central section contains a Greek inscription that has been translated, "Pretty one, wear [it] in good health."