By Sarah Blick, Rita Tekippe
This assortment contains essays at the visible event and fabric tradition at medieval pilgrimage shrines of northern Europe and the British Isles, relatively the paintings and structure created to accentuate religious adventure for viewers. those experiences concentrate on neighborhood pilgrimage facilities which flourished from the 12th-16th centuries, addressing numerous features of visible imagery and architectural house which galvanized devotees to price cults of enshrined saints and to venerate them in reminiscence from afar. matters comprise pilgrim gown, jeweled and painted reliquaries, labyrinths, difficult processions, revealed texts of the saint's lifestyles, shrines, sculpture and different architectural ornament, and pilgrim souvenirs. Profusely illustrated with 350 pictures, this paintings will curiosity students and scholars of paintings background, heritage, spiritual reports, and pop culture. individuals comprise: Ilana Abend-David, Virginia Blanton, Sarah Blick, Katja Boertjes, James Bugslag, Lisa Victoria Ciresi, Daniel okay. Connolly, M. Cecilia Gaposchkin, Laura D. Gelfand, Anja Grebe, Anne F. Harris, Kelly M. Holbert, Vida J. Hull, Jos Koldeweij, Marike de Kroon, Claire Labrecque, Stephen Lamia, Nora Laos, Jennifer M. Lee, Albert Lemeunier, Mitchell B. Merback, Scott B. Montgomery, Jeanne Nuechterlein, Rita Tekippe, William J. Travis, Kristen Van Ausdall, Benoit Van den Bossche.
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Sample text
His last years were spent in Rome where he died of the plague in 1591. After his death, his brothers took his belongings back to Nuremberg, among them his Spanish pilgrim’s garments. They have since become part of the famous Praunsche Kunstkammer (Praun Cabinet), the family collection in Nuremberg, put on permanent loan to the Germanisches Nationalmuseum in 1876. Beyond their value in the family tradition, the artistic merit of Stephen’s Spanish pilgrim garments is suggested by their inclusion in the Praunsche Kunstkabinett alongside works of art by Albrecht Dürer and Italian Renaissance masters.
The portrait figure wears a white lace ruff, according to the fashion of the late sixteenth century, in place of the hood. It was probably attached to the linen shirt which he wore underneath the cloak, and is indicated by the fashionable lace cuff emerging from the sleeve at the right wrist. Under his two coats, Stephen wears a white jerkin fastened with closely-aligned buttons at the front. The jerkin’s black braid piping matches that of the white cape. According to the fashion of the time, Stephen wears knee breeches decorated with broad black stripes.
James and one of St. Anthony of Padua, with a large scallop shell marking the turned-up brim at the front of the hat. 4 Nuremberg, Germanisches Nationalmuseum, Inv. No. T loan by the Friedrich von Praunsche Familienstiftung since Sammelns, cat. 142, p. 312. 5 Nuremberg, Germanisches Nationalmuseum, Inv. No. T loan by the Friedrich von Praunsche Familienstiftung since Sammelns, cat. 143, p. 312. 551 (on permanent 1876). Die Kunst des 552 (on permanent 1876). 6 It was once completely covered with tiny mother-of-pearl plates which formed a grid of narrow pointed ovals in whose squares, small crosses were enclosed.