Pub Date : 2019-01-14DOI: 10.1515/9783110629156-012
W. Schneider
{"title":"Bild und Text in der Silvesterkapelle des päpstlichen Herrschaftsbaus von SS. Quattro Coronati in Rom","authors":"W. Schneider","doi":"10.1515/9783110629156-012","DOIUrl":"https://doi.org/10.1515/9783110629156-012","url":null,"abstract":"","PeriodicalId":356368,"journal":{"name":"Sacred Scripture / Sacred Space","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114573897","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-01-14DOI: 10.1515/9783110629156-009
Wilfried E. Keil
{"title":"Schrift und Bild zur Bildung?","authors":"Wilfried E. Keil","doi":"10.1515/9783110629156-009","DOIUrl":"https://doi.org/10.1515/9783110629156-009","url":null,"abstract":"","PeriodicalId":356368,"journal":{"name":"Sacred Scripture / Sacred Space","volume":"43 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121630890","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-01-14DOI: 10.1515/9783110629156-006
K. Krüger
The abbey of St Michael’s was founded by Bishop Bernward of Hildesheim (993–1022) on a hill north of the cathedral immunity.1 The founder conceived it as a monastery following early medieval tradition, accomodating a convent of monks and clerics. This is indicated by the history of the foundation as well as by the architectural layout of the abbey church and the number of altars it housed, as Matthias Untermann has recently pointed out.2 The process of foundation began in 996 with the consecration, in the north-eastern corner of what was to become the abbey precinct, of a chapel (sacellum) dedicated to the Holy Cross in which canons were to do liturgical service under the conduct of a provost (fig. 1). According to the date given on the foundation stone found in 1908 under the south-western transept arm (fig. 16), the construction of the great abbey church was begun in 1010. In 1013, Bernward had a monastic community installed on the site (either in a preexisting residential building or in an already finished section of the monastic complex), in 1015 the crypt under the western sanctuary with the altar of St Mary was consecrated, and in 1022 the consecration of the church was celebrated, although the building was not yet finished. Both consecration ceremonies, in 1015 as well as in 1022, took place on September 29th, the feast day of St Michael, patron of the church, to whom the main altar in the western sanctuary was dedicated. In that same year 1022, Bernward appointed an abbot as head of the entire convent, thus bringing the process of foundation to an end, before he himself died on November 20th 1022. He was buried in the crypt, in a tomb in front of the altar of St Mary, which he had prepared for himself while still alive (fig. 2).
{"title":"St Michael’s at Hildesheim: Scripture Networks and the Perception of Sacred Space","authors":"K. Krüger","doi":"10.1515/9783110629156-006","DOIUrl":"https://doi.org/10.1515/9783110629156-006","url":null,"abstract":"The abbey of St Michael’s was founded by Bishop Bernward of Hildesheim (993–1022) on a hill north of the cathedral immunity.1 The founder conceived it as a monastery following early medieval tradition, accomodating a convent of monks and clerics. This is indicated by the history of the foundation as well as by the architectural layout of the abbey church and the number of altars it housed, as Matthias Untermann has recently pointed out.2 The process of foundation began in 996 with the consecration, in the north-eastern corner of what was to become the abbey precinct, of a chapel (sacellum) dedicated to the Holy Cross in which canons were to do liturgical service under the conduct of a provost (fig. 1). According to the date given on the foundation stone found in 1908 under the south-western transept arm (fig. 16), the construction of the great abbey church was begun in 1010. In 1013, Bernward had a monastic community installed on the site (either in a preexisting residential building or in an already finished section of the monastic complex), in 1015 the crypt under the western sanctuary with the altar of St Mary was consecrated, and in 1022 the consecration of the church was celebrated, although the building was not yet finished. Both consecration ceremonies, in 1015 as well as in 1022, took place on September 29th, the feast day of St Michael, patron of the church, to whom the main altar in the western sanctuary was dedicated. In that same year 1022, Bernward appointed an abbot as head of the entire convent, thus bringing the process of foundation to an end, before he himself died on November 20th 1022. He was buried in the crypt, in a tomb in front of the altar of St Mary, which he had prepared for himself while still alive (fig. 2).","PeriodicalId":356368,"journal":{"name":"Sacred Scripture / Sacred Space","volume":"66 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133195051","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-01-14DOI: 10.1515/9783110629156-007
M. Vescovi
In Messages de Pierre, Vincent Debiais suggests that the “context” is one of the crucial elements of the study of epigraphy and its mise en place. Semantically and conceptually context could have different meanings. In the case of inscriptions, it could be understood in the first instance from the perspective of space: the context of an inscription is very much the space in which it is located—the space it occupies, its support—and its visual, structural and topographical environment. Yet context cannot be understood exclusively as the material setting of script: it could also be impalpable referring, for example, to the cultural milieu, in terms of ideas or concepts embedded within the script.1 In epigraphy, script and space are strictly intertwined. Letters and words populate a defined surface, for instance a slab, creating an inscribed space. At the same time, the built environment is activated by these words. Words and inscriptions have the potential to determine and characterise the viewing experience and, through it, the functions and meaning of a given space. The relationship between text and context takes on a specific connotation in relation to saints and their mortal remains. For example, painted or carved texts narrate saints’ lives, often complementing hagiographical visual cycles; inscriptions mark saints’ burials and celebrate their memory, sacralising and transforming monumental cityscapes.2 Relics and holy bodies, as Patrick Geary argues, carry “no fixed code or sign of its meaning” by themselves, therefore inscriptions, either on altars, church walls or in the shining tesserae of mosaics, identify these remains, and through the
{"title":"Inscribing Presence","authors":"M. Vescovi","doi":"10.1515/9783110629156-007","DOIUrl":"https://doi.org/10.1515/9783110629156-007","url":null,"abstract":"In Messages de Pierre, Vincent Debiais suggests that the “context” is one of the crucial elements of the study of epigraphy and its mise en place. Semantically and conceptually context could have different meanings. In the case of inscriptions, it could be understood in the first instance from the perspective of space: the context of an inscription is very much the space in which it is located—the space it occupies, its support—and its visual, structural and topographical environment. Yet context cannot be understood exclusively as the material setting of script: it could also be impalpable referring, for example, to the cultural milieu, in terms of ideas or concepts embedded within the script.1 In epigraphy, script and space are strictly intertwined. Letters and words populate a defined surface, for instance a slab, creating an inscribed space. At the same time, the built environment is activated by these words. Words and inscriptions have the potential to determine and characterise the viewing experience and, through it, the functions and meaning of a given space. The relationship between text and context takes on a specific connotation in relation to saints and their mortal remains. For example, painted or carved texts narrate saints’ lives, often complementing hagiographical visual cycles; inscriptions mark saints’ burials and celebrate their memory, sacralising and transforming monumental cityscapes.2 Relics and holy bodies, as Patrick Geary argues, carry “no fixed code or sign of its meaning” by themselves, therefore inscriptions, either on altars, church walls or in the shining tesserae of mosaics, identify these remains, and through the","PeriodicalId":356368,"journal":{"name":"Sacred Scripture / Sacred Space","volume":"136 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132353379","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-01-14DOI: 10.1515/9783110629156-008
Stefan Trinks
Mit der Unterkirche der aragonesischen Burg von Loarre (Abb. 1) ist der Sonderfall eines ‚segmentierten‘ sakralen Schriftraums gegeben,1 der in ein Kirchenportal, das zugleich den Zugang zur Hauptburg darstellt, eine tonnengewölbte Treppe mit Inschrift an der Seite und eine liminale Situation am Übergang in die Unterkirche gegliedert ist. Alle drei Räume sind jedoch eng aufeinander abgestimmt und bilden eine Einheit. Dieser Sakralschriftraum von Loarre hat bislang in der Forschung kaum Beachtung gefunden, so dass selbst zwei außergewöhnliche figürliche Reliefs aus dieser Raumstaffelung noch unpubliziert sind. Dieser Sonderfall wird sodann mit dem mutmaßlichen Vorbild des ungleich bekannteren Schriftraums der zu Loarre nahegelegenen Bischofskirche von Jaca verglichen, um insbesondere die Unterschiede herauszuarbeiten. Abschließend folgt der Versuch, diese Innovationen in einen breiteren Kontext von Schrifträumen der Iberischen Halbinsel einzuordnen und eine Interpre-
{"title":"San Pedro de Loarre als triadischer Schrift-, Bild- und Zeichenraum","authors":"Stefan Trinks","doi":"10.1515/9783110629156-008","DOIUrl":"https://doi.org/10.1515/9783110629156-008","url":null,"abstract":"Mit der Unterkirche der aragonesischen Burg von Loarre (Abb. 1) ist der Sonderfall eines ‚segmentierten‘ sakralen Schriftraums gegeben,1 der in ein Kirchenportal, das zugleich den Zugang zur Hauptburg darstellt, eine tonnengewölbte Treppe mit Inschrift an der Seite und eine liminale Situation am Übergang in die Unterkirche gegliedert ist. Alle drei Räume sind jedoch eng aufeinander abgestimmt und bilden eine Einheit. Dieser Sakralschriftraum von Loarre hat bislang in der Forschung kaum Beachtung gefunden, so dass selbst zwei außergewöhnliche figürliche Reliefs aus dieser Raumstaffelung noch unpubliziert sind. Dieser Sonderfall wird sodann mit dem mutmaßlichen Vorbild des ungleich bekannteren Schriftraums der zu Loarre nahegelegenen Bischofskirche von Jaca verglichen, um insbesondere die Unterschiede herauszuarbeiten. Abschließend folgt der Versuch, diese Innovationen in einen breiteren Kontext von Schrifträumen der Iberischen Halbinsel einzuordnen und eine Interpre-","PeriodicalId":356368,"journal":{"name":"Sacred Scripture / Sacred Space","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114354436","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-01-14DOI: 10.1515/9783110629156-004
E. Pallottini
Around 1050, a magnificent crucifix was donated to the former female collegiate church of St Nikomedes (now parish church) at Borghorst, Westphalia (Fig. 1–2).1 The Borghorst Cross, as this crucifix is more commonly known, is a reliquary splen didly decorated with gold, gems and precious stones, as was a longstanding custom in church practice. Just like many other reliquaries of the same period, it includes inscriptions to identify the images depicted on both sides of the cross and the relics concealed inside. These inscriptions form the subject of this paper. Using the Borghorst Cross as a case study, this article hopes to contribute to a better under standing of the interplay between inscriptions and relics, by exploring how writing, as both a textual and visual device, interacted with the physical context in which the relics were placed, contributed to its meanings, and engaged medieval audiences.2 The type of context that concerns us here is, first, that of the portable reliquary and, second, the wider architectural and liturgical context in which the inscribed reliquary was displayed and set in motion, as an object meant to be seen and contemplated by the faithful who came to pray in the church. Although the focus is on one case study, the methodology of this paper has been developed on the basis of a large corpus of inscribed reliquaries from western medi eval Europe.3 It addresses the inscriptions as material components of all reliquaries, exploring their textual and visual functioning within the larger system to which they belong. Using the epigraphic programme of the Borghorst Cross, I argue that the ways in which epigraphic texts on reliquaries conveyed meanings and contributed to these objects’ significance and functions, were inherently linked to the interactions between the inscribed text and its context, including the inscriptions’ interactions with the surrounding images, materials, decorations, the shape of the reliquary, the relics concealed inside, and the faithful, the author or spectators of the epigraphic object. The cross of St Nikomedes allows me to explore some of these interactions,
{"title":"The Epigraphic Presence on the Borghorst Cross (c. 1050)","authors":"E. Pallottini","doi":"10.1515/9783110629156-004","DOIUrl":"https://doi.org/10.1515/9783110629156-004","url":null,"abstract":"Around 1050, a magnificent crucifix was donated to the former female collegiate church of St Nikomedes (now parish church) at Borghorst, Westphalia (Fig. 1–2).1 The Borghorst Cross, as this crucifix is more commonly known, is a reliquary splen didly decorated with gold, gems and precious stones, as was a longstanding custom in church practice. Just like many other reliquaries of the same period, it includes inscriptions to identify the images depicted on both sides of the cross and the relics concealed inside. These inscriptions form the subject of this paper. Using the Borghorst Cross as a case study, this article hopes to contribute to a better under standing of the interplay between inscriptions and relics, by exploring how writing, as both a textual and visual device, interacted with the physical context in which the relics were placed, contributed to its meanings, and engaged medieval audiences.2 The type of context that concerns us here is, first, that of the portable reliquary and, second, the wider architectural and liturgical context in which the inscribed reliquary was displayed and set in motion, as an object meant to be seen and contemplated by the faithful who came to pray in the church. Although the focus is on one case study, the methodology of this paper has been developed on the basis of a large corpus of inscribed reliquaries from western medi eval Europe.3 It addresses the inscriptions as material components of all reliquaries, exploring their textual and visual functioning within the larger system to which they belong. Using the epigraphic programme of the Borghorst Cross, I argue that the ways in which epigraphic texts on reliquaries conveyed meanings and contributed to these objects’ significance and functions, were inherently linked to the interactions between the inscribed text and its context, including the inscriptions’ interactions with the surrounding images, materials, decorations, the shape of the reliquary, the relics concealed inside, and the faithful, the author or spectators of the epigraphic object. The cross of St Nikomedes allows me to explore some of these interactions,","PeriodicalId":356368,"journal":{"name":"Sacred Scripture / Sacred Space","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130634433","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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