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English Pages 248 Year 2021
Riemenschneider in Rothenburg
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Katherine M. Boivin
Riemenschneider in Rothenburg Sacred Space and Civic Identity in the Late Medieval City
The Pennsylvania State University Press | University Park, Pennsylvania
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Unless otherwise noted, all photographs are by the author. Frontispiece: Detail from the Holy Blood Altarpiece showing Judas and Jesus. Photo: author. Library of Congress Cataloging-in-Publication Data Names: Boivin, Katherine M. (Katherine Morris), 1984– author. Title: Riemenschneider in Rothenburg : sacred space and civic identity in the late medieval city / Katherine M. Boivin. Description: University Park, Pennsylvania : The Pennsylvania State University Press, [2021] | Includes bibliographical references and index. Summary: “Investigates how medieval urban planning and artistic programming worked together to form dynamic environments, demonstrating the agency of objects, styles, and spaces in mapping the late medieval city”—Provided by publisher. Identifiers: LCCN 2020051776 | ISBN 9780271087788 (cloth) Subjects: LCSH: Riemenschneider, Tilman, approximately 1460–1531. | Art—Commissioning—Germany— Rothenburg ob der Tauber—History—16th century. | Altarpieces—Germany—Rothenburg ob der Tauber—History—16th century. | Sacred space—Germany—Rothenburg ob der Tauber—History—16th century. | City planning—Germany—Rothenburg ob der Tauber—History—16th century. Classification: LCC N5205.7.G3 B65 2021 | DDC 726.5/29109433—dc23 LC record available at https://lccn.loc.gov/2020051776 Copyright © 2021 Katherine M. Boivin All rights reserved Printed in Lithuania Published by The Pennsylvania State University Press, University Park, PA 16802–1003 The Pennsylvania State University Press is a member of the Association of University Presses. It is the policy of The Pennsylvania State University Press to use acid-free paper. Publications on uncoated stock satisfy the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Material, ansi z39.48–1992.
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For Benoit, Brielle, and Kellan
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Contents
List of Illustrations | ix Acknowledgments | xi List of Abbreviations | xv
Introduction | 1 1. The City as Patron | 15 2. A Pilgrimage Environment | 43 3. The Urban Complex | 87 4. Remapping the City | 129 Epilogue: The Modern Medieval City | 175
Notes | 183 Bibliography | 207 Index | 225
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Illustrations
1. Holy Blood Altarpiece within the western chapel of St. Jakob in Rothenburg | xvi 2. Map of Rothenburg by Johann Ludwig Schäffer, 1729 |8 3. View of Rothenburg by Hans Meichsner, 1615 | 9 4. Plan of St. Jakob and the urban complex in Rothenburg | 17 5. Exterior of the east choir of St. Jakob | 23 6. Vaults of the Deutschhauskirche in Würzburg | 25 7. Vaults of the choir of St. Jakob | 25 8. Interior of St. Jakob toward the east | 32 9. Nave of St. Jakob toward the west | 33 10. East choir of St. Sebald in Nuremberg | 34 11. Choir and nave vaulting of St. Jakob | 35 12. View of St. Jakob from the south | 37 13. Map of Rothenburg | 39 14. West end of St. Jakob, with the Klingengasse passageway | 44 15. Cross reliquary with the Holy Blood relic | 46 16. North doorway of the Holy Blood Chapel in Rothenburg | 55 17. South doorway of the Holy Blood Chapel | 55 18. Longitudinal section of St. Jakob by Leonhard Häffner, 1899 | 56 19. Klingengasse passageway and paired portals of the Heiltumskammer | 56 20. Interior of St. Jakob toward the west, 1968 | 58 21. Klingengasse passageway from the southwest | 60 22. Monolithic window tracery at the west end of St. Jakob | 62 23 Interior of the Heiltumskammer from the west | 63 24. Deutschhauskirche in Würzburg from the south | 64 25. Wernerkapelle in Oberwesel from the northeast | 65 26. Street passageway of the Wernerkapelle from the southeast | 66 27. Cross and longitudinal sections of the Church of the Holy Savior in Passau | 67 28. Interior of the upper story of the Church of the Holy Savior | 68 29. Crest of the Holy Blood Altarpiece | 71 30. Predella of the Holy Blood Altarpiece | 72 31. Central shrine and wings of the Holy Blood Altarpiece | 73 32. Detail from the Holy Blood Altarpiece showing Judas and Jesus | 74
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33. Detail of the Rankenwerk canopy from the Holy Blood Altarpiece | 76 34. Back of the Holy Blood Altarpiece | 77 35. Detail of pointing apostle from the Holy Blood Altarpiece | 78 36. Detail of the Holy Blood Altarpiece showing the Entry into Jerusalem | 78 37. Vaults of the Holy Blood Chapel | 81 38. Plan of St. Jakob at the gallery level | 82 39. Chapel and Altarpiece of the Holy Blood seen from the northeast | 83 40. View of the Holy Blood Altarpiece from the north stairway of the west end | 84 41. Compilation of images showing the parochial complex of Rothenburg | 89 42. Lower ossuary of the charnel-house chapel in Oppenheim | 94 43. Engraving of the Kirchplatz in Rothenburg by Johann Friedrich Schmidt, 1762 | 95 44. Charnel-House Chapel of St. Kilian in Wertheim | 97 45. Charnel-House Chapel of St. Michael in Ochsenfurt | 98 46. Plan of the urban complex in Kiedrich | 99 47. Charnel-House Chapel of St. Michael in Kiedrich | 99 48. Drawing of St. Michael by Johann Ludwig Schäffer, 1729 | 101 49. Interior of the lower ossuary of St. Michael in Kiedrich | 103 50. Holy Cross Altarpiece by Tilman Riemenschneider now in Detwang | 106 51. Reconstruction of the Holy Cross Altarpiece | 106 52. Detail of mourning group from the Holy Cross Altarpiece | 108 53. Detail of Christ on the cross from the Holy Cross Altarpiece | 109 54. Detail of sleeping apostles from the Holy Cross Altarpiece | 110 55. Resurrection scene from the Holy Cross Altarpiece | 111 56. Surviving wall of the Charnel-House Chapel of St. Michael in Rothenburg | 112 57. Aerial view of the location of St. Michael in Rothenburg | 112 58. Drawing of the Dominican convent church in Rothenburg by Johann Ludwig Schäffer, 1738 | 112
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59. Surviving convent building with doors to the destroyed Dominican convent church | 112 60. Mount of Olives scene from the Holy Blood Altarpiece | 114 61. Mount of Olives scene from the Holy Cross Altarpiece | 114 62. High altar and sacrament niche in the east choir of St. Jakob | 116 63. Detail of south stained-glass window in the east choir of St. Jakob | 117 64. Bottom register of stained-glass window in the east choir of St. Jakob | 119 65. Man of Sorrows group on east choir of St. Jakob | 121 66. Original Man of Sorrows figure | 122 67. Sculptural groups on the exterior of St. Jakob | 124 68. Original Christ in Majesty figure | 125 69. Figure of Saint Michael slaying the dragon in St. Jakob | 126 70. St. Wolfgang Altarpiece by Tilman Riemenschneider and Wilhelm Ziegler in the Chapel of St. Wolfgang in Rothenburg | 128 71. Marian Assumption Altarpiece by Tilman Riemenschneider now in Creglingen | 134 72. Back of the Marian Assumption Altarpiece | 136 73. Detail from painting of the interior of St. Jakob toward the east, ca. 1670 | 137 74. Detail of Mary from the Marian Assumption Altarpiece | 138 75. Detail of the Rankenwerk and crest of the Marian Assumption Altarpiece | 139 76. Coronation of the Virgin from the Marian Assumption Altarpiece | 140 77. Compilation of surviving fragments from the Crucifixion Altarpiece by Tilman Riemenschneider and Martin Schwarz | 141 78. Figural group from the Crucifixion Altarpiece now in Munich | 142 79. Figural group from the Crucifixion Altarpiece now in Munich | 142 80. Detail of figural groups from the Holy Cross Altarpiece | 143 81. Mount of Olives scene from the Crucifixion Altarpiece now in Berchtesgaden | 144 82. Resurrection scene from the Crucifixion Altarpiece now in Berchtesgaden | 145 83. Nave and rood screen of the Franciscan church in Rothenburg | 146
x
84. St. Francis Altarpiece by Tilman Riemenschneider and Martin Schwarz in the Franciscan church in Rothenburg | 147 85. Detail of the sleeping companion from the St. Francis Altarpiece | 148 86. Central-shrine figure of the St. Ludwig of Toulouse Altarpiece now in St. Jakob | 149 87. Drawing of the Marian chapel on the Milchmarkt by Johann Ludwig Schäffer, 1745 | 155 88. Chapel of St. Wolfgang in Rothenburg | 156 89. Longitudinal section and plan of St. Wolfgang | 156 90. Interior of St. Wolfgang toward the east | 158 91. St. Wolfgang Altarpiece by Tilman Riemenschneider and Wilhelm Ziegler, 1515 | 160 92. Detail of the central shrine figure of the St. Wolfgang Altarpiece | 161 93. Paired portals of the St. Wolfgang Chapel from the south | 162 94. Interior of the Marian chapel of Kobolzell toward the west | 163 95. Marian chapel of Kobolzell from the southwest | 164 96. Rathaus in Rothenburg, with its old and new wings | 177 97. Aerial view of the southeast corner of the Marktplatz in Rothenburg | 180
Acknowledgments
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Acknowledgments
It is fitting that a book about the sustained and
will recognize its passages distributed throughout
collaborative artistic programs of the Middle Ages
this book’s two central chapters. The feedback of
begin with an acknowledgment of the many people
two anonymous reviewers and of the editorial team
who contributed to the current project. Some of
headed by Nina Athanassoglou-Kallmyer was vital
their contributions are visible in the notes, figures,
in shaping this core, on which Riemenschneider in
and captions, but many are invisible, despite the
Rothenburg expands. While researching this study,
tremendous impact they had on this book. They
I also prepared two articles on subjects tangen-
are the modern-day equivalents of the unsung
tially related to the current text: one, on chancel
masons, glaziers, carpenters, and donors without
passageways, appeared in 2015 in the British
whom the medieval city would never have existed.
Archaeological Association’s volume on Norwich;
the other, on two-story charnel houses, is forth-
The support and advocacy of my editor Eleanor
Goodman—charming, sharp, and ever dressed
coming in an edited volume titled Picturing Death,
to the nines—and her team at the Pennsylvania
1200–1600. I am grateful to the organizers and
State University Press have been invaluable in
editors of these publications for the opportunity to
transforming the following pages into a beautiful
publish my work.
book. I am grateful, too, for the close and insight-
ful feedback of two anonymous reviewers who
volume presents was possible only with the
strengthened the flow of my manuscript.
assistance of countless archivists, church adminis-
trators, librarians, and museum staff, who literally
The publication of this book was supported
The archival and on-site research that this
by generous grants from Bard College. At various
and figuratively opened doors for me. They are
stages I received support for my research from
too numerous to name here, though they have
the National Endowment for the Humanities, the
my gratitude nonetheless. Among them, special
International Center of Medieval Art, the Samuel
thanks is due to the Rother family, who, on several
H. Kress Foundation, the Fulbright Program, the
occasions, provided me access to their home,
German Academic Exchange Service (DAAD), and
which incorporates the one surviving wall of the
Bard College. Particularly at this time of cutbacks
Chapel of St. Michael in Rothenburg. For images,
in humanities and research funding, the support
I am particularly indebted to Matthias Weniger at
of these organizations and of the many individu-
the Bayerisches National Museum, whose beautiful
als who contribute to their funds, serve on their
photography appears more than once in this book.
boards, or otherwise support their mission makes
Hellmuth Möhring, director of the Rothenburg-
the work of academics possible.
Museum, too, provided valuable photographs and
Those who have read my June 2017 Art Bulletin
permissions for which I am grateful.
article, “Holy Blood, Holy Cross: Dynamic Inter-
actions in the Parochial Complex of Rothenburg,”
research in Rothenburg over the years. Oliver
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Two people in particular supported my
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xii
Gußmann, Lutheran pastor in the Parish of St.
the fabric of this book. Their engagement with my
Jakob and a scholar himself, made many things
work at a formative moment did much to boost my
possible—like candlelight viewings of the Holy
confidence. Nancy Wu, too, has been a long-term
Blood Altarpiece and off-season visits to the
mentor and inspiration since my days working as a
Chapel of St. Wolfgang, the Franciscan church,
guide at the Cloisters Museum.
and the Church Sts. Peter and Paul in Detwang.
Jérôme Zahn, master mason in charge of the most
friends at conferences over the years have been
recent restoration of the Church of St. Jakob and
influential as I worked on this extended project.
now director of the Dombauhütte Passau, took
In particular, Joseph Ackley, Robert Bork, Shirin
me under his wing when I first arrived to conduct
Fozi, Eliza Garrison, Sarah Guérin, and Jennifer
research in Rothenburg. I thank him from the
Kingsley must be mentioned here, though there are
bottom of my heart for the incalculable wealth of
many, many others. A special note of thanks also
resources, photography, historic documentation,
to Sonja Drimmer, Chris Fletcher, Lyle Dechant,
and expertise that he shared with me. He was my
and an anonymous reader for weighing in on the
quick-footed guide up the scaffolding, my advo-
transcription and translation of particularly tricky
cate in matters of access, my Gesprächspartner as I
lines of medieval German and Latin in this book.
developed my ideas. He, his wife, Nicole, and their
two sons, Lukas and Philipp, also became my dear
conference, Riemenschneider in Situ, in Franco-
friends and my family away from home.
nia with Gregory Bryda. His energy, enthusiasm,
and quick wit but also his engagement with my
Of course, this book owes a deep debt to many
Conversations with many other scholars and
In June 2017, I co-organized an international
scholars with whom I have had the great privilege
work were a great encouragement as I finished this
to work over the years. I hope that my Doktorvater,
manuscript. The conference itself proved a wonder-
Stephen Murray, will find in its pages traces of his
ful opportunity to test my ideas in front of many
own interests and scholarly preoccupations that
colleagues, and I want to thank all the participants
early on inspired my research. His eloquence, both
for the lively and productive discussions both in
on the page and in the classroom, will forever echo
sessions and on-site. In particular, I well remember
in my ears and set a high bar for emulation. The
conversations with Julien Chapuis, Hanns Hubach,
initial contours of the project owe much to him
Volker Schaible, and Tim Juckes that changed the
and to the many rich conversations I had with
way I looked at certain works.
Holger Klein at Columbia. Together, these two
scholars formed a dynamic duo on whose steadfast
list as well. His scholarship, like Jacqueline Jung’s,
mentorship I have gratefully relied.
forms a critical point of departure for my own
work; his eloquence as a writer is one to which I
Beginning during my time at Columbia but
Mitchell Merback certainly belongs on this
also in the years since, I have benefited from the
aspire. Michele Marincola was our guiding star
generous mentorship of other esteemed colleagues
throughout the organization of the 2017 confer-
as well. Foremost among these are Norbert Nuss-
ence and long after. I owe an untold debt to her
baum and Jacqueline Jung. Their critical feedback,
generosity and mentorship, not to mention to her
as well as their scholarship, is deeply woven into
work, as I do to my first advisor in medieval art
Acknowledgments
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history, Madeline Caviness, who instilled in me
a deep interest in the social dynamics of Gothic
chapter over the years as well as the full manuscript
spaces.
from start to finish before it went out for peer
review. Every page bears the imprint of her brilliant
The work of numerous local experts and his-
One colleague read innumerable drafts of each
torians provided an important foundation for my
editing and critical feedback. As committed a
work in Germany. I am grateful to Eike and Karin
friend as a reader, Jessamyn Conrad has seen this
Oellermann for sharing with me the unpublished
project develop from infancy into maturity; I owe
text of a lecture that treats the relationship between
an incalculable debt to her as a reader, a traveling
Tilman Riemenschneider and Martin Schwarz, as
companion, and a dear friend. She, Thomas Patter-
well as for many conversations on-site. Though I
son, and Katherine Kasdorf all braved many planes
have never met them in person, this book is deeply
and trains to join me in Rothenburg at one point
indebted to the scholarship and archival work of
or another during my research. Their friendship,
Ludwig Schnurrer and Karl Borchardt. Together,
as well as that of my wonderful colleagues from
their publications form an exceptional resource on
graduate school, Anne Hunnell Chen, Anna Ratner
medieval Rothenburg.
Hetherington, Jeffrey Miller, and Anna Seastrand,
is something I will always cherish.
I would also like to acknowledge the many
colleagues at Bard who have supported me over the
past years through their friendship and collegial-
fortunate in my troop of personal supporters, who
Beyond my colleagues in the field, I have been
ity. In art history, Susan Aberth, Laurie Dahlberg,
have kept in touch over the years and whose pur-
Patricia Karetzky, Alex Kitnick, Susan Merriam,
suit of their own passions has inspired mine. This
Julia Rosenbaum, Olga Touloumi, and Tom Wolf
includes former teachers and mentors, like Tom
are a dynamic bunch whom I consider not only
Armbruster, Marilyn Colyar, and Sol Gittleman,
excellent colleagues but also good friends. Special
as well as family friends, like Alison Parker, David
thanks, too, to our department administrator, Jea-
Burhenn, and Kenneth Hoffman. Thanks, too, to
nette McDonald, whose good spirits and amazing
my aunt and uncle, Theresia and Herbert Lauer, for
efficiency are a constant boon. Colleagues from
the many site visits, to my sister, Rebecca Morris,
other departments, too, have been staunch support-
for the rich conversations about methodology,
ers: Maria Cecire, Omar Cheta, Christian Crouch,
and to my brother Tobias Morris for the use of his
Lauren Curtis, Odile Chilton, Marisa Libbon, Rufus
camera, not to mention to all my extended family
Müller, Erika Switzer, Karen Sullivan, Éric Trudel,
for their love and support.
Marina van Zuylen, and Thomas Wild, among
others, embody the rich and productive interdis-
Little did I know then how often I would return
ciplinarity that makes the faculty at Bard such a
and how great a pull it would continue to have on
vibrant community. In particular, I cannot thank
me. For this and countless other formative experi-
enough the formidable scholars in my writing
ences, I thank my parents, Christine and Stephen
group, Maria Sonevytsky and Olga Touloumi. Their
Morris. Their all-encompassing practical, intellec-
insights did much to polish my text but also to
tual, and emotional support has seen me through
shape the critical framework of this book.
this process. Even as I write these lines, they are
I first visited Rothenburg when I was sixteen.
Acknowledgments
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entertaining their grandchildren with so many fun activities that I am hardly missed.
I have been incredibly lucky, most of all in my
family. To Brielle, whose fierce independence and love of art are infectious; to Kellan, whose smiles and hugs melt my heart; and to Benoit, whose love, patience, and caring (not to mention brilliant cooking) have sustained me through it all, thank you!
xiv
Acknowledgments
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Abbreviations
fl = guilder (florenus, unless otherwise stated, this refers to Rhenish guilders) lb = pound (librum) ß = shilling (solidus) d = penny (denarius) h = heller rh = rhenish A note on monetary values: According to Borchardt, “Münz- und Geldgeschichte,” under Emperor Charles IV (r. 1346–78), 1 guilder (fl) = 1 lb heller (lb h) = 240 pennies (d). In 1396, in comparison, 1 fl = 4 lb = 120 d and, by 1470, 1 fl = 8 lb 12 d = 252 d. The daily wage for a stone mason in 1464 was around 20 d.
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Introduction
In early April 1501 the sculptor Tilman Riemen-
the east choir and the nave in Rothenburg’s only
schneider was summoned to the hilltop city of
parish church, just a few blocks away.
Rothenburg ob der Tauber by the city’s gov-
erning council. It was not his first trip to the
in spring 1501 in order to sign a contract for what
medium-sized Franconian city. His friend and
would prove to be one of his most salient artistic
sometime collaborator, the friar Martin Schwarz
commissions: an altarpiece to display the city’s
(Frater Martinus Schwarz), was the guardian—a
miracle-working blood relic within an elaborate
position equivalent to abbot—of the Franciscan
new pilgrimage environment (fig. 1). Between 1453
monastery there and had first brought Riemen-
and 1471 the city had added to the Parish Church
schneider to Rothenburg more than a decade
of St. Jakob an elegant western apse with an
earlier, around 1485, to carve an altarpiece for the
elevated chapel dedicated to the Holy Blood, and
high altar of his monastery’s church. Schwarz
it was in this chapel that the grand new altarpiece
himself had given this grand Crucifixion retable
was to stand—a pendant to Riemenschneider’s
its final polychrome finish, for he was a reputable
Marian altarpiece already in place in the nave of
painter of sculpture as well as panels. Since 1485
the same church. The pilgrimage function of the
Riemenschneider and his workshop had produced
chapel and its unique position bridging a major
two other altarpieces for Rothenburg: one, a
street demanded an equally striking centerpiece
retable showing Saint Francis receiving the stig-
and one that responded to the local context.
mata, that stood in front of the rood screen in the
Riemenschneider was thus tasked with creating
Franciscan church; the other, a Marian altarpiece
the figures for an altarpiece that would crown the
that adorned the lay altar at the junction between
dynamic pilgrimage environment at the heart of
1
Riemenschneider made his visit to Rothenburg
Fig. 1 Holy Blood Altarpiece within the western chapel of St. Jakob in Rothenburg.
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the city and act as a visible nucleus of Rothen-
optimistically specified that the sculptor should
burg’s civic identity.
deliver the figures for the Holy Blood Altarpiece
by Christmas that year. In reality, it took Riemen-
Despite the modern tendency to identify it as
“Riemenschneider’s Altarpiece of the Holy Blood,”
schneider almost four years, until 1505, to complete
the commissioned altarpiece had multiple authors.
the contracted work. In March 1502 Harschner
Like most medieval projects, this one required
traveled to Würzburg to visit Riemenschneider’s
the collaboration of several artists and artisans,
workshop and discuss the final details of their
including Martin Schwarz, who served as artistic
collaboration. Two months later Harschner was
counselor to the municipal government of Rothen-
ready to deliver his contribution, complete with
burg and presumably came up with the overall
its elaborate superstructure of twisting spires and
program of the altarpiece; Erhart Harschner, a local
nodding arches. This casing was promptly installed
joiner commissioned with building the armature of
in its intended location on the central altar of the
the retable and executing its elaborate framework
elevated western Chapel of the Holy Blood. In
of interweaving vines; Riemenschneider and his
the same month, the newly gilded cross reliquary
assistants, who carved the figural components; and
containing the titular blood relic was set up within
teams of drivers and metalworkers charged with
the upper crest of the altarpiece, where it served
delivering and installing the retable. The repre-
as the devotional focus of the established local pil-
sentatives of the city had drawn up a plan for the
grimage. It was not until two months later, in July
altarpiece, and Harschner was already at work on
1502, that the first figures for the altarpiece arrived
the framework by the time Riemenschneider was
from Riemenschneider’s Würzburg workshop, with
summoned to Rothenburg. The exact specifications
further installments delivered in 1504 and 1505.3
of Riemenschneider’s contribution—the figures’
Despite what might be considered the unfinished
scale, iconography, and position—were set down in
state of the altarpiece, then, it served as a visual
a contract signed on April 15, 1501, during Riemen-
focus for services and pilgrimage, one that was
schneider’s sojourn. The municipal committee
augmented periodically over the course of more
retained the final say on whether the altarpiece was
than two years. In fact, even once all the compo-
to be finished in a monochrome wood stain—a
nents had been installed, the potential remained
technique that Riemenschneider had employed
for the monochrome, or holzsichtige (literally
before but that was still rare—or would be brightly
“wood-visible”), altarpiece one day to be dis-
painted following the time-honored practice cur-
mounted, painted, and reerected within the chapel.
rent across medieval Europe.
the Holy Blood Altarpiece, Riemenschneider and
2
2
The creation of the altarpiece was consequently
In the decades following the installation of
protracted. Over the course of several years, it
his workshop produced several more retables for
stood in various states of “completeness,” during
Rothenburg. Indeed, by the 1520s nine altarpieces
which time it nevertheless functioned as a visual
by Riemenschneider’s workshop likely dotted
focus for services and devotion within the west-
the city’s religious spaces. These varied in scale
ern chapel of the parish church. The contract
and program, yet together they created a visual
of 1501 between the city and Riemenschneider
network—strengthened by Riemenschneider’s
Riemenschneider in Rothenburg
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characteristic style and underscored by repetitions
ensembles, which frequently involved teams of
in iconography and composition—that stretched
artisans and designers, overseers and patrons. Like
throughout the city. Though they depicted uni-
the Altarpiece of the Holy Blood in Rothenburg,
versal biblical themes found in medieval churches
medieval artworks were complicated objects. From
throughout Europe, the altarpieces together
their design to their interpretation, they remained
formed a unique local program that aesthetically
fundamentally multifaceted, participating in
remapped the urban space of medieval Rothenburg
dynamic environments, alongside other objects
and contributed to its identity as a prosperous and
and human activity. This book builds on recent
significant center.
scholarship that problematizes media-based studies
Riemenschneider’s altarpieces are one choice
by considering a variety of artistic media within the
sample from the rich array of art objects and archi-
spatial, ritual, and sociopolitical contexts in which
tectural projects that constituted the late medieval
they functioned.4
city of Rothenburg. In this book they form the
teleological thread to an exploration of urban
tecture were both produced and experienced in
planning in the late medieval city. Through a con-
complex environments has led some scholars to
textualized study of the environments for which
question our ability to reconstruct an idea of the
Riemenschneider’s altarpieces were commissioned,
integrated Gothic church; in Willibald Sauer-
this book investigates processes of medieval artistic
länder’s words, “there is no way back to the real
programming, arguing that—despite the many
Gothic cathedral.”5 The notion of order, which
hands involved, the variety of contributing media,
suggests a unitary conception of medieval church
the protracted periods of construction, and the
space, has remained one of the primary critiques of
absence of any single prescriptive intent—the art
the Gothic cathedral as Gesamtkunstwerk (liter-
and architecture of a medieval church or city often
ally “total work of art”) and of what Paul Crossley
displayed a meaningful coherence. This coherence
has termed “holism.”6 There is in the concept of
was an active force that drove later additions and
the Gothic cathedral the implied idea of a single
adjustments. It thus served as a tool of urban plan-
intent, of a sequence of things, of a comprehen-
ning. The result was a network of dynamic spaces
sive tidiness, that does not hold true to medieval
that were instrumental in shaping a particular
construction processes. Yet at the same time, the
identity of place.
repetition of themes, the choice of placement,
The recognition that art objects and archi-
or the correspondences between different works found within a Gothic church seem to suggest a
Medieval Programs and the Agency of Artworks
guiding logic to the ensemble.
This raises two fundamental questions of this
The modern division of art history by artistic
book: To what extent were medieval environments
media—reflected in museum collections, curric-
programmed? Who (or what) had agency in
ula, and academic training—is true neither to the
assembling such environments?
experience of medieval art by its contemporaries
nor to the construction processes of artworks and
line Jung’s concept of the “spatial environment,”
Throughout this book I build upon Jacque-
Introduction
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which suggests that though we cannot compre-
saw old ones depart. We can never know the intri-
hensively reconstruct a specific medieval program
cate webs of public and private motivations that
or experience, we can investigate the resonances
guided the elected councilmen’s decisions. Instead,
between various media within flexibly defined
we must consider medieval artistic programming
spaces. Such resonances have been invoked by
as a protracted process, the integrity of which
other scholars as well: Paul Crossley has described
relied on its authors’ and audiences’ sensitivity
“subtle and self-conscious coordinations between
to preexisting visual and social environments.
simple ingredients—altars, relics, images, and
Especially in considering ensembles like the urban
liturgies”; and Paul Binski has traced “‘webs of
complex (discussed in chapter 3), which integrated
7
significance,’ human, ideological (or mythological)
multiple environments and artistic media into a
and artistic,” that made up the medieval church.
spatial-thematic program, it is important to keep
These approaches are cautious to avoid the idea of
this flexible and dynamic process in mind.
a preconceived plan or unified order guiding the
design of medieval church programs across media,
Buildings, one of the seminal volumes on medieval
yet they return to the fundamental observation that
artistic programming, reframes this programming
medieval art objects were experienced as part of
as a process of “integration.” Although the essays
wider visual and cultural fields.
included in this multiauthor work interpret “inte-
gration” differently, several notable contributions
8
9
4
Important for my discussion of medieval
The title of Artistic Integration in Gothic
artistic programming is the question of design. As
suggest that an internal logic led to the formation
chapter 1 shows, authorities often applied for indul-
of intelligible artistic programs. Arnold Klukas,
gences, secured rights to conduct specific rituals,
for instance, proposes that Gothic churches were
and raised money for anticipated projects long
constructed “according to a schedule of essentials”
before the laying of a cornerstone or the signing
and that a community could retain an implicit or
of a contract. This forethought, however, did not
even explicit “consensus of symbolic language over
mean that patrons developed or followed a master
generations in time.”10 Similarly, Peter Draper sug-
plan. Indeed, medieval artistic programming, like
gests that a sense of decorum, or appropriateness,
medieval urban planning, was rarely governed
guided additions to church space. Draper posits
by an imperative blueprint. Various individuals
that medieval viewers were aware of the coherence
as well as institutions actively contributed pieces,
of a building’s program—in other words, that they
stipulated the iconography of major commissions,
were sensitive to correspondences between what
or oversaw choices for architectural projects. How,
may seem to the modern viewer to be disparate
then, can we think about structured program-
elements of an ensemble.11
ming or approach the apparent logic of a medieval
ensemble without coming to a holistic view of the
sense in light of what Paul Binski has demonstrated
Gothic church as a Gesamtkunstwerk?
for Canterbury, Madeline Caviness for Braine, and
In late medieval Rothenburg the city council
Gerhardt Weilandt for the Church of St. Sebald
served as the leading institutional patron of art. Yet
in Nuremberg: that correspondences between
each year brought new members to the council and
different media contributed to a spatial-thematic
These ideas of decorum and coherence make
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environment for viewers to experience, even
though they were not the “coherent product of
provide a useful framework in dealing with the
Anthropology and the history of science
a single intelligence.”12 Spatially structured reso-
power of objects to interact with human agents.
nances between architecture, stained glass, and
Recent work on actor-network theory and assem-
ritual, in particular, have been a focus of scholar-
blages allows programmatic coherence to be
ship on the question of artistic programming in
theorized without the hazardous assumption of a
the Gothic church because of the often proximate
single or unified creative impulse. Bruno Latour’s
inception of architectural and glazing programs.
actor-network theory holds that nonhuman as well
But such relationships could characterize, materi-
as human bodies are actants, capable of exerting
ally and chronologically, a much broader ensemble
agency and participating in networks.17 Therefore,
of elements. It makes sense to think of medieval
art objects, as well as patrons, artists, and view-
programming not as a “sustained programmatic
ers, may actively partake in complex systems of
intention” but as an ongoing and ever-changing
relation.
process of configuration, which could follow the
guiding agendas of multiple patrons while cohering
that “an actant never really acts alone. Its efficacy
to an overall sense of decorum.
or agency always depends on the collaboration,
cooperation, or interactive interference of many
13
14
The studies of such programming have to
Building on Latour, Jane Bennett has observed
date confined their inquiries to single churches.
bodies and forces.” The power of such a collabora-
Only rarely has medieval artistic programming
tive ensemble is what Bennett terms “the agency
been considered across the space of the medieval
of assemblages.” Thus, in addition to the power of
city, and then usually only through one artistic
individual bodies (human and nonhuman alike),
medium, most commonly architecture.15 Tradition-
Bennett proposes a distributive agency exerted by
ally, the medieval city has been seen as a product
ad hoc assemblages, an agency distinct from the
of “organic growth,” developed as a haphazard
constituent bodies.18 In other words, the power of
consequence of unguided change.16 This book,
an ensemble is more than the sum of its individual
instead, argues that both the medieval church
parts.
and the medieval city were guided by similar and
interrelated processes. In considering artistic
of artistic programming during the Middle Ages.
programming not as the result of the intentions of
First, it follows that art objects—architecture,
a single designer but rather as a configured system
altarpieces, stained-glass windows, reliquaries, and
of meaningful correspondences, we can approach
so forth—possessed agency and thus could guide
the medieval city as a purposeful yet ever-changing
future commissions. The dedication of an altar to
ensemble. This ensemble depended less on a stable
the Holy Blood, for instance, helped inspire the
end concept than on flexible ideas of appropri-
design of the architecture built to house it, and
ateness. Moreover, the city was, at least in part,
that architecture, in turn, affected the design of
a product of the environments themselves, since
the altarpiece later commissioned to stand within
established spaces affected the choices of patrons
the space (chapter 2). Even if we cannot recon-
and artists making new contributions.
struct the intent behind a new commission, we can
This has important implications for the study
Introduction
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investigate the conditions and objects that may
intent. Instead, artistic programming was a process
have guided its design.
by which various flexible systems of relation or
correspondence manifested themselves across and
Second, multiple pieces could function together
as ensembles. They formed environments with
through space.
their own distinct agency and acted within net-
works alongside humans. Two elevated chapels
different from that of design, intent, or reception
with complementary altarpieces by the same artist’s
considered alone. Rather than reconstruct the
workshop, therefore, could define a meaningful
Gothic Cathedral, we can investigate the complex
spatial system and relate themes of protection and
dynamics of medieval spatial environments and the
salvation across a multimedia artistic program
“dialectic between possible intention and evident
(chapter 3).
result.”20 This dialectic not only exists for histori-
Finally, assemblages remained malleable,
What I propose, then, is a kind of unity
ans today but also played a fundamental role in
“open-ended collective[s].” As flexible groupings
the aggregation of these environments during the
of constituent components that could simulta-
medieval period. Coherence depended not on a
neously participate in multiple networks, artistic
fixed, complete, or authentic program but rather
programs need not have been the product of a
on the interactions between individual entities
preconceived or uniform intent. Rather, they could
and environments and between extant materials
result from the relationships between multiple
and the open potential for adjustment. Networks
objects and actors established over long stretches
of patrons, artists, objects, and spaces worked
of time. Medieval spatial environments were never
together to establish flexible ideas of decorum,
truly “complete” but rather carried the constant
and medieval artistic ensembles were the prod-
potential for expansion and change: individual as
uct of a collaborative and sustained process of
well as institutional patrons continually commis-
configuration. Artworks, both individually and
sioned new pieces, and monumental additions, like
as ensembles, acted on their environments by
altarpieces, could be installed in stages or with a
adjusting foci, elaborating established themes, and
monochrome finish and then painted years later.
redirecting liturgical and devotional practices. The
As a result, the medieval experience of artistic
effects of this agency extended beyond the confines
programs—like their production—was character-
of a single church structure and contributed to the
ized by intermittent aggregation and adjustment
remapping of the medieval city.
19
(chapter 4).
Medieval artistic programming was therefore
an ongoing and dynamic process that depended
Case Study: Rothenburg ob der Tauber
on human and nonhuman actors, one that was not
6
straightforward but rather multifaceted and com-
Rothenburg ob der Tauber is an ideal place to
plex. In this way, its effects were remote from the
study medieval artistic programming because it
idea of a guiding master plan or from the totalizing
offers historians an opportunity at least partially to
model of the Gesamtkunstwerk, in which every
reconstruct several artistic environments of vary-
element must necessarily fit a single program or
ing scale. Many German sites, which have received
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little attention in English-language scholarship,
considerable in size. During the fourteenth and
preserve more of their original church furnishings
fifteenth centuries, its total population numbered
than comparable sites in England or France, thus
between 5,000 and 7,000 individuals, living in
making them valuable case studies for the interac-
about seven hundred houses (fig. 2).22 By compar-
tions between multiple artistic media. Rothenburg,
ison, most of the roughly three thousand medieval
which during the Middle Ages was an imperial
cities that lay within the borders of modern-day
city and today is one of Europe’s top “medieval”
Germany had total populations of fewer than 1,000
tourist destinations, is interesting for its preserved
individuals.23 Rothenburg was thus one of the fifty
evidence of discrete artistic environments but also
largest cities in Germany by population, leaving
of the processes that helped configure multiple
aside its four hundred square kilometers of territory,
ensembles into citywide networks. The excellent
which was more extensive than every other Ger-
survival rate of both its material fabric and its
man-speaking city except Strasbourg and Ulm.24
archival sources attests with nuance to the com-
plex dynamics at work in late medieval artistic
region of Franconia fifty kilometers (thirty miles)
programming.
south of Würzburg and sixty-five kilometers (forty
Although some known artists resided in
Rothenburg lies in a hilly, wine-producing
miles) west of Nuremberg. In the Middle Ages
Rothenburg intermittently, the city never devel-
the Duchy of Franconia extended further north
oped into a center for artistic production on par
and west than the region of that name does today,
with Würzburg or Nuremberg. Rothenburg, there-
and it included an important stretch of the Rhine
fore, was forced to import most of its art objects
River north and south of Mainz. The Tauber River
and architectural styles. This practice of importing
meanders through a narrow valley and forms a
art makes Rothenburg distinct from capital cities,
tributary of the Main River northwest of Rothen-
such as Paris or Prague, economic powerhouses,
burg at Wertheim. Although never navigable, the
like Florence or Bruges, or major pilgrimage des-
Tauber once marked an important trade route with
tinations, like Rome or Jerusalem, which tended
numerous medieval cities built along its course.
to develop their own resident workshops. Rothen-
burg’s success at distinguishing itself artistically
the Tauber River, Rothenburg commands a view
during the late Middle Ages ultimately stemmed
of the surrounding area. Although the land rises
from its collection and configuration of artistic
gradually from the east (the direction from which
imports. With its single parish church, its local
most modern visitors arrive in Rothenburg), most
communities of Franciscans, Dominicans, Teutonic
medieval travelers approached the city from the
Order priests, and Knights Hospitaller, its munic-
Tauber valley, to the west. From here, the city
ipal government of elected patrician-class men,
appears to crown the steep hill, its walls following
and its practice of importing art, Rothenburg thus
the natural formations of the land. It is this view of
models features common among a large number of
the fortified hilltop city that dominates “portraits”
late medieval cities.
of Rothenburg from the sixteenth century on and
that the medieval city government went to great
21
Although today Rothenburg seems a tiny town
at 10,000 inhabitants, by medieval standards it was
From its position about fifty meters above
lengths to construct (fig. 3).
Introduction
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Fig. 2 Map of Rothenburg by Johann Ludwig Schäffer, 1729. © Stadtarchiv Rothenburg ob der Tauber.
8
Beginning in the twelfth century, Rothenburg
defensive wall.26 In 1274 it was granted the status of
developed from a small castrum or oppidium into
Reichsstadt, or free imperial city, under the direct
a prosperous civitas. In 1142 the Stauffer king
protection of the Holy Roman emperor and free
Conrad III erected a castle on the steep prom-
of fealty to a local lord. Rothenburg successfully
ontory in a bend of the Tauber River—the roter
retained this standing over the next centuries,
Burg, literally “red castle,” above (ob) the Tauber,
making it one of sixty-five free imperial cities
which ultimately gave the site its name.25 Sup-
around 1500 and an important player in regional
ported by a nearby Wirtschaftshof and a small
politics.27
stone church, this settlement—situated at the west
end of the current city—grew into an active urban
tion on an international trade route that ran along
center with market privileges and an encircling
the base of the Tauber valley and once connected
Medieval Rothenburg benefited from its posi-
Riemenschneider in Rothenburg
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Fig. 3 View of Rothenburg by Hans Meichsner, 1615. © RothenburgMuseum.
Italy with Augsburg, Würzburg, and the Rhineland.
nobility and championing the rights of free impe-
In 1340 an imperial privilege permitted the city to
rial cities. In 1378 Rothenburg joined the powerful
redirect this route from its path along the Tauber
Swabian association of towns and municipalities
River, over a double-tiered bridge and into Rothen-
known as the Schwäbische Städtebund, through
burg, thus stimulating additional business within
which it engaged in regional politics alongside
the city walls. In turn, the city’s primary export,
cities like Nuremberg, Regensburg, and Augsburg.
Rothenburg wool, left the city along this route to
It also made “brotherhood” pacts with individual
be traded as far away as Como, Italy, during the
cities, such as Schwäbisch Hall.29 These alliances
fifteenth century.28 Rothenburg also produced wine
helped Rothenburg eschew pledges to local lords,
for local consumption from the vineyards planted
who were keen to benefit from the city’s prosperity.
along its sunny southern slope, and taxes on this
Although it never acquired the level of imperial
popular beverage helped line the city’s coffers.
favor garnered by Nuremberg, its powerful neigh-
bor to the east, Rothenburg maintained ties to the
Throughout the fourteenth and fifteenth
centuries, Rothenburg allied itself with other free
imperial court: receiving the emperor in the city on
imperial cities in opposing the interests of regional
several occasions, hosting a Reichstag in May 1377,
Introduction
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and corresponding with the court based in Prague
1440s, which prompted the city council to raise
during the late fourteenth and early fifteenth cen-
taxes, particularly on wine, the city’s middle class
turies. The existence of a Rothenburg Landgericht,
rebelled.34 On the night of Sunday, July 11, 1451, the
or regional court, also gave it legal jurisdiction
leaders of the revolt—carefully chosen to represent
over an area otherwise controlled by the bishop of
the major trades of the city—forced their way into
Würzburg.31
the houses of several members of the inner city
council and took these men prisoner.35 Locked in
30
Rothenburg thus successfully established itself
as an independent player within the region. On
city hall, the councilmen were tried. By the time a
occasion, however, its politics landed the city in
delegation of representatives from the concerned
some difficulty. In 1405, for example, a dispute
cities of Augsburg, Ulm, Nördlingen, Schwäbisch
between the city council of Rothenburg and
Hall, Dinkelsbühl, and Windsheim arrived at the
Burgrave John III of Nuremberg led King Rupert
locked gates of Rothenburg to negotiate the release
of Germany (r. 1400–1410) to call the knights of
of the city councilmen, the leaders of the rebellion
Franconia together in a war against the hilltop city.
had drafted a new constitution aimed at gaining
Heinrich Toppler, the mayor of Rothenburg at the
representation for the major trades on the inner
time, attempted to enlist the help of the deposed
city council.
king Wenceslaus IV (r. 1376–1400), a maneuver
that cost him the alliance of some of his fellow
agitators and captive councilmen had agreed to
councilmen and ultimately his life. In the end,
a compromise, which added twelve new mem-
Rothenburg was left to its own defenses before an
bers to the inner city council. Eleven of the new
army of more than ten thousand men. However,
councilmen were to represent the leading guilds
the city’s fortuitous position and excellent defense
of the city, but the last was to be chosen from
system held off all attacks, and by October 1407 the
the patrician families. Although the twelve new
burgrave of Nuremberg and the bishop of Würz-
members were intended as a balance to the twelve
burg, who were leading the attack, ran out of fiscal
old ones, in practice the majority rested with the
means to sustain the war.32
old conservative patriciate. This established faction
quickly voted to restore complete power to the
A few decades later Rothenburg was once again
involved in a conflict with regional nobility, this
old government.36 In 1455, therefore, the original
time taking the side of Nuremberg against the
constitution was reinstated with an added clause
markgrave Albrecht Achillies. The dispute, which
that forbade guilds to play a political role in the
lasted from 1440 to 1450, led to an elevated clash of
city henceforward.37
forces in 1449. The cost to Rothenburg was high: in
a single year twenty towns on territory belonging
Rothenburg during the late Middle Ages, then,
to the city burned, and the surrounding farmland
were the city council of Rothenburg and the
was left devastated.
various resident religious institutions, particularly
the Teutonic Order commandery, the Francis-
33
10
This new constitution was short-lived. The
Such conflicts placed a burden on the residents
The primary organized political entities within
of Rothenburg and at times led to internal con-
can monastery, and the Dominican convent.
flicts. For instance, after the costly conflicts of the
These organizations had each negotiated special
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privileges within the city and, early in Rothen-
the order maintain at least ten priests within the
burg’s history, had contributed substantially to the
city to meet its clerical needs.39 Many of the order’s
material urban fabric. But over the course of the
members belonged to prominent patrician families
fourteenth century, they ceded more and more
of the city, so that familial ties likely played a role
authority to the municipal government.
in city-order politics.40
The position of the Teutonic Order in Rothen-
Of course, Rothenburg continued to hold close
burg, in particular, deserves further note here
ties to Würzburg even after the local commandery
because of its critical role in administering the
of the Teutonic Order assumed responsibilities for
parish church and chapels of the city. Rothen-
staffing the parish. It was the bishops of Würz-
burg lay within the Diocese of Würzburg, with its
burg who, after the presentation of priests by the
advowson—the right to appoint clergy—originally
order, held the rights to their investiture.41 The
held by the Collegiate Church of Neumünster in
bishops also conducted consecration ceremonies
Würzburg. In 1258, however, Neumünster suf-
in Rothenburg, approved pilgrimages, and issued
fered a period of economic crisis, and the bishop
indulgences. Yet the oversight of the parish staffing
of Würzburg signed over the clerical staffing of
by the Teutonic Order offered the city council an
Rothenburg’s parish to the Teutonic Order. Rather
opportunity to position itself as the principal insti-
than incorporate Rothenburg into the nearest com-
tutional patron of church space in the city.
mandery of the order, in Mergentheim, the bishop
placed the city under the Teutonic commandery
regional and local politics succeeded in increasing
of Würzburg. This oversight by the Würzburg
the city’s prestige, autonomy, and territorial control
commandery, although short-lived, proved for-
until the end of the Middle Ages; it also provided
mative for the architectural design of the choir of
the impetus and funding for many of the city’s
Rothenburg’s parish church in the first half of the
architectural and artistic projects. The episode that
fourteenth century.
forms a natural end point to the narrative of this
book erupted in the 1520s from chronic discontent
38
By 1286 the Teutonic Order had established
Overall, Rothenburg’s strategic maneuvering in
enough of a presence in Rothenburg to warrant
among the farming class stirred up by the agita-
its own commandery. A military order founded
tion of Protestant reformers. On March 24, 1525,
in Acre in the Kingdom of Jerusalem, the order
forty-two Rothenburg townsmen took over the city
had gained a strong footing in Franconia during
regiment.42 This self-appointed commission did not
the first quarter of the thirteenth century and by
abolish the city council but investigated its deal-
1225 had established seven commanderies within
ings, with a particular eye to its financial conduct.
the region. Even after the fall of the Kingdom of
Rothenburg’s officials were accused of conducting
Jerusalem, it continued to flourish, in large part
the affairs of the city for their own benefit as well
because of the patronage of the German kings
as stubbornly holding on to the old religion—two
and the opportunities for political advancement
things closely related to the long and successful
offered its members. In Rothenburg, donations first
history of the city’s leading class.43
document the order’s presence around 1226, and
by 1398 the city was in a position to stipulate that
decapitated a crucifix that stood near the newest
The same day, March 24, frustrated burghers
Introduction
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religious structure of Rothenburg, the Chapel to
Riemenschneider’s sculpture belong to—and
the Pure Virgin Mary (Kapelle zur Reinen Maria),
indeed help shape—what nowadays resemble
and destroyed the furnishings of the Marian chapel
pilgrimage routes through Franconia. Despite
of Kobolzell. As the city’s parish church, St. Jakob
the twofold interest that draws modern visitors
also became the site for several acts of protest: indi-
to Rothenburg, however, these two stories—of
viduals repeatedly interrupted Mass by throwing
the medieval city and of Riemenschneider—have
books from the altar and disturbed a sermon by
never been told together. This book attempts just
upsetting lamps. By May the city council, fearing
that. Throughout its pages, Riemenschneider’s
for the safety of the many liturgical accoutrements
works serve as main protagonist, though they often
of its churches and chapels, gathered these items in
enter late, as crowning elements added to older
city hall for safekeeping and inventory.
ensembles.
44
45
Although the conservative municipal govern-
To date, the oeuvre of Tilman Riemenschnei-
ment regained control and initially clung even
der has predominantly been studied with regard
more closely to the old religious traditions, it was
to questions of style, date, and workshop practice;
only a question of time until Lutheranism became
only rarely have the local contexts of individual
the official religion of the city. The disruptions of
pieces been considered.47 The altarpieces with
1525 thus represent a moment when the identity of
figures by Riemenschneider, commissioned for
the city was in crisis and artistic programming—
the city between circa 1485 and 1514, are relatively
which for more than two centuries had been a
well documented: in terms of their survival rate,
primary means of establishing the city’s late medi-
their archival record, and their spaces of original
eval identity—experienced dramatic opposition.
installation. Rothenburg thus provides a unique
Over the next centuries, Rothenburg gradually fell
opportunity to study the relationship between
into poverty, only to be rediscovered by artists,
a city’s patronage and the late Gothic artistic
politicians, and tourists in the nineteenth century.
workshop that it favored. It is my contention that
It is thanks to this general impoverishment, the
Riemenschneider’s altarpieces were more closely
city’s antiquarian rediscovery, and the rebuilding
tied to the long histories (sociopolitical and con-
campaigns of the last century that Rothenburg
struction histories in particular) of the spaces in
preserves so much of its medieval character today.
which they stood than has heretofore been recog-
46
nized. Much of this book, therefore, concentrates on establishing the context for these late additions
Urban Programs
by considering the aggregation of their political, architectural, and devotional settings over the
12
Today approximately 2.5 million tourists visit
preceding two hundred years. Only by tracing this
Rothenburg ob der Tauber every year. They come
intricate context can we appreciate what meaning
to see the quintessential medieval city and the
Riemenschneider’s work held for Rothenburg, one
art of Tilman Riemenschneider, now recognized
of the artist’s greatest patrons.
as one of the greatest late medieval and early
For Riemenschneider scholarship specifi-
Renaissance artists. Both the medieval town and
cally, Rothenburg offers the chance to consider
Riemenschneider in Rothenburg
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the choices made by the artist and his workshop
texts. I point to several thematic ideas, such as Holy
within a well-documented context, an approach
Blood, that were particularly pronounced through-
that adds important contributions to ongoing
out Rothenburg, examining processes that helped
discussions: about the impetus behind the deci-
define legible programs. Of course, the artistic
sion to finish selective works with a monochrome
programs of Rothenburg were not comprehensive:
stain around 1500, about the frequent repetition
they did not encompass all art within an environ-
of motifs within the oeuvre of a single workshop,
ment, nor would they have been equally legible to
and about the relationship between patrons and
all audiences. They did, however, help structure the
artists in the design process of altarpieces and
experience of visitors through systems of spaces,
other commissions. The many repeat commissions
and they allowed the civic council to push its
for Rothenburg in Riemenschneider’s distinctive
agenda of community formation and city beautifi-
style crafted a visual aesthetic that echoed through
cation over the course of two centuries.
the city’s religious spaces. The interconnections
between Riemenschneider’s pieces in Rothenburg
institutional control that were central to artistic
would have been striking to his contemporaries,
programming in Rothenburg. In particular, it
just as his style remains recognizable today. Yet the
traces the construction of the choir and nave of
networks in which Riemenschneider’s altarpieces
Rothenburg’s Parish Church of St. Jakob within
participated were not new to the city, nor were they
the context of a contemporary shift in the admin-
created in a vacuum. Rather, they responded to
istrative oversight of the parish fabrica ecclesiae. I
and built upon an aesthetic spatial system that had
demonstrate how architectural citation functioned
been aggregated within the city over the previous
during and after this shift and argue that church
two centuries.
spaces became important sites for the formation of
civic community within the late medieval city.
The following chapters, therefore, focus on a
Chapter 1 examines structures of patronage and
time from the early fourteenth through the early
Chapter 2 investigates the motivations and pro-
sixteenth century, when the municipal govern-
cesses that guided the addition of a new west end
ment of Rothenburg ob der Tauber oversaw the
to the Church of St. Jakob. Building on Jacqueline
building and furnishing of church space within
Jung’s idea of the “spatial environment,” it considers
the city. Since the best surviving evidence of the
pieces created in a variety of artistic media within
nature of medieval programming is the resulting
the dynamic context of their intended display. In
built environment and its documented uses, this
particular, it examines how the compositions by
book explores several spaces of late medieval
architects Niclaus Eseler Sr. and Jr. and the artists
Rothenburg in order to elucidate the intricate
Tilman Riemenschneider and Erhart Harschner
correspondences between architecture, ritual,
responded to an established pilgrimage to empha-
and figural art that justify their treatment as a
size the power and identity of the particular place.
programmed system. My primary sources are the
buildings and artworks themselves, though I also
boundaries of a single architectural structure,
draw on a wide range of textual material from
examining, through the examples of Rothenburg’s
financial accounts to political records and liturgical
Parish Church of St. Jakob, urban cemetery, and
Chapter 3 extends the inquiry beyond the
Introduction
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two-story Charnel House of St. Michael, how
distinct environments could form a tight spa-
on Rothenburg’s modern identity as Germany’s
tial-thematic system I call the “urban complex.” I
exemplary late medieval city. It closes the study by
show that interactions within Rothenburg’s parish
considering the clash of temporalities encountered
urban complex were not only fostered by patrons
by tourists to the modern “medieval” city.
and builders and experienced by visitors but could
be stimulated by the spaces themselves.
val city of moderate size yet high ambitions, shaped
its aesthetic landscape through combinations of
Chapter 4 considers the wider urban fabric,
The epilogue of this book, finally, reflects
Ultimately, studying how Rothenburg, a medie-
arguing that the medieval city was planned—not
imported art and architectural ideas, can help us
prescriptively according to a blueprint or fixed
better understand common processes of medieval
system of streets—but flexibly as a network of
artistic programming. It is my contention that art
interconnected environments that could be
and architecture played a critical role in shaping
continually remapped by new commissions and
the civic structures of the late medieval city. Just as
orchestrated performances. In particular, I consider
urban space could participate in governing cities
the network of altarpieces, with figures by Tilman
and public pictures could control public behav-
Riemenschneider, that stretched throughout
iors,48 the artistic environments aggregated over
Rothenburg. Stylistic, iconographic, and aesthetic
nearly two centuries in Rothenburg ob der Tauber
repetitions within this oeuvre played an important
helped build the social and material medieval city.
role in reshaping the visual identity of Rothenburg and thus constituted a significant intervention in the material and social fabric of the city.
14
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The City as Patron
I
Chapter 1
n 1436 the abbot of the Cistercian monastery at
of our fellow citizens and other pious Christian people,
Heilsbronn, Germany, visited the nearby city of
as is the custom in the land. This document sealed on
Rothenburg ob der Tauber. Following his visit, he
the reverse with the seal of our aforementioned city, but
wrote a letter to the governing council of Rothen-
through us, our city, our community, without harm.
burg, marveling at the city’s magnificent parish
Dated the Friday after the Feast of St. Ulrich [July 6] in
church and inquiring into the funding sources for
the year 1436.1
this expensive project. Though the abbot’s letter has been lost, a transcription of the council’s reply
For the history of medieval Rothenburg, it is no
survives:
small matter that the abbot of Heilsbronn recognized the city’s elected municipal council as
We, the mayor and municipal council of the city of
the appropriate authority to which to address his
Rothenburg ob der Tauber, make known with this letter
inquiry. A century earlier such a query related
publicly, before all people: when the honorable, spiritual
to the Church of St. Jakob might still have been
sir, Mr. Ulrich, abbot of the monastery of Heilsbronn
directed to the Teutonic commandery in Rothen-
of the Order of Cister, which lies in the Bishopric of
burg, which was responsible for services in the
Eichstätt, made his honorable request that we give him
church. But by 1436 even a powerful man of the
the truth and evidence regarding the gifts, money, and
cloth in charge of his own community of monks
help with which this same parish church was improved,
found it fitting to address the civic council of
we avow, as far as we are informed and know, that our
Rothenburg as the recognized patron of the
same parish church was built and improved, without any
church. What had changed in the hilltop city over
fraud, with the gifts, counsel and help, and common alms
the course of a century was not just a system of
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16
administration but also the self-identification of an
institutions, government, and social order con-
urban community.
tributed to its magnificence; and third, the piety
and wealth of its resident community reflected
The city council’s reply of 1436 hints at several
fundamental factors in the new self-identifica-
its virtue.2 The councilmen of Rothenburg thus
tion of Rothenburg. First, it indicates that by
seized on the opportunity of the abbot’s inquiry
the fifteenth century the mayor and municipal
to promote their city as harmonious, prosperous,
government of Rothenburg felt confident in speak-
and beautiful—and this at a time that was rife with
ing “publicly, before all people,” as uncontested
political turmoil and internal tensions.3
representatives of the local community and its
parish church. Although the church continued to
timony to the awe Rothenburg’s parish church
serve the dual role of collegiate and parish church
inspired in medieval visitors to the city, but it
throughout the Middle Ages, by 1436 St. Jakob was
has rarely been considered critically.4 In fact, the
thought of first and foremost as the city’s church
abbot’s wonder is particularly fascinating given that
and not the church of the religious order.
the Church of St. Jakob was unfinished in 1436:
at the time of the abbot’s visit, the east choir and
Second, the city presented itself not only
Abbot Ulrich’s lost letter is oft cited as tes-
as administrator of the church but also as its
seven-bay nave stood completed, but the west end,
principal patron. “Our fellow citizens” built the
with its pilgrimage chapel dedicated to the Holy
church through their donations (gabe) and by
Blood—arguably the most elegant and striking
their counsel (rath). Although the Teutonic Order
feature of the church—had not yet been built, and
priests had overseen the design and completion of
another half century would pass before the entire
the first major building campaign of St. Jakob, the
church was ready to be consecrated (fig. 4).
council’s letter makes no reference to the order or
their contribution. Instead, it is the city, compris-
Was it the scale and articulation of the architectural
ing of its pious citizens, that built the church. This
composition? Was it curiosity about the financial
claim both rewrites the tension-ridden history of
resources at the city’s disposal? Or was it, perhaps,
the church’s construction and insists on the civic
a recognition that the construction of this church
community as a collective patron of church space.
at the heart of Rothenburg was serving as a locus
for a new and developing sense of local identity?
Finally, the city’s correspondence links the
What was it that inspired the abbot’s wonder?
material fabric of its parish church to ideas of civic
Though his precise motivations will in all like-
community. The community’s ability and willing-
lihood never be known, the abbot’s wonder was
ness to construct St. Jakob demonstrate its wealth,
clearly not impeded by notions of “completeness”
piety, and good sense. These ideals of civic commu-
or “wholeness” in considering the ongoing archi-
nity were commonly valued throughout medieval
tectural project. In fact, its incomplete status made
Europe. Indeed, cities were thought to be beautiful
St. Jakob a highly malleable, effective, and therefore
according to three principal factors, all of which
desirable site for the construction of communal
are invoked in the council’s letter: first, a city’s
identity in the late Middle Ages.
architectural structures, such as walls, churches,
and towers, made it beautiful to behold; second, its
tecture could be employed, precisely at times of
This chapter investigates how art and archi-
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Fig. 4 Plan of St. Jakob and the urban complex in Rothenburg. © Büro Bergmann GmbH, colored and edited by author.
Boivin, Riemenschneider_PRINT.indd 17
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instability or transition, to project social stability
administrative agencies that regulated the quotid-
and construct collective identity. In what follows, I
ian affairs of a city, and they were fought over by
interweave two closely related stories: the construc-
religious and lay powers alike in what Paul Binski
tion history of the choir and nave of the Church
has termed the “politics of space.”6
of St. Jakob over the course of a century and the
contemporaneous rise to power of Rothenburg’s
organizations that controlled church space in cities
civic council, particularly in its guise as parish
began relinquishing their rights to rising municipal
administrator and patron of the arts. This council
governments.7 Rothenburg, whose council was in
established itself as executor for the wider com-
place by 1269, was no exception, following a chrono-
munity by imposing its regulatory oversight on
logical trajectory in line with that of the majority
previously independent religious institutions.
of southern German towns, which established civic
Church architecture, in particular, functioned as an
governing bodies somewhat later than in the north,
instrument of civic control in the council’s bid for
starting around 1250.8 Around the middle of the
power. The result was a new collective conscious-
thirteenth century, communities of Teutonic Order
ness that forever changed the city’s approach to
priests, Dominican nuns, and Knights Hospitaller
artistic programming.
(also known as the Order of St. John) established
In the thirteenth century, the many religious
themselves in Rothenburg and began competing for the income from donations and services, and in 1281
Secular Authorities and Church Space
Franciscan friars joined in.9 The inner city council assumed a degree of control over all these institu-
Churches served several important functions
tions in what has been termed a period of active
during the Middle Ages: they measured time,
Kirchenpolitik, or church politics.10
provided a space for public gatherings, promul-
gated the dominant Christian religion, and were
conflict between religious and lay institutions, with
vehicles of social order that stratified medieval
the laity gradually gaining the upper hand over the
society into religious and lay communities, Chris-
course of the late Middle Ages. Klaus Jan Philipp
tians and unbelievers, the wealthy and the poor.
has gone so far as to suggest “that it was the goal of
The parish church, in particular, was a core public
every medieval city, and in particular every impe-
space in the medieval town, for it was here that
rial city (Reichsstadt), to achieve independence” in
Christian people from all stations of life gathered
church administration. Moreover, he argues, the
most frequently as a community. Although these
building of churches played an important part in a
same people crossed paths in the city’s narrow
civic government’s control over clergy.11 While the
streets and lively marketplace, it was in the parish
struggle over the staffing, financing, and property
church that collections, festivals, and organized
of religious institutions played out in quotidian
ceremonies—like baptisms, marriages, and
disputes that often pitted religious versus secular
funerals—could best foster a sense of communal
authorities, these disputes do not entail that the
responsibility and belonging. These fundamen-
larger motivations or trend simply reflect a secu-
tal roles made churches desirable platforms for
larization of authority.12 As the case of Rothenburg
5
18
Such politics have often been represented as a
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demonstrates, the social movement that brought
councils of elected citizens to administer church
ple, the city actively spied on the convent, reporting
space also represented a localization of power.
with feigned dismay the comings and goings of
The influence of individual lords—often absentee
various laymen. This provided the justification for
masters of large territories—was replaced by that
a number of aggressive actions, ranging from a
of patrician officials whose eligibility lay precisely
restriction on the amount of wine consumed at the
in their possession of a house or land within the
convent to written correspondence with church
immediate municipal district. Religious institutions
officials, including the bishop of Würzburg and
were pawns in this game, for they could hold priv-
the reformer Raimund von Capua, about the nuns’
ileges exempting them from civic regulations and
loose behavior.13 The solution advocated by the
often maintained ties with regional nobles.
city was invariably to increase supervision of the
convent by civic authorities.
The Dominican convent in Rothenburg
From December 1394 to March 1395, for exam-
presents an excellent case in point. Until 1371 this
community of nuns, drawn primarily from noble
but thinly veiled and met with little direct credu-
families in the region around Rothenburg, stood
lity from the church officials, the city’s persistence
under the protection of the noble Nordenberg
eventually paid off, leading the Master of the
family. Beginning in the 1370s, however, the city
Dominican Order in Nuremberg to acknowledge
government maneuvered to gain control over the
the city of Rothenburg as guardian and administra-
convent and thereby eliminate one of the primary
tor of the convent. In a decree of 1397, he accepted
institutions through which the Nordenbergs and
that the city should act as sponsor (read: overseer)
other noble families continued to exert influence
of the convent’s business, buildings, walls, houses,
within the city.
and other relevant things, according to a list of
ordinances. First among these ordinances was an
The details of this story demonstrate just how
Though Rothenburg’s campaign of slander was
tangled a shift in institutional power structures
arrangement whereby the Beichtvater, the male
could be. From 1371 on, the city of Rothenburg, and
confessor, of the convent was obliged to report
not the Nordenbergs, served as the official protec-
the convent’s financial accounts annually to two
tor of the convent by decree of Emperor Charles
representatives appointed by the city council.
IV, but the precise implications of this protection
Several articles that followed aimed at restricting
took several decades to sort out. The nuns fiercely
the movement and business of the convent sisters.
resisted the advances of the municipal government
For example, the number and frequency of guests
into their affairs, and their powerful connections
each nun was allowed to receive was stipulated:
as members of noble families presented a signif-
she could receive her father, mother, sisters, and
icant challenge to the council’s desire to enfold
brothers twice a year, but no more than two to
the convent within its jurisdiction. Met with this
three people at a time, not counting children under
opposition, the city resorted to using the convent’s
ten years old.14 Although nominally motivated by a
status as a community of female religious within a
desire to ensure propriety, this regulation effec-
system dominated by men as a means of achieving
tively restricted contact between the nuns and their
its aims.
noble families.
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Perhaps the most concrete indication of the
nobility within the city through this venue.
in the decree of 1397 that referred to the locking of
the convent. It stipulated that the doors connecting
political maneuvers and in the localization of power
the convent to the public space of the city should
within late medieval Rothenburg. According to the
be barred with two locks, one on the inside and
late fourteenth-century agreements between the
one on the outside. Named are the “common” gate,
city and the Dominican Order, for instance, any
the outside door of the granary, the door from the
alterations to the church or convent buildings were
cloister to the lower church, the upper-church door
subject to the approval of the municipal council.
in the choir, the door between the cellars and the
The parts of the convent church that were accessible
kalterhuse (the building with the wine press), and
from the city were off limits to the nuns, except on
the wooden window in the kitchen wall. The keys
the occasion of the funeral of a convent sister and
to these locks would be kept respectively by a nun
then only after the laypeople had been locked out.
appointed by the prioress and by the convent’s male
The nuns in their “upper choir,” the western gallery,
confessor, who would lock the women in from
had little space and direct access to only one of the
outside. This confessor, as well as all other employ-
church’s five altars. Even their view of the high altar
ees of the convent, had to swear an oath and report
was controlled by a shuttered window, mentioned
to the city government. The decree also specified
in 1468, that was kept closed except during ven-
that no additional doors to the outer world could
eration of the exposed sacrament.18 The church,
be added to the convent and that nuns who left the
particularly the nave, thus became a public space
convent without explicit written permission from
of the city. Its participation in a public network of
the order’s master would be punished with a prison
church spaces within Rothenburg was ultimately
sentence of at least one year.
underscored by the commission of an altarpiece by
Tilman Riemenschneider.
15
20
successfully restricting the influence of the regional
attempt to isolate the nuns was the multipart clause
Despite the harshness of these restrictions and
Church space played an important role in such
the severe punishment threatened for their breach,
the city continued to have difficulty with enforce-
Europe, it is predominantly the great cathedral
In English-language scholarship on northern
ment. At the height of the conflict, in 1398, the
cities that have featured in accounts interweaving
city imprisoned and blinded a convent servant for
political and religious construction histories. Cities
his “misdeed” (missetat) against the council, and
such as Reims and Beauvais, where well-known
the prioress along with nine nuns fled the city.16
instances of political tension led to outright rebel-
Katharina Trüb, the replacement prioress, was the
lions or halts in construction, have demonstrated
first nonnoble to hold the position in Rothenburg,
the sometimes turbulent relationship between
and she quickly accepted provisions favorable to
power structures and material fabric.19 Although
the city.17 Although the political situation between
such conflicts could result in breaks in the pro-
the convent and the city remained troubled over
gression of a project, urban religious spaces also
the following years, subsequent ordinances in 1405
frequently experienced a boost in artistic patronage
and 1406 confirmed and even extended the city’s
precisely as secular councils sought to consolidate
oversight over the affairs of the convent, thereby
their power. Parish churches, in particular, became
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an arena in which elected civic authorities not
verus fundator, arose as one of the most powerful
only enacted their newfound power but also gave
forces to shape late medieval urban fabric.22 Within
it enduring visual form, and it is here that much
the complex and dynamic milieu of late medieval
remains to be explored to better our understanding
political and economic pressures, art and archi-
of late medieval artistic programming.
tecture emerged as principal tools of this identity
construction.
20
I suggest that the change in the relationship
between the civic government and religious insti-
tutions of late medieval Rothenburg represented a
of these developments, preserved both in its mate-
shift in the self-identification of the leading citizen
rial fabric and in its archival sources. The fact that
class, one that relied heavily on church space to
Rothenburg only ever had one parish—whereas
construct an imagined civic collective. Though
some medieval cities grew to incorporate several
met with some resistance from individual religious
parishes—meant that St. Jakob remained the most
institutions, the shift in oversight that placed in
significant sacred space of the city, a status that also
the hands of the city council the right to appoint
made it a primary focus of shifting political powers
caretakers of church space ultimately incorporated
in Rothenburg. The civic council’s desire to control
these institutions into an administrative system
the affairs of the parish church comes into particu-
with a pronounced control over communal space.
lar focus through a pair of surviving contracts that
Of course, city and church were never independent
outline in detail the administrative oversight of
entities during the Middle Ages, as Enno Bünz and
the church. Especially when considered alongside
others have pointed out, but the civic control of
the construction campaigns and donations that
religious space in late medieval Rothenburg proved
“built and renewed” the church, as the city’s letter
crucial for the city’s artistic program. The involve-
of 1436 put it, these contracts reveal the central role
ment of the local government in the articulation
religious architecture could play in a civic coun-
and networking of church space prompted Rothen-
cil’s bid for power. The striking correspondence in
burg to develop an artistic assemblage unique to
date between the Rothenburg contracts and the
the particular place. Although they never ceased
building campaigns of the choir and nave of St.
to compete for income, individual churches under
Jakob suggests that control over the parish church
the administrative umbrella of the city government
was seen as particularly important during times of
became sites for the development and promulga-
transition.While under construction, the material
tion of a visible identity of the “beautiful city” of
fabric of the church could be harnessed to convey
Rothenburg.
the ideological priorities and the projected identity
of its principal institutional patrons.
21
Such shifts in power during the late Middle
Rothenburg is unusual for the excellent record
Ages had both a practical administrative side and an idealized representative side. It was the particular combination of these two elements and their
The Contract of 1336 and the Choir of St. Jakob
self-supporting relationship that allowed late medieval cities to become a class of patron in their own
The year 1336 proved eventful in Rothenburg’s
right. The communal identity of city-as-patron, or
history. The city had just absolved itself of fiscal
The City as Patron
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obligations to the nobles Ludwig and Gottfried von
(fig. 5).25 An indulgence issued in 1311 “for repairs”
Hohenlohe, and the Holy Roman emperor, Ludwig
(pro reparation) suggests that construction of the
IV, had granted Rothenburg seven years free of
choir was probably under way by this point.26 The
imperial taxes.23 Internally, too, change was in the
administrative structure of the project was not
air. For more than half a century after the forma-
unusual: the lay community bore much of the
tion of the city council in Rothenburg, tradesmen,
expense of the project, both directly through dona-
no matter how wealthy, had been excluded from
tions made to the campaign and indirectly through
serving on the council. By 1336, however, the
other monies paid to the church and order; the
pressures of shifting social structures finally forced
religious order served as institutional patron, over-
an amendment to the category of electable citizen,
seeing the design and iconographic program and
whereby select tradesmen in possession of a house
contributing substantial funds as well; and skilled
could become burghers and therefore eligible to
artisans, responsible for the project’s execution,
serve on the council. After 1336 the city council of
managed the day-to-day undertakings.27
Rothenburg consisted of a small elite inner circle
of twelve men—who wielded the real power and
was ripe for change. Already in 1303 the gift that
were, in practice, still largely elected from the city’s
literally as well as figuratively cleared the way for
patrician families—and a larger, forty-member
the construction of the new choir made palpable a
outer council, which more regularly included
rising tension between the city authorities and the
tradesmen.
Teutonic Order priests. This donation by Heinricus
and Irmgard Zenner specified that, in addition to
24
Whether as a direct result of the new compo-
Yet Rothenburg in the early fourteenth century
sition of the municipal government or simply in
a Teutonic Order priest, one lay citizen should be
parallel with its restructuring, the newly expanded
appointed by the city council to administer the
council in 1336 immediately got to work estab-
deed so as to ensure that the priests carried out
lishing its authority, not only over the secular
their duties as stipulated. Moreover, future city
affairs of the city, but precisely over the space and
councilmen were to swear an oath to ensure that
administration of the city’s main church. Before the
the provisions of the donation continued to be met
end of the year, it drew up an important contract
in the years to come.28 The Zenner donation was
with the Teutonic Order over the administration
thus one of the earliest gifts to a church in Rothen-
of St. Jakob, heralding the city’s most intense
burg to stipulate a civic caretaker. Over the course
period of church politics. Simply put, the goal of
of the thirteenth century, this practice became the
these politics was for the civic government to gain
norm.
administrative oversight over the affairs of Rothen-
burg’s religious institutions, particularly over urban
to settle a heated dispute between the Teutonic
church space. In large part the city succeeded in
Order and the city council of Rothenburg.29 At
this goal over the course of the next century.
stake was control over the fabrica ecclesiae, the
Late in the year 1336 an arbitral court convened
A generation before the changes of 1336, work
had begun on a new choir for the Church of St. Jakob under the supervision of the Teutonic Order
22
Fig. 5 Exterior of the east choir of St. Jakob in Rothenburg.
Riemenschneider in Rothenburg
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administration that oversaw the building (buwe)
occasion of the usual feast days as well as during
of the parish church, its finances, eternal lights,
the burial of one of their members. Only during
and the so-called Twelve Helpers candle. Money
times of danger could the city withhold this priv-
and power lay at the heart of the tension between
ilege. For their part, the mayor and city council
city officials and Teutonic Order priests, which
were to continue to pay the usual annual donation
had been escalating in the preceding years. In the
of at least 1 lb h per person, and no one should
open clash of 1336, the city accused the Teutonic
knowingly give false money during collections for
Order of neglecting to maintain eternal lights
the dead or on any other occasion.31
as stipulated in donation records. The order, in
turn, faulted the city councilmen and mayor for
1336, attempted to balance control over the church
failing to pay their pledged annual donations to
between the religious institution and the municipal
the church. The city, the order charged, was also
authority. Yet seen historically, this balance was
attempting to dictate the occasions on which the
a blow to the theretofore dominant power of the
large bell of the church could be rung, and the
Teutonic Order. As time would tell, the contract of
priests protested that this was an infringement on
1336 was just the first step in an aggressive takeover
their long-standing dominion over the church.
by the municipal government of religious affairs in
Moreover, the Teutonic Order complained, people
the city.
were intentionally throwing false money, such
as pieces of lead, into the offertory box during
construction of the east choir of St. Jakob was
collections!
already under way, and it is clear that despite the
administrative shift, the design and execution of
30
24
The judges did their best to moderate between
In this way, the contract, signed on December 3,
At the time of the described arbitration,
the two sides, and their ruling balanced admin-
the project was guided by the Teutonic Order. This
istrative control over the church between the two
is made clear by the relationship between the choir
parties. The first step was to get both sides to agree
of St. Jakob in Rothenburg and its closest model,
to follow the decisions of the three-member court
the so-called Deutschhauskirche in Würzburg. As
for the issues currently under dispute as well as
its name suggests, the Deutschhauskirche was the
for any unresolved or future arguments. Then,
church of the Teutonic Order (also known as the
most importantly, the court decreed that a team of
German Order), and this particular Deutschhaus-
two caretakers, one named by the Teutonic Order
kirche was located in Rothenburg’s powerful
and one appointed by the city, should oversee the
northern neighbor, the episcopal city of Würzburg.
fabrica and all of its resources. In this, it followed
the structure of the Zenner donation and others
St. Jakob and the Deutschhauskirche in Würzburg
like it. Certain details as to the care of the church
is strong: though the proportions and specific
were sorted during the arbitration as well: two
tenor of details differ, the general organization of
eternal lights—and a third if the caretakers paid
the architecture is similar. To those few who visit
the Teutonic Order an additional 10 lb h—were to
churches with a tape measure in hand, the corre-
be maintained by the order. The order also retained
sponding bay lengths of the choir of St. Jakob and
the right to ring the large bell of the church on the
the Deutschhauskirche clearly demonstrate the
The formal relationship between the choir of
Riemenschneider in Rothenburg
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Fig. 6 (left) Vaults of the Deutschhauskirche in Würzburg. Fig. 7 (above) Vaults of the choir of St. Jakob in Rothenburg. Courtesy of Bauhütte St. Jakob Rothenburg, evang. Gesamtkirchengemeinde. Photo by Jérôme Zahn.
close relationship between the two buildings.32 The
sculpted wall corbels, these large bosses encrust the
volumes of the two spaces, however, are different,
upper zones of both churches with a dense overlay
since the choir of St. Jakob is about two meters
of ornament (figs. 6 and 7). Although the depicted
wider and nine meters taller than the Deutschhaus-
subjects of the sculpted details differ in the two
kirche. More perceptible than the related bay
churches, the overall impression is similar.
lengths, therefore, are similarities in the articu-
lation of the two spaces. For example, a strong
in details yet shares similar overall forms. In both
resemblance characterizes the division of wall
model and copy, for instance, the polygonal termi-
zones and the sculptural treatment of ceiling bosses
nus is distinguished by a pair of thick wall responds
and corbel stops. As in the Deutschhauskirche in
that stretch all the way from the ground to the
Würzburg, the choir of St. Jakob includes sculpted
ceiling. West of these, the responds that ultimately
bosses, not only at the crossing point of the diago-
spring as ribs begin much higher and rise from
nal ribs of the quadripartite vaulting, but also at the
sculpted corbels. Although in the Deutschhau-
peak of the transverse ribs. Combined with deeply
skirche in Würzburg the rib forms are convex and
The conception of wall surfaces, too, differs
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26
crowned by capitals, while in St. Jakob in Rothen-
together, these conditions suggest that the affinities
burg they are concave and without capitals, the
between the Rothenburg choir and its Würzburg
principles of organization remain the same.
model would have been familiar to the local popu-
lation in Rothenburg.
By medieval standards, the relationship
between these two buildings was unmistakable. As
Richard Krautheimer argues in his foundational
copy communicated to various visitors is more
article on medieval architectural copies, a corre-
difficult to establish. Whether the design for the
spondence in basic elements—such as a centralized
Rothenburg choir represented the Teutonic Order’s
plan or the same number of piers—was enough to
power in defiance of the imminent threat from
recall a distant original.33 For buildings as closely
civic authorities or began as a simple expression
related in design, institution, and geography as St.
of affiliation and later took on new meaning, the
Jakob in Rothenburg and the Deutschhauskirche in
close ties of the architecture to its recognizable
Würzburg, the close formal connection must have
model would have made a powerful statement in
been apparent to medieval contemporaries.
the period around 1336: this was the space of the
Teutonic Order. As the order’s hegemony over the
Of course, not all audiences would necessarily
What the connection between model and
have been positioned to recognize these connec-
space weakened, however, the projected meaning
tions. The majority of Rothenburg’s citizens would
of the architecture must have changed. By the
have found themselves in the city of Würzburg at
1390s new furnishings in the space would allow lay
some point in their lives, if not to visit family or
donors to reconceive of the choir as part of a wider
do business, then to attend celebrations in their
artistic program. The reception of the architecture
bishopric’s cathedral on important feast days.
thus shifted along with its historical context.
Whether they would have been familiar with the
Deutschhauskirche on the bank of the Main River
of St. Jakob in the aftermath of the 1336 contract
opposite the cathedral and marketplace is less
is also telling for the waning reign of the Teutonic
certain. However, for the primary users of the east
Order over the parish. Donations for Masses and
end of St. Jakob—the members of the Teutonic
eternal lights in the parish church made in 1336,
Order in Rothenburg—the architectural affinity to
1344, 1346, 1348, and 1360 named the city as adminis-
the order’s church in Würzburg would have been
trator of the endowments.36 Thereafter this provision
legible, expressing associations with the Würzburg
became increasingly common, making the city the
commandery. Not only did the commandery in
official executor of most significant donations to
Rothenburg originate as an affiliated chapter of the
religious institutions throughout the city.
order in Würzburg in the thirteenth century, but
its ties to this major episcopal city also remained
following the 1336 contract, as well as the tendency
strong throughout the following centuries.34 In
to appoint a civic administrator, suggests that more
turn, the Teutonic Order priests in Rothenburg, as
citizens felt comfortable leaving large donations
the principal “interlocutors” of the Church of St.
to the church once the city council had a firm and
Jakob, might have pointed out to a wider public
institutionalized role in the administration of the
the building’s program and associations.35 Taken
parish fabrica. Of course, the donations captured
A flurry of documented donations to the Church
The substantial uptick in donations to St. Jakob
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in these records are simply the tip of the iceberg of
that shift. Rothenburg’s municipal government had
gifts made to the church, for only those contribu-
already gained a footing in church administration
tions associated with major land or money grants
by the time its most famous member entered the
were written down. Countless others were taken
scene. Heinrich Toppler was first elected to the
with gratitude but without the expenditure and for-
inner council of Rothenburg in 1373.38 Toppler
mality associated with written documentation. The
came from a family of farmers who had made a
city, more than the order, likely recognized that the
small fortune in Rothenburg trading in livestock.
process of recording donations could be a pow-
His father had served on Rothenburg’s govern-
erful tool in the service of urban church politics;
ing council between 1352 and 1358 and had likely
indeed, such records provided a means of holding
first acquired the family crest, which his son had
to account the Teutonic Order priests, and thus of
reconfirmed in a letter of 1382.39 As yet unmarried,
exercising the council’s hard-fought authority over
the young Toppler was ambitious, and his first spell
church affairs.
in government was followed by several further
appointments. Indeed, Heinrich Toppler would
By about 1350 the eastern choir of St. Jakob was
complete—a date confirmed both by dendrochro-
significantly reshape Rothenburg, politically and
nological examinations of beams in the preserved
territorially, over the next thirty-five years.
medieval roof and by art-historical investigation of
the glazing program of the central choir window.37
Toppler counted among the wealthiest men in
By the time an indulgence was issued in 1356 “pro
Rothenburg, paying more taxes than all but sixteen
structura et ornamentis,” major work was presum-
other men in the city. By 1377 only eleven others
ably complete, and new income would have gone
paid more in taxes than Toppler, and by 1407
toward furnishings or the next major building
Toppler paid the staggering sum of 310 guilders
campaign of the church: the nave.
in taxes, making him the richest man in Rothen-
burg, with a fortune worth about 31,000 guilders.
The associations of the east choir arguably came
Already during his first mandate as mayor,
to hold even more meaning once it was juxtaposed
By contrast, about 50 percent of Rothenburg’s
with this new nave, for the city did not rest with
taxpayers owed taxes between 1 and 10 lb h during
its gains in the 1336 contract but rather sought to
this period.40 Both as an individual citizen and as a
increase further its oversight of the Parish Church
leader of the civic government over the next three
of St. Jakob. It did so both through restructuring
decades, Toppler proved to be one of the greatest
the administration of the fabrica and through
patrons of Rothenburg’s parish church and one
choosing a new look for the church itself.
who actively sought to strengthen the city’s role in church affairs.
Individual Patrons and the Contract of 1398
Historians have long considered Toppler’s
tenure in government to have been Rothenburg’s “golden age.” Certainly it was a time of active
Patronage structures drove and supported the
territorial expansion, construction, and general
definitive shift in the administration of the parish
prosperity. But Toppler’s time was also riddled by
fabrica even before a second contract confirmed
turmoil, and his daring political maneuvers were
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not uniformly appreciated by his fellow citizens
were designed in consultation with the respective
and councilmen. While Toppler’s story has been
sponsoring families, as differences in the window
retold many times, it is valuable here insofar as it
tracery between the two chapels suggest.42 Only
demonstrates how Rothenburg used its material
later, as construction on the nave was nearing
fabric, precisely during periods of turmoil or tran-
completion, were two further chapels (the south-
sition, to project a unified civic identity.
west and northwest chapels) added, a change to the
initial plan that increased the number of private
The correspondences in date between Heinrich
Toppler’s biography and the construction of the
chapels in the parish church from two to four.
Church of St. Jakob are striking, as is the increase
in historical documentation during his long stint in
old church to make way for the new nave of St.
Rothenburg’s civic government. Toppler estab-
Jakob came from the bishop of Würzburg in 1388,
lished himself as a principal patron of the parish
though the actual demolition may have begun
church: as an individual donor, as the head of an
earlier.43 In the same year, Toppler was particu-
important family, and as a prominent member of
larly active as a patron. On January 7, 1388, he and
the city council that oversaw the parish fabrica.
his wife, Barbara, donated an eternal Mass and
During 1373—the same year as Toppler’s first
associated chaplaincy for the altar of the Twelve
election to the inner city council of Rothenburg—
Apostles, Saint Vitus, and Saint Leonhard, which
work began on the nave of St. Jakob. The event was
stood in the south (now southeast) chapel of the
festively celebrated with an inscribed plaque placed
nave. It is significant that this donation established
in the eastern buttress on the south side of the
the first position for a secular priest within the
rising structure. Here it faced the back of city hall,
city, a challenge to the dominance of the Teutonic
across a public street that skirted the churchyard
Order over the parish, which was later repeated by
on its way to the marketplace, a block away. The
other donations following the same model.44 The
plaque was therefore visible at the heart of the city
chaplain supported by the Toppler endowment was
and reminded passersby of a particular moment in
to say Mass daily, beginning when the host was ele-
the church’s history. Indeed, the recording in stone
vated during another regular Mass celebrated at the
of the construction date 1373 indicates again how
St. Catherine altar, and at least four times a week,
the city government had begun to wield written
barring illness or other important matters (redlich
records to shape historical memory and to redefine
sache).45 Toppler’s donation was recorded in great
Rothenburg’s civic identity.
detail, listing the responsibilities of the chaplain as
well as the property supporting the donation.46
41
28
It was not far from this spot, though in the
Official permission for the destruction of the
interior of the church, that Toppler himself made
Three days after Toppler’s donation of the eter-
a highly visible mark on the Church of St. Jakob.
nal mass in 1388, his name appears on two further
The initial plan for the nave included two private
donations to the Church of St. Jakob. The first,
chapels, one on the north side of the church, the
made again in company with his wife, Barbara,
other on the south side, facing the city center.
was for an annual evening vigil and morning Mass
From the start, Toppler seems to have claimed the
to be said at the same St. Leonhard altar on the
prominent south chapel as his own. Both chapels
Feast Day of St. Bartholomew (August 24). These
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services were to be sung for their own and their
ancestors’ souls in the company of a minimum of
only important gifts made by individuals to St.
four members of the Teutonic Order. The sacristan
Jakob during the construction of its nave, although
was to place four large candles and a silk cloth over
they were among the most generous and conse-
the donors’ graves, and the couple’s names were to
quently most prestigious. To these can be added a
be added to the list of souls read from the pulpit on
wider swath of donors, whose testaments from the
Sundays. To encourage attendance, the congrega-
period left money of varying amounts specifically
tion was to be reminded of the yearly Mass on the
for the “building” (buwe, baw, or bau) of St. Jakob.
preceding Monday.
Three donations, in 1394, 1395, and 1397, would have
been timely for final work on the nave.49 Between
47
The second, more expensive donation was of
Naturally the Toppler donations were not the
an endowed Mass to be sung on the Marian altar
1402 and 1415 at least twelve further testaments
in the central aisle of the church, at the junction
left money for the parish church. The amount
between the nave and the choir. For this donation,
bequeathed varied between 2 lb and 10 fl, with
in honor of the Virgin Mary, the couple was joined
one woman leaving her best dress to the church
by Heinrich Toppler’s brother, Hans, and his sister-
instead of a sum of money.50 These donations, as
in-law, Kathrin. It was for this same altar, almost
well as one chronological outlier made in 1431,
exactly a century later, that the city commissioned
were used for the “building” of St. Jakob, which
a Marian altarpiece from Tilman Riemenschneider.
must be read as synonymous with the buwe that
The Marian altar was one of the most important
two churchwardens were appointed to oversee in
public sites in the parish church, since it served as
the 1336 contract. In other words, they contributed
the lay altar, the primary location of services for
to the operation of the parish fabrica, including its
the wider local community. The endowed Mass,
maintenance of the material fabric of the church:
established by the Toppler quartet, was to be sung
its architectural construction, furnishings, and
weekly on Saturday evenings after Compline as
repairs.
well as on the eve of all Marian feast days. The
beginning of the Mass was signaled by two strokes
represented a class of citizen-patrons, whose highly
from the “fire bell.” The foundation document also
visible gifts expressed religious piety while at the
stipulated that the schoolmaster, along with a min-
same time broadcasting elite social status and
imum of ten schoolboys, would sing the antiphon
individual wealth.51 The success of such demonstra-
“Salve Regina,” including the sequence “Salve mater
tive donations for the memoria of the individual is
Salvatoris.” This beginning was to be followed by
attested by the fact that historical records preserve
the sung Offertory “Recordare Virgo Mater” and
the names of these donors. As a class, they were
readings by the chaplain of versikel and collecten.
thus separate from the many unnamed donors who
Following “the local custom,” the Mass closed
threw small sums into the offertory box or gave
with the ringing of bells and an Ave Maria. The
raw goods in place of money to support the church.
location, frequency, occasion, performance, and
At the same time, the administration of these
attendance of this Mass were thereby calculated to
substantial donations bolstered the collective entity
draw maximum attention.
of city-as-patron, for in naming the city as executor
48
Together, this group of individual patrons
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of the donations, elite individual donors solidified
Even the value of money is set down (12 h = 1 ß, 20
the civic government’s administrative footing in the
ß = 1 lb, 1 lb = 1 fl), and it is stipulated that the same
church. Corine Schleif has demonstrated how such
coinage should be used as that current among the
donations involved reciprocal benefits between
citizens of the town.54 Specified also are the tithes
the donor and the community of faithful as well
due on numerous products of husbandry as well
as between the donor and God.52 Thus, as a group,
as a limit to the number of livestock the Teutonic
the Rothenburg donations not only ensured the
Order was permitted to keep in the city: seventy
memory of individuals but also helped create the
sheep, forty pigs, and twenty-four cows. The com-
social-political entity of the city.
pensation and duties carried by various positions,
such as the schoolmaster and the sacristan, are also
The cluster of donations made at the end
of the fourteenth century and beginning of the
listed.55
fifteenth relates not only to progress in the con-
struction of the nave—which received its roof
related to the administration of the church itself.
around 1400, according to dendrochronological
For instance, the contract stipulates that the Teu-
examinations—but also to the shifting sociopo-
tonic Order was to maintain at least ten priests to
litical structure of the parish. As noted above, the
celebrate Masses in the established tradition. One
contract of 1336 divided responsibility over St.
priest was to say Mass in the chapel of Kobolzell,
Jakob evenly between the Teutonic Order and the
and this, as well as other items, demonstrates that
city government by allowing each to appoint one
the contract addressed the administration of the
churchwarden. Whether due to the ambitions of
full parish and not just of the Church of St. Jakob.
Heinrich Toppler himself, to pressure from the
Most important, the city council of Rothenburg
wider population of lay citizens, or, as is most
is named the guardian of the Church of St. Jakob
likely, to a combination of both, a new contract was
and of the chapels of Kobolzell and St. Nicholas,
signed in 1398 that definitively placed the church
including all of their ornaments—namely, liturgical
and the wider parish firmly in the hands of munici-
vestments, missals, chalices, altar cloths, and other
pal authorities.
furnishings.56 The city also gained control over all
The reason behind the official contract of
donations to the church, whether they consisted of
1398 was again a volatile disagreement, this time
raw materials (listed are wax, silk, and flax) given
much more intense than that six decades earlier.
in or before the church or money placed in the
Listed in the opening passage of the contract are
offertory box or given “in any other manner.” The
a range of conflicts that the document was meant
council was also appointed to oversee the income
to settle: war, blows, breach, insults, abatement,
and expenses of all church assets, being required
offensiveness, disagreement, and even murder!
only to provide the priests with candles for prayer
The contract of 1398 is also more detailed in its
and Mass.57
provisions than its earlier counterpart, in particular
concerning matters of money and property. For
responsibilities extended beyond the physical
instance, a price is set for a calf (4 h), a lamb (1 h),
Church of St. Jakob to include the named chapels
and a beehive (4 h) sold to the city by the order.
of Kobolzell and St. Nicholas, but over the course
53
30
Most important for my purposes are items
At the time of the contract signing, these
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of the following century, several other chapels
represent their needs than the religious organiza-
were added to this list. By the time the Reforma-
tion. The self-identification of these leading citizens
tion reached Rothenburg, the fabrica ecclesiae
as a collective community under the auspices of the
of St. Jakob, administered by the churchwardens
city council was thus reflected in the administrative
appointed by the municipal council, oversaw
reorganization of the parish fabrica. It also took
eight separate churches and chapels: St. Jakob, St.
visible form in the material fabric of the parish
Michael, St. Mary in Kobolzell, St. Nicholas, St.
church.
Wolfgang, St. Blasius, the Marian chapel on the Milchmarkt, and the chapel dedicated to the “Pure” Virgin Mary (Kapelle zur Reinen Maria). The
The Nave of St. Jakob
contract of 1398 caused all new holdings and projects of the parish henceforward to fall under the
As there is no fixed one-to-one relationship
auspices of the city council and not the Teutonic
between architectural form and meaning, no stable
Order.
iconography of architecture, in particular because
of its nonrepresentational nature, the consequences
The Teutonic Order’s acceptance of the 1398
contract, despite its clear bent in favor of the
of the administrative shift for the built material of
city, suggests that in the period between 1336 and
the Church of St. Jakob are difficult to determine.
1398, the city had made steady advances into the
Yet at the same time, they seem easy to see, for the
administration of the church beyond the provisions
nave, built during the ultimate push for complete
of the first contract. In 1398 the representatives
civic control over the parish, looks strikingly
of the order apparently made no attempt to insist
different from the Teutonic Order’s choir. Whereas
on the same, more balanced terms of the earlier
the choir was built from carefully finished ashlar
agreement. Instead, they seemed fully resigned to
blocks of golden sandstone, the core of the nave
the administrative takeover by the council, fighting
was constructed of irregularly sized, rough-hewn
simply to ensure the order’s subsistence in Rothen-
pieces of gray limestone. While the choir consists
burg rather than to regain any political power.
of a single, unified space, the transeptless nave
Given the wave of donations to the church fabrica
incorporates a seven-bay central aisle, two side
just after this second contract, as well as the tenor
aisles, and four paired side chapels that break the
of donations made during the construction of St.
regularity of its outer walls. The nave space is artic-
Jakob’s nave, it seems likely that pressure exerted by
ulated by undulating compound piers, curvilinear
the class of individual donors was instrumental in
tracery windows, and quadripartite rib vaulting
affirming the city as ultimate patron of the church.
(figs. 8 and 9).
The city’s new, uncontested control over parish
affairs in turn boosted donations. The collective
struction between the choir and the nave, but
identity of city-as-patron, then, confirmed in offi-
the juxtaposition of these two spaces also makes
cial administrative structures, was contingent on
their differences meaningful beyond a change in
a shift in the thinking of individual patrons, who
architectural fashions. This is especially clear in
began to see the city as an entity better suited to
light of the choices of architectural models made
Stylistic differences betray the gap in con-
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Fig. 8 (opposite) Interior of St. Jakob in Rothenburg toward the east. Fig. 9 (above) Nave of St. Jakob in Rothenburg toward the west, showing the western gallery.
Boivin, Riemenschneider_PRINT.indd 33
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rise beneath the arcade seem to continue straight upward and disappear into the wall, while the arcade arches branch off from these—a typical late Gothic conceit termed continuous or disappearing moldings.
In their composition, the piers of St. Jakob are
clearly akin to the western pair of piers in the east choir of St. Sebald in Nuremberg (begun 1361; fig. 10).58 The oblong core of the pier pair in Nuremberg, however, is repeated for all the supports of the Rothenburg nave. The designers of the Rothenburg nave distinguished the eastern piers from the others, including around each four symmetrically arranged, en-delit shafts that support corbels and baldachin-crowned figures. In both Rothenburg and Nuremberg the transition from the pier to the vaulting system is smooth: the continuous moldings gradually emerge from the pier and spring as ribs without the interruption of capitals.
In Rothenburg, the smooth flowing forms of
the lower zones (especially the nave piers and rising Fig. 10 East choir of St. Sebald in Nuremberg.
wall shafts) set up a contrast with the linear composition of the thin keeled ribs of the vault. Like the choir, the nave boasts deeply carved ceiling bosses,
by their respective patrons. While the east end of
though here less densely distributed: whereas in the
St. Jakob follows the single, dominant model of the
choir the transverse arches as well as the diagonal
Deutschhauskirche in Würzburg, the nave has no
ribs peak in bosses, the transverse arches of the
single prototype. Instead, the nave design seems
nave do not (fig. 11). The sole exception to this is
to align itself with a group of related buildings.
the transverse arch between the second and third
Foremost among these are the Parish Churches of
nave bays, which includes a large ring boss at its
St. Sebald and St. Lorenz in Nuremberg.
peak.59 The effect of this composition is that the
34
Distantly akin to the piliers cantonnés of several
nave remains spatially and stylistically distinct from
High Gothic cathedrals, the coursed piers of the
the choir, yet it appears related through its system of
nave of St. Jakob in Rothenburg have four rounded
quadripartite ribbed vaults.
shafts arranged around an oblong polygonal core.
The north and south shafts rise up uninterrupted
a host of other features that draw upon a wider
to branch into the keeled ribs of the quadripar-
range of regional models: while the window tracery
tite vaulting system. The east and west shafts that
of the southwest nave chapel and the paired towers
Alongside these elements from Nuremberg are
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of St. Jakob in Rothenburg were clearly modeled on the Church of St. Lorenz in Nuremberg, the triangular flat-sided bases of the wall responds in Rothenburg relate to those of the east end of the Cathedral of Augsburg; the seven-bay, transeptless Rothenburg nave, with its lower side aisles and central clerestory, is similar to the nave of the fourteenth-century Parish Church of St. Andreas in Ochsenfurt; the original pair of small side chapels that projects beyond the outer envelope of the nave in Rothenburg also appears in Ochsenfurt, as it does in Schwäbisch Gmünd. There are, however, few contemporary churches comparable for the combination of elements found in Rothenburg. The pier form, which St. Jakob in Rothenburg takes over from St. Sebald in Nuremberg, for instance, features almost exclusively in hall churches—in which clerestory windows are omitted in favor of raising the height of the side aisles—whereas the Rothenburg nave follows the spatial plan and elevation of a basilica.
Masons’ marks indicate possible connections
Fig. 11 Choir and nave vaulting of St. Jakob in Rothenburg.
to other sites, as well, including the eastern parts of the Minster in Ulm (1377–1420), the octagon and openwork spire of the Minster in Strasbourg
project in Rothenburg did not follow the highly
(1399–1439), and the nave of Regensburg Cathedral
fashionable hall-church model but instead chose a
(1320–1442). A project headed by Jérôme Zahn,
more traditional basilican elevation for the nave of
director of the Staatliche Dombauhütte of Passau
St. Jakob.62 The long-held theory that the German
Cathedral, is currently tracing overlaps in mason’s
hall church represented the power and identity of
marks between Rothenburg, Nuremberg, Ingol-
burghers in opposition to the basilican church, the
stadt, and Passau, among others. If these indicate
traditional form of the clergy, has been debunked;
an overlap of stonemasons between the various
the wide brush of the theory does not stand up to
sites, then Rothenburg was indeed abreast of the
the incredible variety and local nuance of the built
most recent stylistic developments of the time.
reality.63 Despite this, the choice in Rothenburg is
notable, given that the builders of the nave of St.
60
61
Given these connections to a wide range of
prestigious building projects throughout the region,
Jakob were clearly familiar with contemporary hall
architectural historians have expressed surprise
churches and might have differentiated their nave
that the patrons and architects of the ambitious
from the choir by using this design.
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I posit that the decision to build a basilican
probably played a part in exciting the wonder of
important opportunity that allowed the city of
the abbot of Heilsbronn during his visit in 1436.
Rothenburg to demonstrate a prestige arguably
equal to that of contemporary hall churches: the
fourteenth-century Germany, where the new fash-
chance to include flying buttresses. As is typical in
ion was to build hall churches. They were, however,
Gothic church architecture, the interior divisions
one of the most expensive parts of a church struc-
of the nave of St. Jakob in Rothenburg are made
ture because they were difficult to build, and it is
visible on the exterior by means of buttresses.
likely that their inclusion in Rothenburg was meant
These buttresses support flyers, arches that rise
as a sign of prestige as much as they were a struc-
from the upper projecting culée of the buttress to
tural necessity.65 Though in reality Rothenburg did
support the central vessel of the nave at the height
not have unlimited resources to devote to the con-
of the clerestory windows. Buttresses with and
struction of its parish church, the fabrica ecclesiae
without flyers served both functional and aesthetic
carefully directed money to where it was calculated
purposes. On the one hand, they steadied the outer
to have the greatest visual effect: the administration
walls of the church and countered the thrust of
decided to save on the core building material, using
its heavy stone vaults; on the other, they provided
rough-hewn limestone instead of more expensive
a site for rich architectural ornament that could
sandstone ashlar blocks—after all, the exterior sur-
include elaborate moldings, blind-tracery friezes,
face could be painted over, and indeed was, with a
pinnacles, or even sculpted figures. In Rothen-
concealing program of false coursing lines to make
burg, the flying buttresses that line the south
it look like ashlar—but at the same time to include
side of the nave of St. Jakob increase in height
expensive flying buttresses along the full length of
and complexity from east to west following the
the nave.
sequence of their construction (fig. 12). They are
also more ornate on the south side, which faces the
single model, then, the ensemble is far from a hap-
city center, than on the north. The two southwest-
hazard collection of architectural ideas. Together,
ern buttresses, for instance, form an elegant pair.
the elements work to convey a set of multivalent
A simple molding divides the upper culée from
meanings.
the shaft below. Against the angled surfaces of the
culée stand three-quarter life-size figures, two on
the east end and nave of St. Jakob clearly distinguish
each buttress, supported by foliate consoles and
not only two construction campaigns and spatial
crowned by baldachins. The articulation of these
concepts but also, through their juxtaposition, two
buttresses clearly demonstrates that the south side
very different messages of affiliation. Whereas the
of the church was conceived of as a show facade
patrons of the choir referenced a specific regional
akin to that of the lavish double-ended Church of
model, the Church of the Teutonic Order in the
St. Catherine in Oppenheim (1317–60, west end
episcopal city of Würzburg, the builders of the
1415–39). The inclusion of flyers, in particular,
nave drew widely from a range of architectural
however, also makes a highly visible statement of
possibilities, mixing regional fashions with gestures
64
36
wealth. Indeed, the flying buttresses in Rothenburg
nave with clerestory windows came with an
Flying buttresses were relatively uncommon in
Though the nave of St. Jakob does not follow a
The detailed forms as well as the general plans of
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Fig. 12 View of St. Jakob in Rothenburg from the south.
that carried international prestige. The resultant
The Citywide Takeover of Church Space
composition was unique to Rothenburg, yet by citing churches in Rothenburg’s peer imperial cities,
St. Jakob was not the only church in Rothenburg
such as Nuremberg and Schwäbisch Gmünd, it also
on which the city council set its sights during the
articulated a new filial outlook that had prompted
late medieval period. At the same time as it was
Rothenburg to join the Schwäbische Städtebund in
embroiled with the Teutonic Order over control of
1378 and engage in regional politics.66
the parish fabrica and with the nuns of the Domin-
ican convent in a similar fashion, the council
In Rothenburg it was, above all, the striking
contrast between the choir and nave of St. Jakob,
also entered negotiations with the other religious
joined under the even roofline and vista of ribbed
institutions of the city. Indeed, the systematic
vaults, that made visible “change.” The close cor-
maneuvering of Rothenburg’s city council in urban
respondence between these campaigns, and the
spiritual affairs formed a concerted campaign to
shifting administrative structure of the parish fab-
extend the power of the municipal government
rica, leave little doubt that the material fabric of the
into church space, thereby setting the stage for the
parish church not only reflected but also projected
city-sponsored artistic commissions of the fifteenth
the new power of the municipal council.
century.
The City as Patron
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The earliest great successes of the council were
its lower middle class) throughout the fourteenth
the Franciscan monastery. Since the council’s
and fifteenth centuries: recorded donations for the
advances were met with little resistance in these
Franciscan monastery exceed forty in the four-
two cases, the archival record remains scant.
teenth century and eighty in the fifteenth century.70
Nevertheless, it is sufficient to indicate that the
In fact, donations to the Franciscan monastery
council succeeded in a complete takeover of the
were more numerous even than those made to the
Spital by the mid-fourteenth century: in the 1340s,
Parish Church of St. Jakob, a statistic that betrays
Emperor Ludwig the Bavarian issued an antedated
the success of the Franciscans in integrating them-
diploma that placed the Spital under the protec-
selves into the sociopolitical identity of the city.
tion of the city of Rothenburg, and by 1355 the city
council was in a position to appoint its candidate
in 1384 reveals another aspect of the city’s sense
as Spitalmeister, or director of the hospital. Once
of ownership over the Franciscan church. Across
the council had firmly established itself as admin-
the region that year, Jews came under attack,
istrator and patron of this out-of-town site, it made
particularly from the middle classes of trades and
the relationship palpable in the material fabric of
craftsmen who stood in their debt.71 The case was
the city around 1376–78 by extending the encir-
particularly bad in Nördlingen, Rothenburg’s close
cling defensive walls of Rothenburg to enclose the
neighbor to the south and a fellow member of the
Spital. Rothenburg thus received its panhandle,
Schwäbische Städtebund.72 Rothenburg itself was
a long narrow strip, barely two blocks across, that
not immune to the general anti-Semitic sentiment,
extended the defensive walls, built in the first half
and the city council, fearing an outbreak of vio-
of the fourteenth century, 250 meters south to the
lence, decided to take decisive action to protect the
site of the Spital (fig. 13).
resident Jewish community. Accordingly, the entire
city was summoned to the grand Kaisersaal in city
67
68
38
upper and middle classes (including, unusually,
in its relationship with the Holy Ghost Spital and
The city council of Rothenburg also seems to
A tense situation that erupted in Rothenburg
have maintained an amicable and close relation-
hall, where it was forced to swear an oath not to
ship with the Franciscan monastery. Sometime
take action against Rothenburg’s Jewish population.
between 1361 and 1363 it obtained the official power
One dissident reportedly attempted to avoid the
to appoint caretakers to the monastery, though
oath by hiding behind a pier, and another muttered
members of the inner council seem to have served
nonsensical words, but they were both exposed by
in this administrative role already earlier.69 By
others in the assembly. The dissidents were then
1386 the city council was in charge of the Fran-
forced to swear the oath anew, this time in the Fran-
ciscan monastery’s business to such an extent
ciscan church.73 To witness this second oath, the
that it guarded many of the monastery’s papers
large crowd must have walked from city hall, down
in its own archive. Although construction of the
the Herrengasse—the main east–west street of the
Franciscan monastery’s church was finished by
city, lined with some of its grandest houses—to the
about 1309, the furnishings of the church and its
Franciscan church. This public display and the role
many significant documented donations attest to
of the city’s population as so many witnesses to the
an active and enthusiastic patronage by the city’s
oath would have carried weight. Yet despite this
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Fig. 13 Rothenburg. Map by Lauren Matrka.
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community-wide oath, the penalties associated with
administered by a secular priest. The administra-
its breach, and the public humiliation of the dissi-
tion of the chapel was subsumed under the parish
dents, about a dozen men were thrown in prison in
fabrica.
the following weeks for “üppige redden” (evil talk)
against the Jewish community and were ultimately
Order of the Knights of St. John, also known as
expelled from the city.74
the Order of Malta or the Knights Hospitaller, first
ceded the order’s independent status in Rothen-
Circumstances such as these demonstrate that
the dominion of the city council was far-reaching,
burg in 1383, following some personal legal trouble
as was its attempt to construct a unified communal
(he stood accused of complicity in two separate
identity. Church space was important for this con-
murder cases). For a period of five years, he agreed
struction. Indeed, there was an important sense of
that the members of the local commandery of St.
fluidity between the public space of the street and
John would be subject to the same laws and taxes
that of the nave of the Franciscan church. Not only
as the lay citizens of Rothenburg—laws and taxes
the Parish Church of St. Jakob, then, but also other
from which the members of religious orders were
church spaces within the city served the political
usually exempt. Although the period of this first
ambitions of and civic order imposed by the local
subjugation to civic rule was brief and the order
government.
managed subsequently to reclaim its privileges, in
the following decade it nevertheless permanently
In addition to the conflict with the Dominican
nuns, outlined above, patronage of the Chapel of
relinquished certain administrative roles to the
St. Blasius, situated in the old castle of Rothenburg,
city. Reminiscent of the provisions of the city’s 1398
demonstrates how the city pushed out regional
contract with the Teutonic Order, the council man-
nobility through its active church politics. The
aged in the same year to take over control of the
chapel, which had been damaged in an earthquake
Hospitaller’s church fabrica, appointing two civic
in 1356, had long belonged to the noble families
caretakers to oversee its church and furnishings.77
descended from the Schultheis (the emperor’s
While the commanderies of both the Teutonic
administrative official in the region). Between 1378
Order and the Order of St. John in Rothenburg
and 1383, however, the city bought out the noble
thus maintained a certain independence for their
families’ shares to this chapel, and by 1397 even
respective communities, the churches in which
the German king Wenceslaus IV (r. 1378–1419)
they celebrated services and which served as their
in Prague—who wrote to encourage the city to
most public spaces came under the aegis of the city.
restore the chapel, which, along with its altar, was so
run-down (zufallen) that it had long been impos-
more striking given that the Order of St. John’s
sible to celebrate Mass within—recognized the city
church was under construction when its fabrica fell
as the new patron of the chapel.75 The St. Blasius
to the city. The standing church is a product of the
Chapel thus entered firmly into the possession of
last decade of the fourteenth century and the first
the city, which funded a restoration that included a
decade of the fifteenth century. Again, the wording
lavish new painting cycle. In 1400 the chapel was
in an archival document from 1393 confirms that a
newly consecrated and endowed with a chaplaincy
shift in thinking about church space accompanied,
76
40
Finally, the commander of the Rothenburg
The city’s takeover of church space is all the
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and even slightly preceded, the official shift in
social groups into an idealized entity. Surely, “our
administrative oversight: the council and burghers
fellow citizens” responsible for the Church of St.
of Rothenburg were said to support the church’s
Jakob were not primarily the poor, those unfortu-
construction through taxes and charitable gifts so
nates whose financial insignificance left them off
that the general population (“daz gemein volk”)
tax rolls and population counts and who are known
would more eagerly visit the church.78 Through this
primarily through the provisions left in wills for
expressed desire that more of the city’s residents
food handouts and alms. The pennies thrown into
would visit the church, the city asserted its claim to
an offertory box, totaled and recorded as an anon-
the space, redefining the identity of the church as
ymous line item in church balance books, might
a civic entity. This sense of ownership extended to
represent a year’s wage of a poor man. In fact, just
the material furnishings of the church as well: the
over 1,000 individuals out of the total population
same document of 1393 acknowledges that the city
estimated between 5,000 and 7,000 “inhabitants”
hung the church’s bells “in its city tower” (in ir stat
(Einwohner) had enough income and land to be
turen).79 Although the Knights Hospitaller claimed
counted in the city’s fourteenth-century tax rolls as
the right to apply for the bells to be moved, any
“citizens” (Bürger).80
subsequent relocation was conditional on permis-
sion from the municipal government.
levels between Rothenburg’s upper, middle, and
lower-middle classes, the late Middle Ages saw
By the late fourteenth century, then, it was not
Despite the significant differences in income
just over the parish church and the resident Teu-
an increase across all these classes in both the
tonic Order but also over the churches of the other
amounts and the number of individual contri-
religious orders in Rothenburg that the municipal
butions to church funding. The proliferation of
government exercised authority. The council’s
donors reinforced the need for the municipal
reach extended from its seat in city hall to the
government to take charge of sacred matters in
Parish Church of St. Jakob and to the churches of
the city and formed a pressing reason to project a
the Franciscans, the Knights of St. John, and even
unified civic identity.81 Together, the many smaller
the “troublesome” Dominican nuns.
donations contributed substantially to construction projects throughout the city, making the middle class a large constituent, though not the primary
Conclusion
engineer, of the collective city.
It was the wealthy individuals, named in ben-
The city council’s response to the abbot of Heils-
efices and chantries, that formed the elite class of
bronn in 1436 differentiated between an indigenous
citizen donors who most actively shaped church
community of primary patrons (“our fellow
space throughout Rothenburg. The structural
citizens”) and the wider community of Christian
reality of the city government meant that it was
benefactors (“other pious Christian people”). As is
these same citizens who also curated the entity of
true of any city, the residents of Rothenburg were a
“city-as-patron.” Their claim to represent a wider,
motley group, and the sense of unified community
idealized civic community contributed to their
projected by the city council subsumed various
power. The visual, ritual, and documentary traces
The City as Patron
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left by individual citizens, like Heinrich Toppler,
within the southeast nave chapel, which he had so
added to the growing wealth of signs that claimed
richly endowed. His carved tombstone, display-
the city as a unified entity beautified by its material
ing the recognizable Toppler coat of arms with a
fabric, administrative order, and pious community
pair of dice, thus found a prominent place within
of citizens.
the church that had been such a focus of the local
government under his leadership. Although this
This image of unity is all the more striking in
light of the underlying political conflict and tension
may seem paradoxical given his fall from political
in late medieval Rothenburg. A striking example
favor, it demonstrates the attempt of the municipal
is the story of Toppler’s demise, which left the
government to project in the material fabric of
civic government of Rothenburg on an unsteady
its parish church a sense of stability. By the early
footing even as its architectural and administrative
fifteenth century the Church of St. Jakob was not
jurisdiction over urban church space continued to
only Rothenburg’s sole parish church, it was also a
project an image of powerful control.
true Stadt- or Bürgerkirche, claiming to represent
As work on the nave of St. Jakob was draw-
the city and its citizens. It had become a powerful
ing to a close—the main vessel had received its
instrument of the city council and a locus for the
roof, and all that remained to add were the upper
development of a communal identity.
levels of the towers and the western pair of nave
chapels—Toppler’s reign came to a dramatic end.
over the course of the fourteenth century estab-
After supporting the deposed king Wenceslaus in
lished it as the guardian of the parish community,
a risky political maneuver, Toppler was impris-
the steward of urban church space, and the proper
oned in February 1408 by his fellow councilmen.
recipient for Abbot Ulrich’s letter. Henceforward,
He was thrown in a jail cell in Rothenburg’s city
art and architecture played a prominent role in the
hall, where he died two months later without the
government’s maneuvers. In addition to express-
city recording an official execution or cause of
ing in general terms the virtues of the medieval
death—a fact that has led historians to speculate
city, Rothenburg’s church space was also carefully
about a dubious end.82
programmed to insist on a unique and particular
identity of place.
Despite the troubled circumstances that led
The city council’s successful grab for power
to his death, however, Toppler was buried with all honors in the Church of St. Jakob, specifically
42
Riemenschneider in Rothenburg
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A Pilgrimage Environment
H
Chapter 2
ow Rothenburg, a city with no notable
1440s when the local population was beginning to
pilgrimage traffic during the fourteenth cen-
grumble about its government. What better way
tury, attempted to position itself on the pilgrimage
of reenergizing potential patrons and reunit-
map in the fifteenth is a story that demonstrates the
ing the wider community than telling dramatic
integral role of artistic programming in attempts
stories: of young boys with deadly brain injuries
at civic self-construction. The efforts of the city
miraculously cured; of sick pilgrims attaining
council to attract pilgrims led to the creation of
relief only upon their arrival in Rothenburg; of
one of the most impressive spatial environments of
women and men moved by the healing power
Rothenburg: the west end of the Parish Church of
of the blood relic to donate to the church! The
St. Jakob, built from 1453 to 1471 and outfitted from
promotion of Rothenburg’s blood relic, however,
1499 to 1505 with a grand altarpiece by the Würz-
was not simply based on a desire to raise funds.
burg sculptor Tilman Riemenschneider and the
Rather, it aimed to stimulate established medieval
local joiner Erhart Harschner (figs. 1, 14).
practices of gift giving and memoria that relied on
an economy of reciprocity.1 It was these prac-
For the poster child of their campaign, the
governing authorities in Rothenburg settled on
tices that helped cement a bond among the local
an old blood relic that had been in the church’s
community and establish the importance of the
possession for two centuries. It is no coincidence
specific place.
that this relic, barely mentioned in the sources up
to that point, began actively effecting miracles just
“spatial environment,” introduced by Jacqueline
as the council began to seek funding for a new
Jung in her book The Gothic Screen, objects created
chapel in its honor, and this at a time during the
in a range of different media as well as elements
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added to an ensemble over the course of several
contiguous with the urban fabric and rooted to the
generations should be considered together.2 Pieces
precise spot.
commissioned at different times and executed in
various materials worked together to convey more
crest of the Altarpiece of the Holy Blood, func-
in their interconnections than in any one piece.
tioned twofold: on the one hand, it was a visual
In this sense, they formed what we might call a
reminder of the Church’s general promise of
multimedia program, in which architecture, altar-
salvation through the Eucharist; on the other, it
pieces, metal objects, and textiles worked together
offered protection to the particular place and its
to support liturgical rituals, devotional practices,
inhabitants (fig. 15). In doing so, it also implicitly
and individual experiences. This chapter argues
extolled a set of desired behaviors in the local com-
that the idea of the spatial environment, in addi-
munity. The people who filtered through the spaces
tion to allowing us to think through hypothetical
of the west end were encouraged to be the pious
experiences of space, pushes us to consider artistic
and generous citizens described in the Heilsbronn
ensembles as active forces in the creation of new
abbot’s letter of 1436 (referenced at the beginning
works. The spirit of a place assured the coherence
of the last chapter). Such a focus tended to veil the
of pieces contributed by different patrons and
political struggles of the time and to substitute a
artists over time.
constructed narrative of long-standing pilgrim-
age and divine favor, which restructured the ways
This chapter, therefore, considers how estab-
The focal blood relic, newly set in the upper
lished yet ever-developing spatial environments
in which the town’s inhabitants related to their
guided artists as they fashioned pieces. At the turn
church.
of the sixteenth century the city council of Rothen-
burg commissioned a collaborative work, the
served as critical tools in attempts to foster local
Altarpiece of the Holy Blood, from Riemenschnei-
pride and civic responsibility. This was achieved
der and Harschner, stipulating its iconographic
through the creation of complex spatial environ-
program and scale. In addition to following the
ments, with programs composed from a variety of
prescripts laid out in their contracts with the city,
artistic media. Though the efforts of the municipal
however, the artists’ design also responded to the
council to attract pilgrims met with only moder-
intended spatial and devotional setting. As a result,
ate success during the Middle Ages—the sources
once installed, the Altarpiece of the Holy Blood
indicate that visitors came mainly from the region
participated in a dynamic mise-en-scène that
immediately around Rothenburg—the spatial envi-
drew on architecture, iconography, and devotional
ronment of the west end of St. Jakob could claim
practices to stage the miracle-working relic of the
universally recognized virtues for its city while at
Holy Blood. Although the relic itself was small and
the same time demonstrating these to be special to
portable, its architectural frame was emphatically
this place. In promoting the blood relic and its new
In Rothenburg, then, art and architecture
spatial environment, the city council managed both to rewrite the past identity of the Parish Church of Fig. 14 West end of St. Jakob in Rothenburg, with the Klingengasse passageway, seen from the south.
St. Jakob and to project a locally rooted identity for Rothenburg.
A Pilgrimage Environment
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Promoting the Relic of the Holy Blood
the blood of Jesus Christ—“three drops of blood spilt on the corporal, and traces appear”—and
Rothenburg’s relic of the Holy Blood was much
it must have produced a second-order miracle.7
older than the city’s push for pilgrimage. It entered
The sacramental stain was cut out, preserved, and
the historical record during the thirteenth century,
venerated as a relic of the Holy Blood. The sur-
at a time when most of Europe was still occu-
viving sources emphasize that the drops of blood
pied with the relics of saints, though many places
were preserved on a corporal cloth, a cloth used on
were adding blood to their inventories of sacred
the altar during the celebration of Mass, making
materials. Although valued locally and housed in
its sacramental origin clear, but they are silent as
its own chapel by 1266, the Rothenburg blood relic
to the nature of the second-order miracle that was
only came into its own as an active focus for civic
needed to transform consecrated wine into a relic
identity in the late fourteenth and early fifteenth
worthy of pilgrimage.
centuries, once Rothenburg’s city council had con-
cretized its control over the parish fabrica. From
most productive signifying feature. It conjoined in
then on, it formed the core of an elaborate thematic
one material object the universal symbolism of the
program that peppered the art and rituals of the
Eucharist with a moment in the local history of cel-
city with references to Holy Blood. This theme had
ebrating the Mass. As a so-called Dauerwunder—a
a special concentration within the Parish Church of
miraculous transformation that was permanent—it
St. Jakob, where it related the general promises of
was not just wine transformed into Eucharistic
Christian doctrine to specific local experiences.
blood but also specific miracle-working blood
as relic.8 It was this complex identity, articulated
3
4
Rothenburg’s blood relic was sacramental,
Its sacramental nature proved to be the relic’s
blood from the consecrated wine of the Mass
through an elaborate spatial and artistic program,
rather than from the historic body of Christ
that the municipal council of Rothenburg used to
brought back from the Holy Land. Although
affirm an importance of place during the fifteenth
the relic lacks an explicit origin story, its thir-
century.
teenth-century cross reliquary and later references
to a chapel consecrated in 1266 to “the glorious
attached to the city’s principal church and conse-
body and blood of Jesus Christ,” possibly in the
crated in honor of the body and blood of Christ
same location as the fifteenth-century Holy Blood
provided a specific place for veneration of the
Chapel, suggest an inception in the mid-thirteenth
blood relic.9 The titular dedication of the chapel
century. A likely scenario is that around this time,
also demonstrates an early tendency in Rothen-
a priest celebrating Mass in the city spilled a few
burg to emphasize blood alongside Christ’s body
drops of consecrated wine on a corporal cloth.
in a manner evocative of the dual materials of the
Since the transformative ritual had already been
Eucharist. This theme won favor in art commis-
performed, the spilled liquid was considered to be
sioned for the city’s parish church in the last decade
5
6
Already in 1266 the dedication of the chapel
of the fourteenth century. Fig. 15 Cross reliquary with the Holy Blood relic within the crest of the Holy Blood Altarpiece in Rothenburg.
The moment of the new promotion of Rothen-
burg’s blood relic is significant in the history of
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both the region and the city itself. While devotion
to Holy Blood became popular throughout Europe
and visited blood-pilgrimage destination in Ger-
in the late Middle Ages, fifteenth-century Germany
man-speaking lands, it was joined by many smaller
experienced what has been described as an intense
blood-pilgrimage sites. These local pilgrimages,
“frenzy” over blood. Though people were hardly
too, often involved miraculous bleeding hosts, like
running about in a state of feverish agitation over
the one in Gottsbüren, or they told of host dese-
blood, as this term suggests, pilgrims from far and
crations, as did the pilgrimage in Büren.15 One of
wide, including most famously Margery Kempe,11
the closest pilgrimages in kind and geography to
did make their way to Holy Blood destinations in
Rothenburg’s was that of the Holy Blood in Wall-
Germany, and many German cities claimed to own
dürn, about eighty kilometers to the northwest of
blood relics in the hopes of attracting these visitors.
Rothenburg. The Walldürn legend held that around
1330 consecrated Mass wine spilled on a corporal
10
The most important blood pilgrimage in Ger-
many centered on three bleeding hosts in Wilsnack
cloth left a stain in the image of Christ’s face, which
(now Bad Wilsnack) and flourished from the 1380s
worked numerous second-order miracles.16
to the mid-sixteenth century. The story behind the
Wilsnack pilgrimage concerned three hosts that
than those of Wilsnack or Walldürn and signifi-
miraculously survived a fire in 1383. When they
cantly predated the fifteenth-century apogee of
were discovered days later, each host had a drop of
blood devotion, the Franconian city attempted to
blood at its center. Secondary miracles abounded,
benefit from the trend that was reshaping pilgrim-
including multiple resurrections of the dead,
age itineraries and bringing in income throughout
demonstrating the significant power of the blood-
the Holy Roman Empire during the late Middle
stained hosts.12 What is striking about the Wilsnack
Ages.17 Rothenburg began to reinvent its relic,
pilgrimage, as Caroline Walker Bynum has pointed
precisely at the time when debates about Holy
out, is the centrality of blood. Almost immediately
Blood were escalating. The fact that the relic was
after the discovery of the bleeding hosts, Wilsnack
described in the 1440s as “three drops of blood”
became not only a center for blood pilgrimage but
may well have been aimed at evoking the three
also a subject of theological debates about Holy
bleeding hosts of Wilsnack.18 Indeed, one of the
While Rothenburg’s blood relic was much older
Blood, which involved theologians from Erfurt to
Rothenburg relic’s second-order miracles, recorded
Prague and peaked in intensity from 1443 to 1453.
shortly after 1442, illustrates the competitive
Clergy, scholars, and popes weighed in on whether
nature of the city’s campaign by making a direct
Christ’s blood could remain on earth after the Res-
reference to Wilsnack: the account tells of a young
urrection and questioned whether blood was even
girl from Würzburg who had been blind for more
visible on the Wilsnack hosts. Despite the objec-
than a year and had traveled to numerous sites,
tions raised by church authorities—who feared
including Wilsnack, without success before visiting
“the idea that blood was a more immediate means
the Chapel of the Holy Blood in Rothenburg,
of access to salvation than any sacrament of the
where her prayers miraculously brought about the
church”—pilgrims continued to flock to Wilsnack
restoration of her vision.19 This account, therefore,
and brought great wealth to the city.14
daringly claimed that the Rothenburg blood relic
13
48
While Wilsnack remained the most important
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was even more effective that its famous counter-
Rothenburg’s blood relic as a local phenomenon
parts in Wilsnack.
that bestowed special benefits on the city and its
population.
The story of the blind girl was recorded as part
of a campaign launched by the city of Rothenburg
to actively promote its blood relic. As noted in
pendium begins, captures in its organizational
the previous chapter, changes in internal politics
structure a move toward emphasizing the local
in Rothenburg during the fourteenth century had
character of its listed relics. At the beginning,
consolidated institutional power, especially over-
the more than 350 relics of St. Jakob are itemized
sight of church space, in the hands of the inner city
alphabetically in Latin through the letter N. At
council, and this group of wealthy burghers now
this point the inventory system shifts to group
sought to place Rothenburg on the map. Since the
relics under the reliquaries in which they were
dramatic fall from power and subsequent death of
displayed.21 The precious containers are distin-
Heinrich Toppler in the early years of the fifteenth
guished by size, material, shape, and sometimes
century, the city had also changed the focus of its
use or location. The first one is accordingly a “large
political energy to concentrate on internal city
monstrance that is carried at the celebration of
affairs. Its efforts to construct a blood pilgrimage
high feasts,” another is described as “the large silver
in the middle of the century, therefore, could be
cross,” and the reliquary cross of the Holy Blood is
considered a key aspect of the new centripetal
“the copper cross that belongs upon the Chapel of
approach of the city government.
the Holy Blood [do gehort uf die cappeln des hei-
ligen plutes].”22 These titles are written in German,
In 1442 Johann von Ellringen, a priest and
The inventory, with which Ellringen’s com-
member of the Teutonic Order, began recording
while the listed relics themselves follow in Latin.
the miracles related to the first Chapel of the Holy
Blood in Rothenburg. It is likely he did so at the
the beginning of the list refers to their association
behest of the city authorities, for by this time the
with bygone saints or biblical stories, the descrip-
chapel and its titular relic had fallen firmly under
tors of the reliquaries reference the containers’
the auspices of the city-appointed caretakers of the
material substance, appearance, or specific use.
parish fabrica. Ellringen’s surviving compendium
As a result, they concentrate on the unique object
contains three sections that are all of interest here:
that was particular to the city. It was the special,
first, an inventory of relics belonging to St. Jakob;
local vessel that visually presented the relics to the
second, a collection of miracle accounts (mostly
public, and partway through recording the church’s
miraculous healings) related the Chapel of the
relics, the scribe seems to have recognized the
Holy Blood and its relic; and finally, a list of indul-
value of adopting this experience-based system for
gences given for the Chapel of the Body and Blood
his inventory. Moreover, it is noteworthy that the
of Christ, the Church of St. Jakob, and the Teutonic
only reliquary in the inventory that is connected
Order of Rothenburg before 1442. Together, these
to a particular location within Rothenburg is the
sections reveal how the city set about actively
cross reliquary containing the relic of the Holy
raising money for the new west end that was to
Blood, which “belongs upon the Chapel of the
house the blood relic. They also helped reinvent
Holy Blood.” This suggests that the named chapel,
20
While the notation of the individual relics at
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in particular, was considered an important place
winged symbols of the Evangelists.25 At its center, a
within the city.
large oval piece of rock crystal marks and mag-
The choice of language, too, confirms that the
nifies the venerated blood relic (fig. 15). This rock
notational shift in the inventory was motivated by a
crystal was added in May 1491, when the financial
desire to connect the relics to the local community.
records of the parish fabrica record two payments
The vernacular German, used for the reliquary
“for the beryl in the cross.”26 In 1502 the copper was
titles, roots the objects in the here and now. This is
gilded, and the identifying inscription in Latin was
juxtaposed with the Latin lists of contained relics,
added beneath the rock crystal:
which employ the international language of the Church to emphasize the historic and sacred nature
A drop of Christ’s blood
of the holy materials.
on a corporal
Saint Andrew the Apostle
listed in Ellringen’s catalog as belonging to the
Saints Peter and Paul
Church of St. Jakob (as opposed to the Teutonic
Of the stone on which the cross
Order). The relics housed within this reliquary are
of Christ was erected.
given as follows:
Of the cross of Saint Andrew
The Holy Blood reliquary is the last container
Of the body and skin Three drops of blood spilt on the corporal and traces
and hair of Saint Elizabeth
appear
Of the crown of thorns.
Saint Andrew the Apostle
Of the stone in which the cross of Christ was set
Anno Domini one thousand
Five hundred and two
Saint Augustine
Of the body, skin, and flesh of Saint Elizabeth
This cross again
Of the cross of Saint Andrew
is gilt and
Saints Peter and Paul Apostles
newly set up before
Of the crown of thorns of Our Lord.24
the body of Christ.27
23
50
Saint Augustine
Not only does the Holy Blood take pride of place as
Again, the “drop of Christ’s blood” (here one
the first item in the list, but it also receives the most
instead of three) appears at the top of the venerable
thorough description. Though it is difficult to dis-
list; the few items whose order has changed fall in
cern the ordering principle behind the subsequent
the middle—Saints Peter and Paul have moved up,
list, it seems relevant that the last item, a piece of
Saint Augustine down; and the last relic mentioned
the crown of thorns, relates again to Christ. This
is the crown of thorns. The most significant change
inventory entry is almost identical to the list of
is the addition of a second paragraph, which notes
relics included in the inscription preserved within
that the containing cross reliquary was “newly set
the reliquary. The cross, commissioned to display
up before the body of Christ.” This “body of Christ”
the miracle-working blood relic about 1270, has
refers to a consecrated Eucharistic wafer that was
termini with representations of the traditional
displayed in a monstrance on the altar of the Holy
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Blood.28 In this way, the start and finish of the
over a period of at least five years. This process can
inscription neatly underscore the dual materiality
help explain the addition of new paper pages, the
of the Eucharist: blood and body. This duality,
change in script, and the shift in the nature of the
already captured in the thirteenth-century chapel
miracle accounts between the two groups.
dedication, was foundational for the creation of the
spatial environment of the new west end as well
first group mentions Rothenburg’s blood relic.
as for the elaborate visual program of the parish
Only three entries from this group explain in some
church agglomerated over the subsequent centu-
detail how the recorded miracle occurred. Entry 7
ries. Moreover, the parchment list included in the
tells of a woman from Rothenburg who was unable
cross reliquary went even further than Ellringen’s
to speak for half a year; then “she drank from the
list in linking the specific reliquary to its contem-
chalice [kilche] before the altar and was cured.”33
porary location and display context.
Entry 20 tells of a similar incident: a maid sitting
happily over her dinner on the Feast Day of St.
The second part of Ellringen’s compendium
Strikingly, none of the miracle accounts in the
consists of a catalog of miracles that likewise
Martin suddenly lost her ability to speak for three
captures an important shift in approach. The sev-
days until she “drank from the chalice in the same
enty-four miracle accounts can be divided into two
chapel and began speaking.”34 While the chalice
groups. The first thirty are written on parchment
in question may not have contained consecrated
in the same polished hand. The few dated miracles
wine—which, by this time, had largely been
occurred between 1300 and 1319, with one outlier
withdrawn from the laity—it would have offered a
dated 1380. A second, hastier hand continued
substitute that referenced the liquid of the Eucha-
the accounts on paper with miracles thirty-one
rist.35 In Rothenburg, especially within the chapel
through seventy-four. This second group again
dedicated to the body and blood of Christ that
includes several dated entries, this time falling
housed the sacramental blood stain, it is possible
between 1434 and 1447.
this would have recalled the local relic, but the
connection is not made explicit in the text.
29
30
31
The differences between these two groups
reveal further motivations driving Ellringen’s
The third miraculous occurrence that stands out
record. Ludwig Schnurrer has suggested that the
from group one, entry 13, is the only entry in this
second group may be by the same scribe as the
group to mention a specific relic. It tells how two
first, though recorded at a later date and in a more
women were saved (erloßt), one “by the nail/thorn
informal, cursory script.32 The dated miracles
[nagel] in the cross in the chapel.”36 It is tempting to
of the first group all occurred in the fourteenth
identify the mentioned reliquary cross as the gilded
century, long before 1442. In other words, they
copper cross that contains the relic of the Holy
were recorded retrospectively, either from now-lost
Blood, especially if nagel is translated as “thorn.”37
sources or from local oral tradition. The second
It is notable that the specific relic mentioned in
group, in contrast, appears to be a contemporary
this miracle account is not that of the Holy Blood.
account of miracles from the scribe’s lifetime. The
Clearly, the pre-1442 miracles are related to the
fact that many of these miracles postdate the docu-
chapel, as the heading of the section indicates, but
ment’s 1442 date indicates that the list was updated
not specifically to the relic of the Holy Blood.
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This is not true of the second group of mira-
placeholder in this manner, each name must have
the entries of the first group simply recount that
been familiar enough to the scribe that it could
the miracles occurred “in this chapel” or “before
stand in for a longer story. Other miracle accounts
the altar,” the entries of the second group insist on
in this group identify the afflicted as a “burgher of
the blood relic, either by direct reference (“prayed”
Rothenburg” (burger zu Rothenburg) or indicate
or “commended herself [gelobt sich] to the Holy
that the incident occurred “here in the city” (hie
Blood”) or indirectly by naming the chapel (“in the
in der stat).41 As a result, the miracles of group two
Chapel of the Holy Blood”).38 As in the first group
are connected to specific known individuals and
of miracle accounts, each of the many entries that
grounded in a particular time and place.
mention the chapel in the second group takes on
a demonstrative adjective. The miracles are said to
of miracles in Ellringen’s compendium deserves
occur in either “this” or “the same” chapel. Neither
attention. Only one entry in the first group men-
the chalice nor the nail is mentioned in the second
tions a donation: entry 5 reports that the abbots of
group; indeed, only one source for miracles is given
the Cistercian monasteries of Kaisheim bei Donau-
in this group: those afflicted invariably are said to
wörth, Heilsbronn bei Ansbach, and Langheim bei
pray to the Holy Blood and then be healed.
Lichtenfels “came and brought their candles; in the
same [chapel] they became well.”42 This solitary
This change highlights a moment in the history
One further difference between the two groups
of a relic’s identity. Indeed, it seems to signal
example listed in group one of the miracle accounts
precisely the reinvention of the Rothenburg blood
is overmatched by eleven entries that mention
relic. In a short time, the Rothenburg Holy Blood
donations in group two of the miracle accounts.
went from one among many relics to one priori-
Seven of these simply mention that the miracle’s
tized over others by virtue of its healing powers.
beneficiary promised (verhieß or gelobt) the chapel
The inclusion of specific named beneficiaries and
a donation (opffer).43 A further account mentions
the explicit link drawn to its titular chapel tied the
that the parents of a child “made it indebted”
relic to the local place and specific community.
(machten es zynshaftig) to the chapel, indicating
a commitment to a repeated, possibly annual,
The focus on the local population becomes
clear from the emphasis on proper names in the
donation.44 Similarly, another entry mentions a
second group of miracles when compared to the
woman who committed to paying half a pound of
preponderance of unnamed women, men, and
wax, probably annually.45 Finally, two additional
boys in the first. Indeed, only one man is actually
entries mention donations of wax—a relatively
named in the first group, while the more complete
stable-priced commodity in the Middle Ages that
miracle accounts of the second group often include
functioned as a common consumptive currency for
the full names of the afflicted persons as well as
donations to a church.46 In one of these miracles,
where they came from and occasionally their
a woman, identified as poor (ein arme), gave two
professions. Two entries of the second group list a
pounds of wax and one cloth (schleyr), and in the
name and nothing more. They seem to be an aide
final account, miracle 74, Peter Zelter gave thirty
de mémoire for a later, more complete, but, as far as
pounds of wax to the chapel.47
39
40
52
we know, never-realized edition. To function as a
cles, recorded over the next five years. Whereas
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This emphasis on donations points to one
read publicly. His miracle accounts thus powerfully
means of supporting the miracle-working relic of
demonstrated the efficacy of the holy relic and its
the Holy Blood. The economic underpinnings of
chapel, complete with a cleverly couched appeal for
pilgrimage were clearly of import for the purchase
donations; the list of neighbors and friends who
of candles and other furnishings. But donations
had given to and benefited from the relic enforced
related to the Holy Blood relic produced income
a sense of local community united around the
far beyond what was needed to purchase such
healing blood relic.
items. In the late fourteenth and early fifteenth
centuries, the surviving financial accounts of the
was given in part three of Ellringen’s compen-
Rothenburg parish fabrica attest to a substantial
dium, which lists the numerous indulgences
income from a donation box in the Chapel of the
associated with the main church and Holy Blood
Holy Blood: of the average of 400 fl that the fabrica
Chapel. These are organized into categories by
ecclesiae raised annually from donations, over half
type: indulgences issued by the pope; indulgences
(an average of 280 fl) came from donations made
related to the Feast of Corpus Christi and the
in this chapel.
following eight days, called an octave; indulgences
for the Chapel of the Holy Blood, here referred to
48
Written at a time between the construction of
Further incentive for pilgrimage to the relic
the nave and the building of the new west end of
by its old name as the Chapel of Corpus Christi
St. Jakob, the miracle accounts added to Ellrin-
(“Indulgentiae Cappellae corporis Christi”); and
gen’s compendium after 1442 thus standardized a
indulgences of the Teutonic Order.49 It is note-
narrative formula while at the same time lending
worthy that Corpus Christi is the only feast day
it greater specificity. By specifying the source of
distinguished by its own category. Beneath this
the miracles and insisting on their local nature,
category heading is a list of thirteen feast days
these accounts maintained that the healings they
when visitors could earn time off of their sen-
recorded related to the Holy Blood Chapel and
tences in purgatory by visiting the west end of
relic. The names of contemporary beneficiaries lent
St. Jakob.50 Not only could pilgrims to the relic of
the accounts validity while pointing to locals as
the Holy Blood benefit immediately from healing
the primary recipients and witnesses. Rather than
miracles, then, but they could also benefit in the
century-old, with nameless characters, the stories
long run from visits to the chapel. The granting of
were contemporary and linked to known individu-
indulgences by venerable church officials, includ-
als. Together, these miracle accounts read not only
ing the pope, validated the blood relic as genuine
as a historic chronicle but also as a prescriptive
and effective and also endorsed the potency of the
model for the local population. The reader was not
relic for the souls of the faithful dead.
only led to recognize the value of the venerable
chapel, with its miracle-working relic, but also to
common practice. It formed a primary means
understand the importance of contributions to it.
of promoting pilgrimage and of advertising the
Although Ellringen’s list was never published and
reciprocal economy on which the medieval prac-
circulated as an incunable, it served as an official
tice of donating to the Church relied.51 Evidence
record for the church and city and may have been
of this can be found in the many cases of host or
Of course, indulgencing pilgrimages was a
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blood pilgrimages, including those of Wilsnack,
the changing identity of Rothenburg’s blood relic.
Walldürn, Bruges, and Westminster.52 For the case
In addition to creating a perceived need that helped
of Rothenburg, the procurement of numerous
fund the new chapel, Ellringen’s compendium
indulgences leading up to the construction of the
established the west end of the parish church as a
west end of St. Jakob demonstrates that Ellringen’s
center for civic pride, one that provided behavioral
compendium formed part of a concerted effort
models for the local community. The power of the
stretching over several decades to raise funds for
old chapel was subtly transferred to the portable
the intended project.
relic of the Holy Blood, which could be translated
Indeed, the city had begun collecting indul-
to the new chapel once it was complete. There, it
gences in support of the new chapel at least by 1412.
formed a devotional focus that continued to nur-
In this year an indulgence from Rome issued by six
ture civic engagement and a sense of community.
cardinals for the Church of St. Jakob and its subsidiary chapels also granted a commutation of one hundred days off of purgatorial sentences to those
The West End of St. Jakob
present “when a ceremonial procession [took] place at the Corpus Christi chapel in the parish
The city’s fundraising campaign was a success.
church and a Mass [was] sung there.” This at a
With additional indulgences for the Chapel of
time when the old chapel had been torn down and
the Holy Blood issued in 1446, 1455, and 1459, the
construction of the new chapel would not begin for
parish fabrica raised enough to begin construc-
another forty years! Another indulgence, issued by
tion of the new west end of St. Jakob. Work on the
the Würzburg bishop Gottfried IV in 1446, refers to
chapel was “begun [angefangen] [in] 1453” and
“the newly built Holy Blood chapel in Rothenburg”
“finished [volbracht] [in] 1471,” according to two
seven years before the cornerstone was laid for the
inscriptions painted respectively on its north and
new structure. Clearly these indulgences attest
south walls (figs. 16 and 17). Surviving written
to the active promotion of the intended project by
sources—financial ledgers, donation records, and
the city of Rothenburg, which sought, through the
chronicles—confirm this tight time frame. Roughly
acquisition of indulgences, to fill the coffers that
eighty years thus separated the destruction of the
would support construction.
old chapel and the completion of its replacement,
but once begun, the towering west end rose from
53
54
55
54
Together, the three parts of Ellringen’s com-
pendium formed a cogent argument for the
the ground in a mere two decades.
importance of the Chapel of the Holy Blood as a
place of pilgrimage. The inventory of relics demon-
of St. Jakob contains a complex spatial program
strated the precious contents of the site, the list of
that establishes a unique relationship between the
miracles proved the efficacy of the chapel and its
church and its urban surroundings. The unusual
titular relic, and the record of indulgences docu-
composition is divided into a series of stacked
mented the official conferral by Church authorities
spaces: the main chapel sits above a tunnel-vaulted
of postmortem benefits for visiting the site. The
passageway and a neighboring polygonal room,
compendium also captures a unique snapshot of
the so-called Heiltumskammer, or relic chamber,
Within its polygonal envelope, the west end
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Fig. 16 North doorway of the Holy Blood Chapel in Rothenburg, with the starting-date inscription. Fig. 17 South doorway of the Holy Blood Chapel in Rothenburg, with the ending-date inscription.
both accessible only from outside the church and
the outside, the roofline of the church extends
closely related to each other (figs. 4 and 18). The
uniformly from the east choir to the west end, a
passageway permits a major urban thoroughfare
uniformity once also supported by a regularizing
of Rothenburg, the Klingengasse, to pass beneath
program of painted masonry coursing that covered
the church, funneling traffic beneath the elevated
the exterior walls of the entire church.57 In the inte-
chapel. Two doors in the west wall of the passage-
rior, before the installation of the modern organ,
way feed into the Heiltumskammer in a design
the Chapel of the Holy Blood was visible from the
aimed at accommodating circulation through this
nave and east choir of the church (fig. 20). Indeed,
space from the street (fig. 19).
the chapel projects into the two western bays of the
nave as a gallery, at the center of which protrudes
56
The upper chapel is integrated into the main
church building of St. Jakob both in exterior
a corbeled platform three sides of an octagon in
appearance and in interior spatiality. Seen from
plan (fig. 9). Access to the upper chapel is provided
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Fig. 18 Longitudinal section of St. Jakob in Rothenburg by Leonhard Häffner, 1899. Courtesy of Bauhütte St. Jakob Rothenburg, evang. Gesamtkirchengemeinde. Fig. 19 Klingengasse passageway and paired portals of the Heiltumskammer of St. Jakob in Rothenburg from the southeast.
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from the nave: two flanking staircases mount from
was supported by further donations made in 1467
inside the main portals in the westernmost nave
and 1484.60 Hornburg’s chantry document stipu-
bay, proceed steeply upward beneath complex
lates that every Thursday a priest, assisted by two
lierne vaults, and open onto the chapel through
cocelebrants, would make his way from the east
angled and richly profiled doorways. This pathway
choir of St. Jakob to the elevated chapel in the west
to the lofty Chapel of the Holy Blood was designed
end in order to sing a Mass. This small weekly pro-
for the steady flow of pilgrims who came to visit
cession ritually connected the east and west ends of
the miracle-working blood relic displayed beneath
the church, not least because the instruments of the
the elegant star vaults of the chapel space. Thus,
Mass were carried from the sacrament niche in the
while the chapel was spatially distinct, requiring
east choir to the altar of the Holy Blood in the west
a visitor to mount a steep staircase to approach its
end.61 As part of the weekly service in the west end,
titular relic, it was visually integrated into the main
a host was displayed in a monstrance on the altar
church.
table for all to see. This practice was reflected in
the contract signed with Riemenschneider in 1501,
The unique form of the west end both facili-
tated and shaped the devotion of pilgrims and the
which designated the open predella of the com-
experience of visitors to the church. The emphasis
missioned altarpiece as “the Sarg below, next to the
on the movement of the faithful through space
tabernacle.”62
and toward a destination proved a powerful tool
for reinforcing a developing set of ideas associated
has been called visual or ocular Communion,
with Rothenburg’s civic identity. As Cynthia Hahn
because it gave attending laymen the benefits of
has remarked, in the late medieval period in par-
the Eucharistic sacrament without giving them
ticular, movement—both the physical ushering of
physical access to it. Sight was offered as a sub-
bodies through space and the abstract course fol-
stitute for both touch and consumption, a trend
lowed by the thinking mind—became a key aspect
not only pertinent in Rothenburg but current
of architectural reception. Within the west end of
throughout much of Christian Europe at the time.63
St. Jakob, such movement enacted a complex set of
Miraculous host shrines, in particular, like those
relationships and values that were projected over
of Hillentrup and Blomberg, often displayed a host
the surrounding city.
in a monstrance for ocular Communion.64 Initially
banned—at the Council of Mainz in 1451 and again
58
Scattered sources substantiate that the elevated
The practice of displaying a consecrated host
Chapel of the Holy Blood served several functions
at the Council of Cologne in 1452—the practice
in the late Middle Ages. In addition to being a
of offering ocular Communion was reinstated in
pilgrimage destination, the chapel was the location
Rothenburg in 1459 by special permission of Pope
for a weekly Mass and ocular Communion, a site
Pius II. Indeed, the city of Rothenburg seems to
for handouts to the poor, and a stage for dramatic
have invested considerable energy in procuring the
liturgical performances. Already in 1467, a few
right to provide ocular Communion and also in
years before the completion of work on the west
blocking rival cities in the region from obtaining
end, Elisabeth Hornburg established a Mass and
the same privilege. Following the pope’s decision,
chaplaincy on the altar of the Holy Blood, which
the bishop of Würzburg granted an indulgence to
59
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any person who stayed at the service in the west
western extension to the Church of St. Jakob seems
end of St. Jakob in Rothenburg from beginning to
to have existed for a span of several generations
end or who donated money to the church.
and was passed down from one team of caretak-
ers to the next, one board of councilmen to their
65
Rothenburg’s interest in securing rights to
ocular Communion was likely linked to the
successors. This is supported by documentary as
importance of the sacramental blood relic to the
well as material evidence and suggests that even in
community. The motivation for the display of a
the Middle Ages urban planning in any particular
host may have been, in part, insurance, as Caro-
instance commenced long before the on-site pres-
line Walker Bynum has proposed for other sites:
ence of an architect, the signing of a contract, or
whatever was spiritually present in the blood relic,
the laying of a cornerstone. A general awareness of
the faithful at least had the full presence of Christ
an intended project often long predated the more
in the consecrated host to make their pilgrimage
concrete realizations of its form and belonged to
worthwhile. But in Rothenburg it is probable
the processes that helped shape medieval ensem-
that the intent behind the display went beyond
bles as coherent programs.
this specifically to link the sacramental relic of
the Holy Blood to Christ’s body in the form of the
Jakob in Rothenburg was not designed or built until
host: permission for ocular Communion to be
the 1450s, it was a project familiar to the local com-
held in the elevated western chapel of St. Jakob was
munity much earlier. Already in 1402, for example,
granted shortly after construction began on this
Konrad Kolb bequeathed money to the altar of the
space and long before it was serviceable; moreover,
Holy Blood in Rothenburg for “when one breaks
the display of a consecrated host on the altar table
ground to build it” (wann man den anhebt zu
directly beneath the miracle-working blood relic
bawen).67 Physical evidence in the final, western
in its cross reliquary created an installation that
bays of the nave, too, indicates a committed plan
foregrounded both the bread and the wine of the
to add the later chapel. A base molding, preserved
Eucharist. Rothenburg’s blood relic was, after all, of
in the east wall of the Klingengasse passage, clearly
Eucharistic origin, and the display of a host on the
marks a break between the construction campaign
altar of the Holy Blood linked the titular relic to the
of the nave and that of the west end. It visibly
sacrament of the Mass while also emphasizing its
divides the wall into two levels: the lower zone is
miraculous nature as a relic.
built of rough-hewn limestone consistent with the
construction technique and materials employed
66
Both Ellringen’s compendium and the city’s
In this manner, although the west end of St.
efforts to obtain the right to offer ocular Commu-
for the nave; the upper wall continues with closely
nion belonged to an assertive strategy leading up to
fitted sandstone ashlar blocks that sit on top of
the laying of the cornerstone of the new west-end
this earlier work and clearly belong to the building
chapel in 1453. Indeed, a general plan to add a
campaign of the west end (fig. 21). Other visible signs in the built church—such as inconsistencies in
Fig. 20 Interior of St. Jakob in Rothenburg toward the west, before the installation of the current organ, 1968. © Bayerisches Landesamt für Denkmalpflege.
the westernmost nave bay at the clerestory level and nail holes still visible in the original medieval roof above the transverse rib between the last two bays
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Fig. 21 Klingengasse passageway of St. Jakob in Rothenburg from the southwest.
of the nave—indicate that a temporary wall was put
Dendrochronological examinations of wood in the
in place until the new west end could be joined to
roof over the west end uniformly return the felling
the nave.
date 1469, so that additional payments recorded
in 1470 for the “vaulting stone” (gewelbstein) and
68
Once construction on the west end finally
began, it proceeded apace. In his chronicle on
roof of the “new building” (newen bau) correspond
Rothenburg, Gottfried Rösch recorded the laying
perfectly with the scientific evidence.71
of the cornerstone for the west end on the Monday
after Sunday cantata (April 30), 1453. By 1467 the
further payments indicate the termination of
west end was far enough along that a chantry was
major construction on the chapel. On June 23 the
established in the new chapel at the altar of the
caretakers in charge of the accounts paid a certain
Holy Blood. The following year the city accounts
Schilingsfrist “his wages for hewing the crossing
registered a payment of 3 lb “for wood for the
arch,” and on July 14 he received the final install-
construction of the scaffolding” (umb holtz zum
ment for his work.72 These payments related to the
69
baw zum krust), presumably to provide access to
removal of the temporary west wall of St. Jakob
the higher zones of the walls and vaulting system.
70
60
In 1471, the inscribed year of completion,
and the joining of the newly built west end to the
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interior space of the nave. The accounts note that
received in Rothenburg.78 The Rothenburg parish
Hans Müllner—who served as the Kirchenbau-
accounts also mention Master Niclaus and his son
meister (master of church building) from June
in 1468 and 1469 and Master Niclaus (without son)
1472 until his death in 1496—oversaw this project,
in 1470.79 This record strongly suggests that the
which once and for all connected “the Church of
father-and-son team was responsible for the build-
St. Jakob with the Corpus Christi Chapel under
ing design, possibly supervising the most difficult
one vault and roof.” On October 6, 1471, the
work in Rothenburg, though they did not oversee
73
parish fabrica generously afforded the journeymen
day-to-day activities on-site.
4 lb to celebrate the completion of their work.
The towering west end, the most striking
is not biography or stylistic attribution of the west
and unusual part of the Church of St. Jakob, was
end of St. Jakob in Rothenburg to the Eselers, let it
designed by a father-and-son team of master
suffice to point out briefly that several architectural
masons. Niclaus Eseler Sr. and Jr. are mentioned
details of the composition have been ascribed to
in Rothenburg sources related to work on the
the individual style of the Eseler workshop. For
church during the third quarter of the fifteenth
example, Werner Helmberger has identified the
century. The Eseler family seems originally to have
membrane-like web construction found in the
come from the Rhineland town of Alzey, where
Holy Blood Chapel in Rothenburg as characteris-
Peter Eseler (the father of Niclaus Eseler Sr.) is
tic of the Eseler style. This feature is also found in
mentioned in 1438. Beginning around 1440 Peter
the Church of St. Georg in Dinkelsbühl—known
is mentioned as master mason of the Cathedral
to have been constructed entirely under the
of Mainz, but a source from 1453 still refers to
direction of the father-and-son team—and in the
Niclaus Eseler Sr. as “the honorable master Niclaus
Lauingerkappelle in the Church of St. Georg in
Eseler, the stone mason from Alzey.” Given the
Nördlingen.80 Likely signs of the Eseler workshop,
various projects on which they worked, the Niclaus
too, are the delicate profiling of the portals and
Eselers were presumably well traveled in the region
windows of the upper chapel in Rothenburg. In a
between Mainz and Rothenburg and were, as a
virtuosic technical feat, the entire tracery of each
family of stonemasons, familiar with its major
window head was carved from a monolithic piece
architectural projects.
of stone, instead of being constructed from multi-
ple small pieces (fig. 22).
74
75
Niclaus Eseler Sr. may have visited Rothenburg
Since the primary concern of the current study
already in 1449, just two years after the last dated
miracle of Ellringen’s compendium. In 1454 the
to the west end of St. Jakob is arguably its unusual
city council of Rothenburg recommended him to
spatial design, though few scholars have focused
their counterparts in Nuremberg, suggesting that
on this aspect of the composition.81 The envelope
he had already earned a reputation in Rothenburg,
of the west end resembles an architectural choir,
perhaps by drawing up designs for the new west
with straight bays ending in a polygonal terminus.
end of St. Jakob. At latest by January 2, 1463,
The internal divisions between its vertically stacked
Niclaus Eseler Sr. was again in Rothenburg, for he
spaces, however, establish relations that are uncom-
wrote a receipt for his income from Nördlingen
mon in Gothic architectural choirs.82
76
77
The most important contribution of the Eselers
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Fig. 22 Monolithic window tracery at the west end of St. Jakob in Rothenburg seen from scaffolding.
62
Though very different in disposition, the two
to turn from each other; these unusual shapes are
ground-level spaces that lie beneath the elevated
framed in turn by larger half-round arches. This
pilgrimage chapel—the Heiltumskammer and
extraordinary composition suggests that the visual
the vaulted street passageway—relate closely to
appearance of these portals was important as seen
each other, the street passage providing the only
from within the Heiltumskammer as well as from
access to the Heiltumskammer. This room, with
without. We can imagine processions entering
its small, high windows, may have functioned as
through one door to visit displayed treasures and
an ostensorium, a place for the occasional display
then exiting through the other.84 Although no
of relics.83 The two side-by-side portals that feed
surviving direct textual evidence indicates the
into the single polygonal space are richly profiled,
medieval use of this space, the architectural design
both on their exterior and interior faces (figs. 19
provides clues to its practical and even its ideologi-
and 23). Seen from within, the portals have three
cal functions.
nested forms: the pointed-arch door openings are
framed by quarter-round arches, whose rounded
mer is also unusual in Gothic church architecture,
shoulders rise away from center so that they appear
though it finds a few revealing parallels scattered
The passageway alongside the Heiltumskam-
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Fig. 23 Interior of the Heiltumskammer of St. Jakob in Rothenburg from the west.
throughout Europe. The terminology used for
Jakob towers above the Klingengasse, dwarfing the
similar openings beneath medieval churches varies
surrounding buildings and those who pass beneath
considerably. In German Stollenkrypta, Pilger-
it on their way from city gate to marketplace (fig.
gang, Kavate, Durchgang, Schwibbogen and even
14). Depending on the identity of a viewer, an
just Krypta are used without much specificity or
encounter with this imposing structure could have
uniformity to describe the surviving examples.
had either an exhilarating or a menacing effect.
In English, the term “undercroft” is sometimes
used, though I prefer the term “passageway” for a
tial of the architecture and spatial composition
tunnellike opening that runs perpendicular to the
of the west end of St. Jakob, it is worth digressing
east–west axis of the church above and includes an
here to consider a few comparable sites. The one
arch at either end.
example traditionally mentioned in scholarship in
connection with the Rothenburg passageway is the
85
Surprisingly, little has been written about these
To better understand the communicative poten-
passageways, despite the striking and pregnant
Deutschhauskirche in Würzburg, a building that
relationship they set up between the religious mon-
served as a model for the east choir of St. Jakob in
ument and its urban context. The west end of St.
Rothenburg more than a century earlier. The west
86
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Fig. 24 Deutschhauskirche in Würzburg from the south.
64
tower of the Deutschhauskirche, which sheltered
a door off the street passageway and thus from
a small pilgrimage chapel on its second floor, was
outside the church. The only connection between
incorporated into the exterior envelope of the
the interior of the church and the tower is through
main church through the bridging of an existing
a small door in the western gallery that opens into
street, and it is this feature that most closely models
an upper room of the tower, a floor above the small
the situation in Rothenburg (fig. 24). The spatial
chapel. Considered architecturally, then, the pas-
relationship between this tower chapel and the
sageways in Rothenburg and Würzburg are similar
interior of the church, however, differs significantly
primarily in their exterior scale and disposition but
from the comparable relationship at St. Jakob in
otherwise marked by significant differences in their
Rothenburg. In Würzburg the older chapel is not
spatial and functional concepts.
connected directly to the church interior. Instead,
access to the chapel is provided primarily through
ways of the Deutschhauskirche in Würzburg and
In drawing a parallel between the passage-
Riemenschneider in Rothenburg
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the west end of St. Jakob in Rothenburg, previous scholarship has sought to justify the design in Rothenburg as a practical solution to spatial constraints. I argue against this interpretation. Contrary to the case in Würzburg, where practical necessity compelled an architectural form, in Rothenburg a desire to stage the local blood pilgrimage in its particular relationship to the surrounding city prompted an expensive and creative architectural design.
For the Deutschhauskirche in Würzburg,
indeed, strong evidence from political, economic, and material records suggests that the street passage resulted from a forced compromise to the intended church design. A pause in construction, visible in differences in the cornice moldings, buttresses, and window tracery of the church’s western two bays, corresponds to a decade-long conflict beginning in the 1280s between the Teutonic Order of Würzburg (supported by the bishop and King Rudolf of Hapsburg) and the city’s government (supported by the mendicant orders). Summar-
Fig. 25 Wernerkapelle in Oberwesel from the northeast.
ily put, the order wanted to reroute a street so as to join its new church with its monastic buildings, while the city and mendicants opposed this
that of thirteenth-century Würzburg. At latest after
change.87 After years of gridlock, Bishop Mangold
the contract of 1398, the financial and administra-
of Würzburg finally announced a compromise in
tive power over Rothenburg’s parish church lay in
1296: the church and monastic buildings of the
the hands of the city council, which also oversaw
order would be joined over an arch so as not to
streets and roads in the city. All evidence sug-
disturb the preexisting street. It was stipulated that
gests the city enthusiastically led the campaign to
the church be built in a manner that allowed one
finance and build the new west end and that it did
“to ride, drive, and walk beneath it.”
so unopposed.
88
The decade-long debate in Würzburg, which
The fourteenth-century Wernerkapelle in
accounts for the architectural form of the passage-
Oberwesel presents a closer and more informa-
way beneath the Deutschhauskirche’s irregular
tive subject for comparison with the west end of
western nave bay, has no parallel in Rothenburg.
St. Jakob in Rothenburg (figs. 25, 26). Here, too, a
Indeed, the political situation in Rothenburg in
street passage runs alongside an enclosed base-
the mid-fifteenth century was quite different from
ment-story chamber, and an upper chapel crowns
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Fig. 26 Street passageway of the Wernerkapelle in Oberwesel from the southeast.
the ensemble. Important for the comparison with
buildings in the west. Beneath the chapel runs a
the Rothenburg spatial system is the fact that the
passageway that is divided into two groin-vaulted
Wernerkapelle’s decisive construction as a pilgrim-
bays. Two doors in the west wall of the passageway
age chapel was intended to locate material evidence
feed into a system of small basement-story rooms,
of an event in a particular place.
now aggressively altered by later interventions. It
was in this system of small rooms, supposedly once
At first glance, the story of the Wernerkapelle
seems to share little in common with that of the
belonging to a Jewish house, that the legend local-
west end of St. Jakob in Rothenburg. In 1287 a
ized Werner’s death.90 The pair of doors off of the
shocking account spread across the Rhineland
passageway allowed visiting pilgrims to circulate
of a young boy, Werner von Wormrath, who,
through this space.91
after working at the house of a Jew, was allegedly
tortured and killed by his employer. The tale led
1689, during the Palatinate War of Succession
to a series of violent pogroms directed against the
(Pfälzischer Erbfolgekrieg), and the western bays
Jewish communities of the area and ultimately to
were subsequently rebuilt, both textual sources and
a new pilgrimage to the site of the boy’s murder
the surviving medieval fabric attest to the intended
in Oberwesel. By 1305 a hospital stood beside the
pilgrimage function of the complex architectural
site, with its associated chapel set directly over
composition.92
the supposed location of the murder, a kind of
“find-spot.”
the murder, pilgrims mounted a now-lost staircase
to enter the elevated chapel, where relics of the
89
66
The chapel marking the crime site does share
Although the chapel was damaged in
In addition to visiting the ground-level site of
striking similarities with the west end in Rothen-
quasi martyrdom were on display.93 The original
burg, particularly in its spatial design. The elevated
entrance to the upper chapel was likely by means
Wernerkapelle in Oberwesel is buttressed by the
of an outdoor stairway in the west. Whatever form
city’s fortification walls in the east and the hospital
this staircase took, it not only led into the chapel but
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Fig. 27 Cross and longitudinal sections of the Church of the Holy Savior in Passau. © Bayerisches Landesamt für Denkmalpflege. Photo by Georg Loesti.
also to an outdoor footpath around it. The walls of
indeed, it is quite possible that the Eselers relied on
the elevated chapel are set back from those of the
the Wernerkapelle in Oberwesel as a spatial model
basement story, creating a path that passes through
for St. Jakob in Rothenburg.
pointed arched openings in the buttresses, a design
akin to that of the later two-story Charnel-House
spaces in Rothenburg and Oberwesel also relate to
Chapel of St. Kilian in Wertheim (begun 1472),
a wider group of chapels constructed to mark the
which also served a pilgrimage function.94
“find-spot” of allegedly desecrated hosts. Mitch-
ell Merback has drawn a connection between
The parallels between the spatial composi-
The form and disposition of the ground-story
tions of both St. Jakob and the Wernerkapelle in
the Rothenburg Heiltumskammer and the lower
Oberwesel are thus striking. At both sites, a large
story of the Church of the Holy Savior in Passau
passageway could accommodate traffic—even
(founded in 1479).97 The three-storied building in
large carts and riders on horseback; in both, two
Passau presents itself from the outside as a central-
pointed-arch portals led from the passageway into
ized structure, though it actually consists of two
an enclosed basement-story space; at both, the
straight bays and a polygonal terminus five sides of
architectural space served as a pilgrimage destina-
an octagon in plan (fig. 27). The lowest, crypt story,
tion; and at both, provision was made for the flow
is accessible only from outside the church, a feature
of traffic around or through the elevated chapel
it shares with the Heiltumskammer in Rothenburg.
space. With his connections to Mainz and the
The upper chapel includes an elegantly vaulted
family’s presumable origin in Alzey, Niclaus Eseler
upper gallery level that completely encircles the
Sr. probably knew the chapel in Oberwesel. And
space, creating a kind of elevated ambulatory
95
96
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Fig. 28 Interior of the upper story of the Church of the Holy Savior in Passau toward the east.
around the sanctuary, what may be seen as an
links the Passau site to the west end of St. Jakob
interior version of the exterior buttress passage in
in Rothenburg, where the upper chapel served to
Oberwesel (fig. 28). The quasi-centralized form
display its titular blood relic.
and complex spatial composition, as well as the
building’s setting directly against the steep rocky
west end of St. Jakob in Rothenburg and sites asso-
hillside, make the Church of the Holy Savior in
ciated with violence allegedly perpetrated by Jews, it
Passau appear “anchored to its site.”
is worth noting that in Rothenburg the reinvention
of the blood relic and the construction of the west
98
99
The architectural emphasis on the site in Passau
was originally also supported by the church’s
end of St. Jakob occurred at a time of pronounced
furnishings. Among these were once three relics
anti-Semitism. In 1397 King Wenzel “gave” the
related to a legend of host desecration.
property of the Jewish community in Rothen-
100
Mer-
back notes that a key aspect of the visual culture
burg, including the synagogue and the so-called
of host-miracle shrines was “the cultic display of
Judentanzhaus, to the city. The associated forced
relics,” with the architecture serving as a monu-
relocation of the Jewish community to the northern
mental reliquary. This, too, is something that
part of the city was nominally compensated with
101
68
Given the close spatial parallels between the
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the sum of 772 lb h, issued in seven installments
Rothenburg and churches like the Holy Savior in
between August 1406 and March 1407. Of course,
Passau and the Wernerkapelle in Oberwesel place
this compensation was a pittance compared to the
the Rothenburg chapel in a distinctive network
sum the city made on the deal, for the Judentanz-
of sites. In addition to pointing outward, how-
haus and old synagogue—centrally located on
ever, the architecture also had a localizing effect.
the Milchmarkt square—were soon sold to Peter
Mitchell Merback has explained how blood relics
Kreglinger for 2000 fl! Kreglinger had the old syn-
were “capable of planting their immanence in
agogue torn down and a Marian chapel built in its
the ground, a process by which a portable sanc-
place, following a pattern common in late medieval
tity gives way to its opposite, sanctity rooted at a
cities.102 This Marian chapel on the Milchmarkt was
particular place, a locus sanctus.”103 Merback’s argu-
administered by the fabrica of St. Jakob and there-
ment focuses on the agency of the legend motif
fore overseen by city appointees.
in achieving this rootedness. Despite the absence
of such a legend motif for Rothenburg, however,
Between their forced relocation in the first
decade of the fifteenth century and their ulti-
I would suggest that the architecture of the Holy
mate expulsion from the city in 1520, the Jews of
Blood Chapel may have had a similar effect. By
Rothenburg lived to the north of St. Jakob, where a
incorporating a ground-level chamber alongside
street still bears the name Judengasse today. From
a passageway, the architects of the west end in
this location the Jewish residents could reach the
Rothenburg copied the architectural expression
marketplace and commercial center of town by
of rootedness achieved at other miraculous host,
two main paths: either by passing to the east of St.
desecration, or blood pilgrimage sites to claim
Jakob or by passing through the tunnel passageway
similar rooted sanctity for its own pilgrimage. The
beneath the church’s west end (fig. 13). In other
towering spatial composition of the west end of St.
words, one of the primary routes for the Jewish
Jakob not only drew pilgrims on a journey up and
community was forcibly alongside the Heiltums-
through an elevated pilgrimage chapel—an assent
kammer and beneath the Chapel of the Holy
that carried powerful symbolic implications of its
Blood, with its powerful Eucharistic blood relic.
own—but also tied the relic to the particular city.
In its lofty position, then, the relic extended its
The fact that so much anti-Semitic violence at
the time and in the region was connected to myths
power not only to those who entered the elevated
of bleeding hosts may well have given the imposing
chapel but also over those who passed beneath,
architectural structure of the west end of St. Jakob
through the Klingengasse passageway, creating a
additional, threatening significance. Although no
pregnant relationship between church and city that
legend survives connecting the Rothenburg blood
carried with it symbolic meaning.
relic explicitly with desecration or violence, its very nature as miraculous Holy Blood placed it in a wider cultural climate of cultic anti-Semitism.
The Altarpiece of the Holy Blood
The architecture itself seems emphatic in
fostering this connection. The parallels in spatial
To understand the pressures that informed the
composition between the west end of St. Jakob in
program of furnishings for the west end of St.
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Jakob, which included Rothenburg’s most famous
Arma Christi, the instruments of Christ’s Passion,
altarpiece, requires some knowledge of the efforts
including the whipping post and cross. Like the
and strategies, ideas and ideals, that helped craft
architectural elements by which they kneel, these
this chapel into a pilgrimage destination. At the
angels appear firmly grounded yet enlivened by the
beginning of the sixteenth century, the city council
torsion conveyed in their billowing trains, turned
of Rothenburg commissioned the grand altar-
postures, and tilted heads. Here, as elsewhere, the
piece to display the local relic of Holy Blood in
faces of Riemenschneider’s figures seem caught in
its newly restored reliquary, a centerpiece for the
contemplation, the brows slightly drawn, the eyes
spatial environment of the west end (figs. 1 and
angled, the corners of the mouth turned down.
29). The council’s first call was to a local virtuo-
sic joiner, Erhart Harschner, who began work on
the open predella, whose arches conjoin slender
the armature of the winged altarpiece in 1499.
architectural ribs and stylized foliate vines with
For the figural groups and reliefs, the council in
more naturalistic vegetal motifs. Rendered as
1501 turned to one of the best-known sculptors of
pruned and trellised grapevines with lateral buds
the day, Tilman Riemenschneider, whose pro-
and leafy tendrils, the naturalistic vegetal elements
lific workshop was based in Würzburg. Each of
frame the narrow central arch of the predella
these artists earned 50 guilders for his work, with
between the two angels. This central space, outfit-
Riemenschneider receiving an extra 10 guilders
ted with its own articulated pedestal, today houses
in tip.
Together, they composed the Altarpiece
an image of Christ on the cross, but it once served
of the Holy Blood to respond to and enhance the
as a tabernacle to display the monstrance contain-
dramatic ensemble of Rothenburg’s parish church.
ing a consecrated host that was offered for ocular
Communion.
104
A careful synergy characterizes the play
The solid yet energized base gives stability to
between armature and figural carvings through-
Above the predella sits the central, winged
out the altarpiece. Precisely fitted to the width of
shrine of the altarpiece (fig. 31). The wings—both
the altar mensa, the tall openwork predella rises
the posterior fixed set and the anterior moveable
in three arches from complex architectonic bases
pair—extend beyond the width of the predella and
(fig. 30). The massive outer supports develop in
are supported by corbeled extensions articulated
a series of pyramidal steps from circular plinths
with a network of carved rib vaults. By contrast to
to polygonal arched bases, to intersecting stilted
the lower predella and the towering superstructure
squares with a stellate plan. The slender inner
of the altarpiece—in which carved elements stand
supports repeat some of these same conceits before
out against predominantly open space—the central
transitioning into more sinuous vertical elements.
section is dominated by wood, pierced only in the
Familiar from late medieval architectural drawings,
central shrine by a set of glazed Gothic windows.
this play in overlapping geometric designs gives the
These windows let in light from the back of the
altarpiece a solid yet intricate footing that seems at
shrine and contribute to the dramatic lighting
times to buttress, at others to disguise, the principal supports of the upper shrine. The two outer arches of the predella frame angels bearing the
70
Fig. 29 Crest of the Holy Blood Altarpiece in Rothenburg, with the Holy Blood reliquary.
Riemenschneider in Rothenburg
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Fig. 30 Predella of the Holy Blood Altarpiece in Rothenburg.
effects, first studied by Baxandall, which animate
the central position generally occupied by Jesus is
the central scene with contrasting shadows and
remarkable as one of the most idiosyncratic, and
highlights over the course of the day. The deeply
clearly meaningful, choices in the composition of
carved shrine appears particularly dramatic in the
the piece.
morning and late afternoon, when more direct
light—first from the large southern windows and
the shrine a feigned depth far exceeding its real
ultimately from the windows behind the shrine—
measurement. Judas stands in front of the table,
produces high contrasts and shadows within the
spatially isolated between the two benches occu-
central scene.
pied by his peers. His right foot angles out toward
the viewer while the corresponding arm lifts a
105
72
A representation of the Last Supper forms the
Formally, the positions of Jesus and Judas give
core of the altarpiece, with the apostles clustered
fold of his garment to create a flow in the opposite
into two groups around a long, narrow table.
direction, into the depicted scene. This introduces
Centered between the two groups is Judas, who,
an ambiguity as to whether Judas is coming or
clutching his money bag, strides toward Jesus (off
going, but it also generates a spatial interval at the
center to the viewer’s left). This ceding to Judas of
center of the composition that propels the viewer
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Fig. 31 Central shrine and wings of the Holy Blood Altarpiece in Rothenburg.
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forward into the scene. The subtle twist with which
vaulted with delicate curvilinear tracery ribs, that
Riemenschneider renders the figure of Judas thus
recedes into the depicted scene.
adds a depth of movement to the primary per-
ception of him striding across the scene from the
ated by the construction of the encasement of the
viewer’s right to left.
central shrine, which at its back projects in three
corbeled oriels (fig. 34). On the exterior, these
Judas’s raised left arm, torso, and gaze not only
The impression of recessed depth is accentu-
address Jesus but also incline toward him, adding
oriels are articulated by slender ribs and responds
to the intensity of the drama enacted between the
and capped by nodding openwork ogives with
two figures (fig. 32). Jesus, in turn, sits behind the
elongated pinnacles. As a result of this unusual
table and appears to lean away from Judas, though
shrine construction, the miniature glazed Gothic
his head tilts back toward him as he holds out the
windows that pierce the back of the central scene
sop, the piece of bread dipped in wine described
angle back to form recessed spaces, which, though
in the Gospel of John.
shallow, feign a spacious architectural setting.
106
The apostles to Jesus’s
right (viewer’s left) turn toward Jesus, their faces
and postures forming a tight crescent that directs
nation of the architectural frame and principal
attention back to the center of the scene.
figures, is one of the most striking and significant
achievements of the altarpiece, and one that proves
The sense of the central scene’s profundity is
The depth of field, achieved by this combi-
supported by other elements of the composition
important for the relationship of the altarpiece
as well. The deeply carved clothing folds, turned
to the real space of the chapel in which it stands.
bodies, and variety of directed gazes give individ-
Although the scene of the Last Supper is predom-
ual apostles space in which to move. Barely visible
inantly horizontal, with the apostles arranged
are the dishes laid out on the table and the apos-
around a long table, the central shrine of the Holy
tle Thomas, who lays his head in Jesus’s lap. The
Blood Altarpiece also suggests a space extending
momentary glimpse afforded the viewer of such
behind that is reminiscent of a church interior. In
hidden details suggests a greater space just out of
fact, given the flexibility of medieval architectural
view. Above the apostles’ heads, the microarchitec-
copies, Harschner and Riemenschneider likely
ture transforms into vegetal motifs that interlace
intended the setting for the Last Super to refer-
and flower, filling the stepped upper zone of the
ence the chapel in which the altarpiece stands. For
altarpiece’s central case in an imaginative mélange
instance, the late Gothic windows of the central
of slender spires and leafy tendrils (fig. 33). This
shrine, with their carved wood tracery and circular
densely woven Rankenwerk forms three distinct
crown-glass panes, mimic in miniature the large
canopies over the Last Supper scene that appear to
windows of the Holy Blood Chapel. The ribbed
project forward into the viewer’s space. At the same
vaults of the central scene and the corbels that
time, they serve as the arched facade of a space,
support the altarpiece wings echo the elegant lierne vaults of the larger architectural setting. The fact that Judas strides across but also turns into this
Fig. 32 Detail of the central shrine of the Holy Blood Altarpiece in Rothenburg showing Judas and Jesus.
space, which is given profundity by the windows, vaulting, Rankenwerk, and lighting effects, creates
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Fig. 33 Detail of the Rankenwerk canopy in the central shrine of the Holy Blood Altarpiece in Rothenburg.
76
what might be called an imagined space, a space
apostle turns toward the viewer (figs. 32, 35). His
that projects from the viewer’s own into a devised
gaze is cast down, and with his right hand he
field of Handlung (action, story, and interaction).
points to the altar mensa. For visitors to the space,
The configuration of this imagined space within
this gesturing apostle is one of the key points of
the chapel environment creates a sense of possibil-
entry into the scene. While the other apostles are
ity, of latent activity that contributes to the spiritual
either pictured in conversation or shown gazing
drama of the altarpiece.
off in quiet concern, this apostle seems to address
the viewer. His quiet gesture and composed face
In addition to the spatial-architectural
references to the Holy Blood Chapel, both Rie-
direct viewers back out into the space of their own
menschneider and Harschner include elements
world: to the altar table on which the retable stands
that make explicit the relationship between the
and to the central arch of the predella, in which a
depicted scene and the medieval visitor’s expe-
host-bearing monstrance was once displayed. The
rience. Directly in front of Jesus, a clean-shaven
represented space of the central shrine, therefore,
Riemenschneider in Rothenburg
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Fig. 34 Back of the Holy Blood Altarpiece in Rothenburg.
does not just imitate the Holy Blood Chapel but
In each vertical wing the central figure of Jesus is
also forms an extension of it, one that opens a spa-
formally isolated from other figures. Despite the
tial-temporal zone between biblical time and the
clear narrative content, there is a sense of contem-
viewer’s specific here and now.
plative calm that matches the tone of the central
shrine. The Entry into Jerusalem, for example,
Within the altarpiece the scene of the Last
Supper is supported by both a horizontal narrative
conveys the sense that once inside the gate, things
sequence of biblical scenes and a vertical atem-
will become noisy and crowded, but here, at the
poral axis. To either side of the central shrine, the
threshold of the holy city, it is somehow peaceful.
moveable wings of the altarpiece depict in shallow
The deep folds of the cloak laid out at the donkey’s
relief the Entry into Jerusalem (viewer’s left) and
feet seem to cushion his steps (fig. 36), and in
Jesus Praying on the Mount of Olives (viewer’s
their closed postures the huddled apostles seem to
right), also called the Agony in the Garden (fig. 31).
whisper and give Jesus space to breath. In the scene
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Fig. 35 (left) Detail of the pointing apostle from the central shrine of the Holy Blood Altarpiece in Rothenburg. Fig. 36 Detail of the left wing of the Holy Blood Altarpiece in Rothenburg showing the Entry into Jerusalem.
of the Mount of Olives, movement is restricted to
blood, trickling down upon the ground,” also
the background, where a solider climbs the fence
resonated with the origin story of the blood relic
that separates the arriving armed crowd—iden-
displayed in the altarpiece’s crest.108
tified in Riemenschneider’s contract as “the Jews’
arrival” (der juden zukunft)—from the space of
axis is the real presence of Christ in the Eucharist.
Jesus and his sleeping followers.107 The real focus of
Above the central triptych of the altarpiece rises
the scene is Jesus’s gaze toward a now-lost vision of
a tall superstructure composed of thin pinnacles,
God the Father that once hovered at the upper left
twisted columns, and interlaced ogival arches
of the panel. Here, the description from the Gospel
(fig. 29). In this soaring crest stand the figures
of Luke that compares Jesus’s sweat to “drops of
of the Annunciation, two angels holding the
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The thematic focus of the altarpiece’s vertical
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thirteenth-century reliquary cross containing the
individual components of the altarpiece but also in
relic of the Holy Blood, and a Man of Sorrows
the relation of these components to one another.
(the image of Christ resurrected displaying his
For example, the angel Gabriel and the Virgin
wounds). These figures all look out into the chapel
Mary appear as outward-facing witnesses attesting
space, their postures complementing the curvi-
to the real presence of Christ in the blood relic
linear forms of the late Gothic cresting. Backlit by
in between. The invisible words of the angel that
the large Gothic windows of the chapel, the figures
marked the moment of the Incarnation occupy the
of the superstructure appear to hover within their
same space in the crest as two reminders of Christ’s
filigree framework. In the early hours of the day,
sacrifice and death: the cruciform reliquary and
before the afternoon light through the west win-
its sacramental blood relic. In the shrine below,
dows obscures details of the crest, the fine detailing
the pointing apostle beside Judas gestures down
of Harschner’s work here is visible from below. The
toward the altar mensa, in this way identifying the
microarchitectural motifs of steep plinths, crock-
materials of the Mass as those of the Last Supper
eted pyramidal pinnacles, and twisted finials seem
(fig. 35).109 These conceits visually support the con-
to improvise imaginatively on forms from the Holy
flation of biblical and present time effected by the
Blood Chapel. The elegant supports of the central
liturgical ritual.
canopy, which frames the cruciform reliquary of
the Holy Blood, are composed of paired inter-
schneider’s Last Supper included both Eucharistic
twined elements, one architectural, one vegetal (fig.
species, bread and wine, and that Harschner’s
15). Here again are the knotted grapevines of the
armature emphasized viticulture. The dual mate-
central predella arch and the elaborate Rankenwerk
riality of the Eucharist present in the combined
of the central shrine.
display of a consecrated host and the sacramental
blood relic was particular to the site. Though imag-
Together, Harschner and Riemenschneider
It was fitting for the local context that Riemen-
succeeded in creating a magnificent program of
ery related to the sacrifice of Christ and the origin
interrelated elements. Set on the altar and elevated
of the Eucharistic feast appeared in many church
by the celebrating priest, the two species of the
programs, the emphasis on Eucharistic wine
Eucharist were framed by the figures of the Annun-
in Rothenburg’s Holy Blood Altarpiece carried
ciation (a reminder of the Incarnation, when God
special relevance to the local blood pilgrimage.110
took human form), scenes of Christ’s Passion (the
Gregory Bryda has argued that together with the
Entry into Jerusalem, the Last Supper, the Mount
monochrome treatment of the entire altarpiece—
of Olives), the Arma Christi and the cross (the
which covers the surface in a translucent glaze
symbol of Christ’s sacrifice), and an elaborate
rather than the typical coat of colorful paint—the
weave of grapevines (a reference to the Mass and
fantastic vegetation that fills the armature of the
Eucharistic wine). Temporally, a link was drawn
altarpiece may be considered “an artistic maneu-
from the origin of the Mass at the Last Supper to
ver to assert wood, in its own right, as a carrier
the Dauerwunder, or permanent miracle, of the
of sacred significance.”111 As noted above, lithe
Holy Blood relic, to the regularly sung Masses
vegetation fills the predella and the upper crest of
of the chapel. This content is communicated in
the altarpiece, at times playfully interacting with
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structural elements. Bryda has demonstrated how,
in addition to symbolizing “Christ as vine,” these
support the current location of the altarpiece as
elaborate vegetal motifs make reference to local
original. First, other contemporary sites demon-
agricultural practices and the thriving Franco-
strate that priests could celebrate Mass while
nian wine industry by “transfigur[ing] wine from
facing west, particularly in western architectural
an elusive liturgical agent to the familiar, newly
choirs—the Church of St. Sebald in Nuremberg,
mass-produced and mass-consumed beverage.”
for instance, had an altar in its west choir that was
Details, such as pruned ends and vines tamed to
positioned against the wall and therefore required
trellises, which clearly depict horticultural inter-
a west-facing celebration.115 Second, the architec-
ventions, thus emphasized “the very local origins
tural composition of the polygonal chapel in the
of the retable’s miraculous namesake.” Like the
west end of St. Jakob both generally and specif-
architecture of the west end, the altarpiece sought
ically makes more likely the current placement.
to localize the relic, to relate Rothenburg’s Holy
That the city and fabrica would have gone to such
Blood to the particular place and to the visiting
efforts and expense to construct an ashlar masonry
community of pilgrims.
polygonal west end for the parish church just to
serve as a conduit for traffic to an altar positioned
112
80
Some have questioned whether the Holy Blood
Three points counter this suggestion and
Altarpiece originally stood on the precise spot it
in the western gallery of the earlier nave seems
does today. With the arrival of the Reformation
highly unlikely. Moreover, as built, the chapel’s
in Rothenburg came significant changes that
architecture emphasizes the position in which the
affected the interior furnishings of St. Jakob. In
altar currently stands as a focal point. The complex
1575 the Altarpiece of the Holy Blood was moved
ribbed vaults that span the chapel distinguish a
from the elevated western chapel to the lay altar
central focus directly over the current location of
at the junction between the nave and the east
the altar of the Holy Blood in the polygonal termi-
choir. During the restoration and purification
nus (fig. 37). A second convergence of ribs occurs
efforts of Karl Alex von Heideloff in the 1850s, the
just to the east of the facing entryways, over the
altarpiece was moved to the east wall of the south
primary pathway from one door to the other and
side aisle, where it stood until it was moved to its
in a position directly over the lower street passage-
current location after its 1962–63 restoration.
way. In this manner, both the current location of
113
Thierry Grueb has argued that the altarpiece
the Holy Blood altar and the space intended for the
originally stood, not in the polygonal west end of
traffic of visitors were given particular emphasis.
the Holy Blood Chapel, but instead at the center
Directly in front of the altar, the vault configuration
of the western gallery of St. Jakob and thus in the
also includes a diamond-shaped Himmelloch, liter-
second-to-last of its nave bays. Grueb’s argument
ally “heaven hole,” of the type used in the staging
is based largely on the observation that the current
of certain feast days of the liturgical calendar. Such
arrangement of the Holy Blood altar, with its large
openings were often associated with a nearby altar,
altarpiece, would have prevented the celebration of
most often through a position in front of the altar
Mass facing east. Instead, the celebrant would have
as seen from the standpoint of the general public.116
had to face west.114
Third, the angled doors that feed into the chapel
Riemenschneider in Rothenburg
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Fig. 37 Vaults of the Holy Blood Chapel in the west end of St. Jakob in Rothenburg.
focus attention on the current altar location (as
altar, dedicated to Saint Nicholas. The description
discussed further below). This preponderance of
of this altar, in the 1474 donation of an eternal Mass
material evidence, then, suggests strongly that the
by Stephan Scheu the Elder, as standing “at the Teu-
current location is, indeed, true to the original.
tonic Order’s winding staircase” (an der teutschen
herren schnecke) indicates that it likely stood near
Two other altars once joined the Holy Blood
altar in the elevated west end of St. Jakob, though
the surviving spiral staircase leading from the west-
these two likely stood on the gallery within the
ern gallery up to the roof.119 The spiral staircase in
nave. In 1478 a chaplaincy was established at an
question opens through a low door in the west wall
altar dedicated to Saint Jodocus. Textual sources
of the gallery over the south side aisle and continues
mention the altar as located “upon the Holy Blood”
as a visible polygonal shaft on the exterior of the
but in proximity to a “balustrade.” It thus stood in
church at the clerestory level. Seen from the exte-
the gallery extension of the chapel, most likely in
rior, the staircase shaft marks the division between
a position over the northern side aisle of the nave
the nave and the west end and is crowned by a
(fig. 38). Already before the chantry established on
male half-figure holding a banderole whose text
the St. Jodocus altar, the records speak of another
has unfortunately been lost.120 The St. Jodocus and
117
118
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Fig. 38 Plan of St. Jakob in Rothenburg at the gallery level, showing the most likely arrangement of the church’s twelve altars. Courtesy of Bauhütte St. Jakob Rothenburg, evang. Gesamtkirchengemeinde. Plan by Leonhard Häffner, altered by author.
St. Nicholas altars thus formed a balancing pair on
environment. As Iris Kalden-Rosenfeld has sug-
the gallery, with the Holy Blood Altarpiece taking
gested, pilgrims generally entered the elevated space
center stage within the western apse.
of the chapel by means of the northern staircase and
exited down the southern staircase.122 Kalden-
A number of other donations and commissions
also contributed to the spatial environment of the
Rosenfeld bases her argument on the iconography
western chapel in late medieval Rothenburg and
of Riemenschneider’s altarpiece: visitors would ini-
would have complemented the privileged position
tially have seen Judas’s back and caught the gaze of
of the Holy Blood Altarpiece. In 1472, for instance,
the pointing apostle as they moved across the space
the church fabrica paid a carpenter to outfit the
(fig. 39). The problem with this argument, though
chapel with “stalls to the Holy Blood” (stuln zu
the traffic pattern it traces is correct, is one of cause
heyligen plutt).121 These likely stood along the flat,
and effect: it was the architecture and established
largely unarticulated walls of the chapel straight
pattern of traffic that inspired Riemenschneider’s
bay, which stretch alongside the modern organ up
composition rather than the other way around. The
to the start of the gallery. Their early presence in
implications of this point are significant, because
the chapel can help explain the lack of architec-
they demonstrate the degree to which the artist was
tural ornament along these walls, which otherwise
attentive to the conditions of the site in which the
stands in stark contrast to the elegant articulation
altarpiece was to stand.
of the chapel’s western terminus.
established direction of traffic through the space to
The design of the Holy Blood Altarpiece
heeded its intended position within this elaborate
82
Three features prove helpful in tracing the
which Riemenschneider’s composition responded.
Riemenschneider in Rothenburg
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Fig. 39 Chapel and Altarpiece of the Holy Blood in Rothenburg seen from the northeast.
First, approaching by the north staircase and
his composition. The frame of the north window,
descending by the south staircase, visitors would
therefore, would have been seen at an angle; its
have entered beneath the painted inscription
simple form would not have distracted. On the
“1453 begun” and exited under the correspond-
return journey down the south staircase, in con-
ing inscription “1471 completed” (figs. 16 and 17).
trast, the visitor’s gaze was free to wander over the
Second, differences in the architectural profiles
intricate detailing of the architecture without fear
of the moldings on the windows and doors of the
of distraction. Here, the window would have been
north and south staircases support this direction
approached head-on, so that its elegant composi-
of movement. The profile of the window lighting
tion could be fully appreciated. A subtle difference
the south staircase is rounded and complex, in
in articulation likewise differentiates the two
contrast to the flat and simplified profile of the
doorways feeding into the elevated chapel space.
north-staircase window. Proceeding up the north
Unlike most doorways, which form right angles
staircase, the viewer’s attention was caught by the
as they cut through a wall, the doorways feeding
altar seen through the angled doorway—an expe-
into the Chapel of the Holy Blood are angled so as
rience Riemenschneider amplified and exploited in
to direct the gaze of approaching visitors toward
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vaults. Johannes Tripps has shown how such openings were used throughout Europe in the late Middle Ages for the staging of liturgical feast days, when carved figures could be raised and lowered by means of ropes in order to enact biblical stories.124 In Rothenburg a Himmelloch is included in the vaulting above the north staircase (fig. 40) but is absent from the vault above the south staircase.
Although no sources attest to the use of the
vault openings in Rothenburg, comparative evidence at least allows for the possibility that dramatic plays took place in the elevated west chapel, which was both accessible to the laity and visible from the nave below (fig. 20). One of the oldest animated celebrations associated with this type of opening in a vault, the Ordo Stellae, was staged with the aid of a star hung from above to guide actors dressed as the three Magi to a crèche in a reenactment of the Adoration.125 Hung from the opening in the vault of the north staircase at St. Jakob, such a star would have led actors up to Fig. 40 View of the Holy Blood Altarpiece from the north stairway of the west end of St. Jakob in Rothenburg.
the elevated west end. A second star, suspended from the diamond-shaped opening in the complex ribbed vault of the main chapel space, could have marked the location of a crèche set up in front of
the central altar (fig. 40, and see fig. 38). Both
the altar and just to the east of the facing door-
the north and south doorways are framed with
ways. The spiral staircase, called in the sources the
sculpted shafts that crisscross at the shoulders and
“Teutonic Order’s winding staircase” (teutschen
apex of the arch. Seen from within the chapel, the
herren schnecke), provided access from the
frame of the south doorway is thicker by one order
western gallery up to the roof of the church, so
than its counterpart in the north (figs. 16 and 17).
that “angelic” singers could have been concealed
This slight augmentation in profiling seems to
around the Himmelloch or sculpted figures could
underscore the south side as the appropriate exit
have been lowered through it.126 The south stair-
from the space, for it subtly draws attention toward
case, which did not have an opening in the vault,
it from within the chapel.
would have served as the appropriate exit from the
123
84
The third architectural clue to an intended
chapel. Such a staging of the first pilgrimage, that
direction for traffic from north to south is found
of the Magi, would have echoed the contemporary
in the placement of Himmelloch openings in the
pilgrimage function of the space in the fifteenth
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and early sixteenth centuries and would seem to
Jakob, the civic authorities of the late Middle Ages
confirm the suggested direction of traffic through
created a physical place for the local community
the Chapel of the Holy Blood.
to encounter and participate in a projected set of
shared values.
In this way, the spatial environment of the west
end of St. Jakob actively engaged with the perfor-
mance of devotion. More than a visual backdrop
climate of enthusiasm for blood relics and to the
This project also responded to the wider
supporting the liturgical performance at the altar,
related context of heightened Eucharistic piety.128
the Altarpiece of the Holy Blood, which so aptly
Rothenburg reacted to the common increased
thematized the Eucharist in both its narrative
desire for access to the Eucharist by offering
origins and its experienced form, was an active
numerous visual alternatives to consumption.
agent within the localized context of Rothenburg
These visual surrogates specifically stressed the
pilgrimage. It became the core of a space—elevated
importance of the Holy Blood in the attainment of
over a city street, sheltering the relic of the Holy
salvation. Though the actual bloodstain venerated
Blood, and articulated by a rich artistic pro-
as a relic in Rothenburg could not be seen by most
gram—that expounded within a particular local
visitors, it was visually supported and amplified
idiom on the miraculous transformative ritual
through a series of conceits that made its presence
of the Mass and the salvation made possible by
perceptible to the largest possible audience. By the
Christ’s sacrifice.127 The reliquary cross, newly set
early sixteenth century these conceits included
in the crest of the altarpiece, held the sacramental
(from micro to macro) the magnifying rock crystal
relic of the Holy Blood; a monstrance on the altar
set over the relic, its elevated gilt cross reliquary,
mensa displayed the visible host; and the central
the carved altarpiece by Riemenschneider and
scene of the sculpted altarpiece showed the Last
Harschner, and the late Gothic chapel that towered
Supper—the origin of the Eucharistic feast. Visitors
over the city by bridging a major street.
were encouraged to relate the general promise of
this program to their local experience and to the
of the Holy Blood demonstrates the profound
city over which the chapel stood. The architecture
responsiveness of late medieval patrons, designers,
directed visitors through this dynamic ensemble
and artisans to established spatial environments.
and also projected its authority beyond the church
The site specificity of the altarpiece in Rothenburg
interior.
went beyond the general parameters of iconogra-
Considered within this context, the Altarpiece
phy and scale outlined in the 1501 contract between Riemenschneider and the city representatives,
Conclusion
evincing the artists’ familiarity with and appreciation for the role of the chapel within the broader
Although Rothenburg never became an interna-
city. That Riemenschneider visited the site and
tional blood-pilgrimage destination, it did succeed
took into consideration the intended setting for
in fostering a distinct local identity rooted in the
the grand and expensive Altarpiece of the Holy
spatial environment of the parish church. With
Blood does not necessarily mean that all altarpieces
the design and furnishings of the west end of St.
by the artist were designed with the same degree
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86
of specificity. It does, however, suggest that the
traditional approach to his and other late medieval
and furnishings of the west end of St. Jakob related
In Rothenburg the spatial composition, rituals,
artists’ works, which focuses on the space of the
the general promises of Eucharistic salvation to the
workshop, should be expanded to consider the real
specific place and local community through the
spatial environments of installation. This will bring
blood-turned-relic displayed in Riemenschneider’s
into closer dialogue the production and reception
and Harschner’s masterpiece. Set at the heart of the
histories of medieval art and into higher relief the
city and elevated over a major street, this ensemble
pressures and sensitivities involved in the design
formed the lynchpin in a developing network of
and experience of multimedia programs.
civic religious spaces in the city.
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The Urban Complex
A
Chapter 3
lthough Rothenburg’s efforts to establish a
of architecture, figural art, and ritual practice.
major blood pilgrimage during the fifteenth
Medieval urban complexes were spatial-thematic
century met with only moderate success, the new
systems of the built environment that functioned
west end of St. Jakob—with its street passageway,
as dynamic instruments of urban planning, helping
elevated pilgrimage chapel, and Altarpiece of the
to revise and reconceptualize urban space through
Holy Blood—henceforward featured prominently
the formation of evocative centers of attention. The
in the urban landscape. This one architectural proj-
term “urban complex” is not new: it has been used
ect and its furnishings helped translate universal
by scholars of other periods to describe large-scale
promises of the Church into a specific local itera-
building projects that respond to urban economic
tion of place. The multimedia thinking apparent in
and population developments, ranging from
the west end of St. Jakob allowed disparate elements
Smriti Srinivas’s study of high-tech cities in India
of art, architecture, and ritual to work together as a
to Robert Weaver’s urban renewal proposals for
spatial environment. But the west end of St. Jakob
the Housing and Home Finance Administration
itself contributed to a larger program that reached
and contemporary design projects like AUBE’s
beyond the confines of the parish church into the
Huangshi Urban Complex, China;1 and it has been
city proper and incorporated several distinctive
mentioned in passing by scholars of medieval archi-
visual environments. This structured ensemble
tecture to describe a range of phenomena.2 But it
formed what I term an urban complex.
has never been theorized as an organized system of
The idea of the urban complex includes but
late medieval urban planning that stretched beyond
extends beyond a built architectural compound of
the medium of architecture. This chapter proposes
interconnected spaces to consider the interrelation
that together the parish church, cemetery, and
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charnel-house chapel of Rothenburg ob der Tauber,
chapel dedicated to Saint Michael that would stand
along with elements of their furnishings, functioned
directly to the east of Rothenburg’s parish church.
as one such urban complex and that this meaning-
Also germane is the commission of individual pieces
ful system communicated more richly in toto than
for the complex that contributed to a coherent
through any one of its component parts.
thematic program over the following sixty years. The
surviving financial ledgers of the St. Jakob fabrica
Rothenburg is especially ripe for this kind of
analysis. The striking relationships between the
demonstrate that the civic council of Rothenburg
various constituent environments make clear
and its appointed church caretakers closely managed
their agency as an ensemble. This is supported by
the major buildings and artistic commissions of the
stylistic, iconographic, liturgical, and adminis-
parish urban complex. The production of the com-
trative structures as well as by the chronology of
plex in Rothenburg was a protracted and ongoing
construction. Moreover, Rothenburg provides an
event, one around which community was built.
opportunity to investigate the manner in which a guiding logic shaped projects into a coherent system over a protracted period of time.
88
Parish Church, Cemetery, and Charnel House
Unpacking both the concept of the urban
complex generally and its iteration in Rothenburg
On April 17, 1485, the mood in Rothenburg was
specifically entails examination first of the close
festive as the city turned out to witness the con-
functional interdependence of the spaces in the
secration of its principal church. Rothenburg had
parish urban complex and second of the intricate
just emerged from a period of pestilence that had
spatial-thematic programming that tied them
claimed numerous lives. Indeed, the epidemic
together into an entity. How were urban complexes
the previous year had been so bad that the parish
articulated in medieval sources and structured in
fabrica had ordered additional cartloads of soil to
physical space? To what extent were they inten-
be delivered to the cemetery to ensure that corpses
tionally programmed, despite their protracted
could be properly interred. It had also paid the
aggregation over time? And is it productive to
gravedigger an extra sum to level out the terrain.
consider such ensembles as organized systems
The income of the parish church from funerals had
rather than as conglomerations of individual proj-
jumped from 30 lb in 1482/83 to 228 lb in 1483/84,
ects? In other words, what did the urban complex
and the bells that tolled to mark the deaths of the
accomplish that its constituent parts considered
wealthiest citizens had been in frequent use.3 But
separately could not? Finally, what are the implica-
now this trying time was over, and the surviving
tions of the urban complex for the planning of the
population came together to celebrate the long-
late medieval city?
awaited consecration of its parish church. They had
worked hard to prepare for the occasion. Broken
These questions invite a fresh look back to the
first half of the fifteenth century, when the west end
windows in the Chapel of the Holy Blood in the
of St. Jakob in Rothenburg was planned but not yet
west end of the parish church had been mended,
built and the city’s efforts were instead focused on
a new chalice had been added to the church’s col-
the construction of a freestanding charnel-house
lection of liturgical vessels, and the Charnel-House
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Fig. 41 Compilation of images by Leonhard Häffner and Johann Friedrich Schmidt showing the parochial complex of Rothenburg, with the Church of St. Jakob and the Chapel of St. Michael. Compilation by author.
Chapel of St. Michael had received a new door.
centuries. Of course, the final consecration did not
Various items had also been prepared for the con-
mean that all work on the site would cease. Small
secration ceremony itself, including two jugs, three
projects here and there needed to be finished,
pouring vessels, a hand-stitched tablecloth, and
and repairs were already called for in places.6 For
four ells (about ten feet) of lamb cloth.4
other, larger projects, like the vaulting of the street
passage beneath the west end of St. Jakob, it was
The auxiliary bishop of Würzburg, Georg Ant-
worter, had arrived in Rothenburg for the occasion,
anyone’s guess whether the city would ever return
bringing with him an entourage of priests as well
to finish them.7 But the new Ehetür portal (1479)
as his personal attendant. The presence of these
on the south side of the nave, the last major archi-
visitors leant the ceremony a certain gravitas and
tectural addition to the parish church, had recently
added to the festiveness of the occasion. In addi-
been completed, and the consecration ceremony of
tion to paying for their services, the city also wined
1485 would ceremoniously mark the end of major
and dined its guests at considerable expense.5
work on the complex (fig. 4).8
It had taken 180 years to build the Parish
Included in the consecration ceremonies and
Church of St. Jakob, and though the older citizens
invocation on this occasion were the Parish Church
could remember a time when construction of the
of St. Jakob, the urban parish cemetery, and the
main church had halted for a generation, the parish
charnel-house chapel dedicated to Saint Michael
close had been a construction zone for almost two
(fig. 41). All three spaces were also listed in the city’s
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90
records of the event.9 This first indication that the
parish church, cemetery, and charnel-house chapel
charnel house during the Middle Ages was the
were considered a unified complex in late medie-
interdependence in medieval Christian doctrine of
val Rothenburg is corroborated by what is known
the living and the dead. Death was seen as a pro-
generally about the functional role of such parish
cess by which the body and the soul were divided
spaces during the fifteenth century as well as by the
until final judgment, when they would be reunited
particular formal and iconographic choices made by
again to enter heaven or descend into hell for
the city authorities and their employed architects.
eternity.11 During the intermediary stage of death,
most souls were thought to suffer in purgatory for
The parish church, situated at the heart of the
Fundamental to the role of the cemetery and
medieval city, served as a prominent civic space
a period of time to atone for their sins, while the
throughout the Middle Ages. The cemetery that
body lay interred in the cemetery, where its flesh
lay alongside it also formed part of this center,
returned to dust. It was the task of the living to
serving as an open and adaptable public space.
care for the dead, to ease the suffering of the souls
Festivals, dances, and public proclamations, as well
in purgatory through active commemoration. As
as funerals and church processions, drew inhabi-
Jonathan Finch has pointed out, “the emphasis
tants within the cemetery’s encircling walls, where
was on continuing and ongoing support, exercised
they were confronted by a rich assortment of visual
through the cyclical nature of many of the rituals
stimuli.10 Stone and metal plaques commemorated
associated with the intercessory prayers.”12 The rela-
the dead, candles surrounded funeral biers, opulent
tionship between the living and dead communities
fabrics covered gravesites on anniversary days, and
was one of mutual benefit, for as the prayers of the
figural groups of the Mount of Olives and the Cru-
living provided the dead relief and might shorten
cifixion formed stations linking the cemetery to the
their time in purgatory, so did the many commem-
biblical sites of Christ’s Passion and death. Not least
orations of the dead ensure the living leniency after
of these features was the ossuary or charnel house
their own demise.13 Prayers, both those offered and
(ossuarium, charnier, Karner), a space designated
those received, acted as a counterbalance to the
for the storage of old bones dug up in the over-
weight of sins. An indulgence issued for Rothen-
crowded cemetery.
burg in 1356, for instance, commuted forty days of
Although the medieval terms for ossuary
canonical penance to time off from purgatory for
and charnel house were used interchangeably, in
anyone who walked through the cemetery beside
the interest of clarity, I use “ossuary” to refer to
St. Jakob and prayed for the faithful living and
a vaulted chamber for the storage of bones that
dead.14 In this manner, individuals were encour-
is part of a larger structure and “charnel house”
aged—and incentivized—to perform acts of faith
to refer to a structure, usually freestanding, that
that were thought to benefit the community of
includes an ossuary as one of its primary spaces.
faithful, living and dead.
St. Michael in Rothenburg was a charnel house
that incorporated an ossuary in its ground-floor
of the cemetery, and burial ceremonies, especially
space, beneath an elevated chapel dedicated to the
of wealthy individuals, could bring large crowds
archangel Michael.
together. They were also lucrative affairs for the
Funerals were one of the primary ritual uses
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city and its religious institutions. When the wealthy
attire for the public ceremonies.17 For the parish
wool merchant Michael Ottnat died, on June 9,
fabrica and the various religious institutions of
1488, just three years after the consecration of
the city—including the Dominican convent, the
the parish urban complex of Rothenburg, he left
Franciscan monastery, the Teutonic Order, the
15
most of his fortune to the city of Rothenburg.
Parish Church of St. Jakob, the Spital, the Chapel
In carrying out the provisions of his testament,
of St. John, and the Marian chapel on the Milch-
the city administrators kept meticulous financial
markt—the funeral services brought business and
records, which provide a glimpse into the cash
visibility. Finally, for the city and its administration,
flow as well as into the rituals accompanying the
services such as these provided the very reason
most lavish of Rothenburg’s funerals. In addition
for its oversight of church affairs: donors since
to family members, friends, and general bystanders
the fourteenth century had appointed the city of
who gathered for the occasion, students carrying
Rothenburg executor of their testaments, chantries,
candles, an untold number of priests, and eighteen
and other donations in order to ensure that their
unidentified others accompanied Ottnat’s body to
provisions be honored by the appropriate religious
the parish close in exchange for payment. This pro-
institutions.18 This practice gave the civic govern-
cession, on the day after Ottnat’s death, cost a total
ment its power over the religious institutions of the
of 19 lb 25 d and was followed by many weeks of
city and also provided it with an opportunity to
related activities, including commemorative gath-
promote Rothenburg through a demonstration of
erings and the ringing of bells in various churches
the wealth, order, and faith of the city’s inhabitants.
throughout the city. The sacristan, sexton, school-
master, and city scribe all received money for their
they did stretch for several months—anniversary
services. The accounts also designated sums for
celebrations, which visited graves annually, were
a pall (bortuch), a cross (creutz) on the shroud
often made “in perpetuity” and so extended the
(leichtuch), a tombstone (leichstein), candles made
commemoration into the foreseeable future. In
by Dominican nuns, and wine for the Franciscan
Rothenburg an anniversary Mass required a dona-
friars.16 It thus engaged the wider community of the
tion returning an annual interest of 1 lb h or 1 fl rh
city in a multisensory commemorative service cen-
and so was only affordable for wealthy families.19
tered around the cemetery. As late as October 3, 10
To ensure their maximum efficacy, it was import-
fl financed the singing of an early Mass in memory
ant that these services be public events: they were
of the man deceased nearly four months earlier.
announced from the pulpit the Sunday before the
anniversary day, they were listed by the sacristan
Ottnat’s extravagant funeral and subsequent
While funerals were one-time affairs—even if
memorials served several functions. Within
on a visible board within the parish church each
the context of Christian religious beliefs, which
week, and they were attended by some or all of the
included the fiery holding ground of purgatory, it
priests, the sacristan, and an unknown number of
ensured that frequent prayers were said for the soul
private citizens. The standard ceremony in Rothen-
of the departed. It also served as a public display
burg followed a common format: the sacristan,
of social status, both for the deceased and for par-
responsible for preparations, led a procession of
ticipants who appeared decked out in appropriate
priests from the parish church to the burial site.
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Standing around the grave and walking over it,
to accommodate new burials and because its space
the priests spoke an antiphon and several collects
was mapped and marked through such temporal
for the dead (pro defunctis). During the ritual, the
rituals. While it was closely tied to the ritualized
grave was covered by a cloth, lit by four candles,
commemoration of individuals and families, the
sprinkled with holy water, and censed. Ultimately,
cemetery also served as an important reminder
the procession returned to the main church, possi-
of the passage of time in the medieval city. The
bly passing through the lower story of the charnel
many accrued epitaphs documented the long use
house before doing so.
of the site over successive generations. Long after
an individual died or a family left the city, their
20
21
In addition to performing social status,
anniversary-day celebrations reinforced familial
monuments continued to contribute to a space of
identities and charted different ritual paths through
shared cultural memory. The fact that Rothenburg’s
the space of the cemetery in a display similar to the
school bounded the northern edge of the cemetery,
funeral. The location of the grave was often given
between the Church of St. Jakob and the Chapel of
as a number of steps from a prominent monument
St. Michael, for instance, meant that the primary
or feature of the urban complex, and multiple
education of the city’s young took place along-
graves might be pulled together into a single com-
side the resting place of its departed citizens. The
memorative service. The painter Heinrich Glück’s
cemetery was therefore a powerful site for the con-
anniversary celebration established in Rothenburg
struction of civic identity and ideals of community.
in 1487, for instance, had a procession walk over
four graves: the first lay “by Saint Catherine’s door”
cemetery in Rothenburg is worth mentioning here,
and was marked by a tombstone with the family
though little evidence of its exact form has sur-
name and coat of arms; the second lay before the
vived. In addition to stipulating funeral services
school, in the middle of the churchyard, and was
and donations to religious institutions, testaments
similarly designated by a tombstone with the name
of well-to-do citizens in Rothenburg often included
Glück; the third was located eight steps from the
sums to fund food for the city’s poor. This food was
Charnel House of St. Michael and labeled “Diem”
handed out from a kind of soup kitchen located
(after Glück’s wife Margarethe Diem); and the
within the churchyard. These food donations,
fourth was situated twelve strides from the charnel
the so-called Reichsalmosen (literally “alms of the
house and marked by a tombstone bearing the
realm”), were generally recorded as the number
name Volckmar (after his wife Christine Volck-
of bowls of food that the alms funded. The bowls
mar). These services provide one glimpse into
were distributed every Saturday between Vespers
the divers ritual experience of the urban com-
and Compline, so roughly between six and nine
plex: itinerate ceremonies and processions linked
in the evening. A full bowl included meat and two
disparate spaces of the complex into a meaningful
pieces of bread valued at around 1 ß, while a half
experience shared by a local community.
bowl offered less meat and one piece of bread and
was valued at about half the price. Occasionally
22
92
The cemetery was a space with a shifting topog-
One further site within the grounds of the
raphy, both because graves rarely remained in place
the donations could be quite generous: Selena
for more than a generation before they were cleared
Langmantel, for example—who also established a
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chaplaincy in the Chapel of St. Michael—made a
whereby the bones could be piled or stacked in a
large donation to the Reichsalmosen that returned 52
vaulted space. Although most medieval charnel
fl annually and supported twenty full bowls of food
houses have been torn down and those that survive
for the poor every week. In total, the city records
were generally cleared of their human remains
mention twenty-seven such donations before 1518—
in the nineteenth century, a few rare examples
though mostly of one bowl per week, not twenty.23
demonstrate that they could house the accumu-
As was common elsewhere, the location of the soup
lated bones of thousands. The lower story of the
kitchen within the churchyard was strategic, for it
charnel house in Iphofen, for instance, contains
reminded the impoverished recipients to pray for
the bones of around eight thousand individuals,
the souls of the donors. Since the prayers of the poor
the one in Oppenheim houses an estimated twenty
were thought to be particularly effective, this calcu-
thousand (fig. 42), and reports of the reburial of
lated generosity benefited the donors themselves. It
remains from the ossuaries in Jena and Gerolz-
also, however, fostered a sense of civic responsibility
hofen during the nineteenth century mention
whereby the wealthier citizens were encouraged to
seventy and forty cartloads of bones respectively.26
provide for the poor. The cemetery was therefore a
public space of community formation due to more
existed in Rothenburg already in the early four-
than one ritual and institution.
teenth century, before the construction of the
Gothic Church of St. Jakob. In a document issued
The location of the medieval cemetery at the
Indirect evidence suggests that an ossuary
heart of the city ensured that these activities were
March 12, 1303, the city announced the donation
highly visible, but this centrality also came at a
of a house and surrounding yard, situated beside
price. The constraints of space were considerable,
the cemetery (cimiterium), to the Parish of St.
for although the cemetery was flexible in its func-
Jakob.27 The donors, Heinricus Zenner and his wife,
tion and topography, only rarely did land grants
Irmgard, stated that their intention was to ensure
extend its boundaries. So the same ground had
the general right to burial for everyone in the
to accommodate successive generations of dead.
parish. In addition to directing how gravesites were
The solution to this problem was the ossuary. The
to be established and maintained, they stipulated
constant influx of new dead, particularly at times of
that anyone who allowed a grave to be exhumed
pestilence, required that the bones of older burials,
but found the corpse not yet adequately decayed
cleaned of the flesh, be cleared. These bones of the
was responsible for finding another burial spot.28
faithful, however, were to be preserved until the
Although the document does not indicate the fate
final resurrection at the end of time, and ossuaries
of the bones whose flesh was deemed “adequately
provided a consecrated space in proximity to an
decayed,” the implication is that they were not
altar to protect remains.
reburied. Instead, they likely found a second rest-
24
In some cases, the ossuary took the form of a
ing place in an ossuary.
crypt beneath the main church; in others, it stood
as part of a separate building. Charnel houses,
on an elaborate charnel house to replace this first
situated within the boundary of the cemetery,
ossuary. Built on the heels of the nave of St. Jakob,
provided an efficient and highly visible solution
from roughly 1410 to 1450, and before the Chapel
25
It was not until a century later that work began
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Fig. 42 Lower ossuary of the charnel-house chapel in Oppenheim.
of the Holy Blood in the west end of St. Jakob
in the late Middle Ages they were considered
(1453–71), the octagonal Chapel of St. Michael
and experienced as interdependent structures. At
related closely to its neighboring parish church
the physical and functional center of this system
through its administration, spatial disposition, and
was the cemetery, a rich visual environment that
function. It was in building this two-story chapel
served as a repository for individual and collec-
at the eastern edge of the cemetery, across from
tive memory and as a generative core of local
the choir of St. Jakob, that the city first shaped the
community.
parish close into an urban complex (fig. 43).
Once described as “the daintiest Gothic build-
ing of Rothenburg,” St. Michael filled the important function of ossuary and cemetery chapel.29 It
The Charnel-House Chapel of St. Michael
belonged to a type of charnel house built with two stories that once dotted the landscape of late medi-
94
Although the Church of St. Jakob and the Chapel
eval Germany. Examples survive in Ebern (begun
of St. Michael have always been treated by scholars
1464), Gerolzhofen (1497), Haßfurt (ca. 1420),
as distinct entities due to their physical separation,
Iphofen (ca. 1380), Kiedrich (consecrated 1445),
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Fig. 43 Colored copperplate engraving of the Kirchplatz in Rothenburg by Johann Friedrich Schmidt, 1762. © RothenburgMuseum.
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Kronach (1512), Ochsenfurt (1440–96), Oppen-
chapels of the fifteenth-century two-story charnel
heim (early fifteenth century), Tauberbischofsheim
houses generally boast large tracery windows and
(begun 1474), Wertheim (begun 1472), and Zeil
distinguishing features, such as elegant rib vault-
am Main (early fifteenth century). Although
ing, western galleries, outdoor pulpits, projecting
St. Michael in Rothenburg was converted into a
east choirs, and bell turrets.33 The lower ossuaries
library in the sixteenth century and torn down
vary more considerably in their articulation and
30
around 1804–6, it once served as an important
disposition, ranging from simple barrel-vaulted
cornerstone in the city’s parochial urban complex.
chambers constructed of rough-hewn stone (Zeil
am Main) to rib-vaulted spaces with a single cen-
31
The two superimposed spaces of these late
Gothic charnel-house chapels architecturally
tral support (Tauberbischofsheim), to three-aisled
announced their dual role as ossuary (below) and
rooms with elegant net vaults (Wertheim).
cemetery chapel (above). Several charnel houses
document their primary function of protecting the
dividing the place for the storage of bones from
souls of the dead. For example, in Gerolzhofen,
that used for services by the living. Since the two
a large inscription in the south wall records how,
discrete stories were not usually connected by
“[i]n the year of Christ 1497, . . . this charnel house
interior staircases but instead had their own sep-
was begun for the salvation of the souls,” and a
arate entrances, the division of spaces was visibly
foundation document records that an eternal Mass
pronounced on the exterior of the structures.34
celebrated in the upper-level chapel was “for the
In many cases the elevated entrance to the chapel
help and consolation of all faithful souls.”
story was configured as a platform overlooking
the surrounding cemetery from which public
32
96
The surviving two-story charnel houses built
The two levels were thus spatially distinct,
in modern-day Germany during the fifteenth
announcements might be made. At times the doors
century demonstrate the wide use of the urban
to the two stories were vertically aligned (Ochsen-
complex as a tool of late medieval urban planning.
furt, Haßfurt); in other cases they were offset in the
Although the parish church and neighboring
same facade (Tauberbischofsheim, Zeil am Main)
cemetery had always functioned as a linked pair
or positioned around the corner from each other
during the Middle Ages, the addition of a charnel
in two adjoining walls (Iphofen, Gerolzhofen).
house, particularly one that incorporated its own
Whatever their location, however, the disposition
chapel space above an ossuary, dramatically shifted
of entrances had two important consequences: it
the Schwerpunkt, the main emphasis, of the space.
meant that a visitor’s ascent to the chapel or move-
The heightened visual ornament and “showiness”
ment between the upper and lower spaces was
of the fifteenth-century examples, in particular,
outdoors and highly visible, and it distinguished a
demonstrate that they were conceived of as archi-
primary facade (or sometimes two) of the building.
tectural complements to their respective principal
churches.
invariably faced the cemetery and the main church.
In addition to portals, the facades frequently
Although no two charnel houses looked exactly
The facades of these two-story charnel houses
the same, several characteristics are common
featured a richer profiling of architectural elements
among the late medieval examples. The upper-story
that distinguished them and occasionally included
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Fig. 44 Charnel-House Chapel of St. Kilian in Wertheim from the southwest.
figural reliefs. In Wertheim, for instance, the
sculpted western portal of the upper-story chapel
two-story Chapel of St. Kilian includes an elabo-
and the finials and crockets of the buttresses add
rate balustrade that runs along its west and south
to the rich appearance of these show sides, while
sides at the upper, chapel level (fig. 44). Since the
the back sides (north and east) are remarkably
chapel lies to the north of the principal church, it
less ornate, with no balustrade, sculpted frieze, or
is these two sides that face the church and church-
buttress finials.
yard. A deeply sculpted band—with zigzag and
braid motifs as well as a frieze of shields—adorns
those of other two-story charnel houses, set up
the lower edge of the balustrade, which forms an
a visual dialogue with the principal church that
elaborate late Gothic tracery ribbon tying together
played out across the open space of the cemetery.
the west and south sides of the chapel. The large
In his catalog and study of the surviving two-story
The facades of the Wertheim example, like
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Fig. 45 Charnel-House Chapel of St. Michael in Ochsenfurt from the north.
98
charnel houses in Germany, Stephan Zilkens
exterior finishes can effect a strong visual relation-
investigates the preferred position of these chapels
ship. In Ochsenfurt, for instance, the parish church
(after 1300 generally to the south of the parish or
was finished by the end of the fourteenth century
principal church) and the stylistic relationship
and the Charnel-House Chapel of St. Michael not
between the two church buildings (which, he con-
built until 1440–96 (fig. 45). The tracery forms
cludes, was only occasionally strong).35 Although
of the windows, the detailed profiles of mold-
he acknowledges the close functional interdepen-
ing bands, and the articulation of buttresses do
dence of the principal church and neighboring
not “match.” And yet the local yellow sandstone
charnel-house chapel, Zilkens’s focus on close
used for architectural elements and ornament on
stylistic details in comparing buildings leads him
both buildings, as well as their orientation, visual
to fall short of recognizing the powerful visual
division by a string course into two levels, and
dialogue they set up.
tall Gothic tracery windows, gives the two build-
ings a common aesthetic. Richard Krautheimer’s
Even in cases where the facing church and
chapel do not cite each other in detailed forms,
important article on the “iconography” of medie-
their Gothic windows, construction materials, and
val architecture demonstrates the extent to which
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Fig. 46 Plan of the urban complex in Kiedrich. Scanned from Handbuch der deutschen Kunstdenkmäler: Hessen II; Regierungsbezirk Darmstadt (Deutscher Kunstverlag: Munich, 2008). Fig. 47 Charnel-House Chapel of St. Michael in Kiedrich from the northwest.
connections might be made even between distant
The case is all the more striking in the exam-
sites by “copying” characteristic features that did
ples, albeit rare, where the principal church and
not necessarily look alike.36 How much stronger
neighboring charnel-house chapel share stylistic
must the connection between such loosely copied
ties. In Kiedrich, the Parish Church of St. Valen-
features have appeared when two buildings faced
tin was built from circa 1330 to circa 1380. After
each other directly. Even today the visual dialogue
this, from 1434 to 1444, attention turned to the
in Ochsenfurt is hard to ignore; in the Middle
construction of a neighboring two-story charnel
Ages, when a cemetery wall enclosed the two
house dedicated to Saint Michael (figs. 46 and
edifices in one space and rituals mapped a path
47). Only after the completion and consecration
from one to the other, it must have been even more
of St. Michael did work resume on the principal
pronounced.
church with the addition of a new late Gothic choir
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(1454–70) and renovation of the nave (1480–93).37
the charnel house provide an excellent idea of its
As Zilkens has observed, the late work on the
exterior appearance before it was torn down in the
parish church incorporated stylistic elements found
early nineteenth century. Johann Ludwig Schäffer’s
in the charnel house. Particularly in details of the
color-washed ink drawing, dated 1729, presents a
architectural ornament adorning the buttresses
polygonal chapel, much taller than its neighboring
of the south side of St. Valentin—the side facing
buildings, with a large fenestrated upper story and
the cemetery and St. Michael—the patrons and
a shorter lower story (fig. 48). It shows the chapel
architects cited the earlier charnel-house chapel.
from the west. An outdoor staircase leads up from
The heavy concentration of ornament—with dense
the bottom of the page to a rectangular building
crocketing articulating spires and ornate, interwo-
adjoining the upper story of the octagonal chapel
ven ogival arches capping recessed niches—echoes
on its northeast side. A red legend at the top of the
between the two buildings. Here again the color of
page identifies this as “2. The passage to the library
the stone and the painted finish of both churches
[Der Gang zur Bibliothec].”39 Also included are “1.
emphasize their close relationship. Claudia Wels
Sexton’s house [Küster oder Kircheners Haus],”
has gone so far as to suggest that the construction
“3. Stone staircase [Steinerne Treppe],” and “4.
of the charnel-house chapel in Kiedrich and the
Supporting arch or vaulted passageway whereon
subsequent rebuilding and extension of the choir
the library stands [Schwibbogen oder gewölbter
of St. Valentin served as an instrument of political
gang worauf die Bibliothec stehte].” A second,
control whereby the city incrementally claimed
green-washed cartouche identifies the view as “St.
its patronage rights over the church, much as
Michael’s Chapel, that is, the public library [that]
Rothenburg did during the fourteenth century. The
will be abandoned” (St. Michaelis Capelle / also
architecture of both Kiedrich buildings used cita-
Bibliotheca / publica aufgehoben wird).
tions of important regional models to demonstrate
prestige, Wels argues, resulting in a Steigerung, or
tially obstructed from view by a low wall, stands on
intensification, of architectural ornament, which
arches opening toward the north, northwest, west,
placed the two buildings in close dialogue with
and southwest. These arches originally faced the
each other.
cemetery and marked the lower story as an exten-
sion of this sepulchral space. On the west face of
38
100
The cemetery was literally and figuratively cen-
The lower level of the octagonal chapel, par-
tral in the relationship between church and charnel
the chapel, over the lower-story arch, is a corbelled
house, as it provided a functional link between the
balcony with a door at back and a half-timbered
two sacral buildings and an intermediary space
balustrade at front that served as an outdoor pulpit.
from which both could be seen across from each
Above the balcony, the wall continues to a gable
other. Nowhere was the relationship between
that supports a bell turret. The other visible faces
cemetery and ossuary, or indeed between char-
are each punctuated by a large window divided by
nel house and parish church, more pronounced
mullions into four lancets and filled with indistinct
than in Rothenburg, where the lower story of St.
tracery forms. Overall the chapel appears quite tall,
Michael opened through arches onto the sur-
with a definite vertical emphasis in the steep roof,
rounding land. Two eighteenth-century images of
large Gothic windows, and buttresses articulating
Riemenschneider in Rothenburg
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Fig. 48 Color-washed ink drawing of St. Michael by Johann Ludwig Schäffer, 1729. © Stadtarchiv Rothenburg ob der Tauber.
the corners of the octagon (see also fig. 43). The
the polygonal end of St. Jakob’s east choir frames
two stories are separated by a molding band and
the image on the left. Defining the square to the
thus clearly legible on the exterior of the structure.
north and occupying a central, though distant,
position is the Gymnasium, or schoolhouse, a late
The second, more detailed eighteenth-century
view of the Chapel of St. Michael is a colored
sixteenth-century structure with a projecting spi-
copperplate engraving attributed to Johann
ral-stair turret.
Friedrich Schmidt and dated 1762 (fig. 43). It
shows the populated square (previously the site of
Chapel of St. Michael, Schmidt’s rendition is
the cemetery) between St. Jakob and St. Michael
consistent with Schäffer’s view. It too shows the
from the south. Indeed, it underscores the visual
lower story open to the west through arches. The
dialogue between the charnel house and the parish
upper story of the octagonal structure boasts
church: the Chapel of St. Michael, seen from the
large windows, again divided into four lancets
southwest, bounds the image on the right, just as
but here clearly topped by fine tracery forms. A
In its depiction of the general forms of the
The Urban Complex
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flight of stairs winds behind the building, mount-
forms to those of the built monument, so the same
ing as it disappears on the northwest side of the
may be true for the charnel-house chapel.
octagon. The rectangular annex, a later addition
to the south of St. Michael’s, has a single molding
then, the Chapel of St. Michael once faced its
band, suggesting it too had two floors, and a pair
neighboring church, the Church of St. Jakob, with
of adjoined rectangular windows. The chapel’s
a pronounced facade. The polygonal terminus of
pyramidal roof rises steeply, its apex cropped by
St. Jakob’s east choir, with its tall lancet windows
the image frame. The bell turret, which held a
above a lower socle zone, confronted a counter-
bell donated by Jakob Nolt in 1479, rises over the
part in the octagonal Chapel of St. Michael, with
gable on the west facade of the structure.40 These
its two stories, dividing molding band, and Gothic
features appeared already in Schäffer’s view, with
tracery windows. The design of the charnel house’s
the difference that Schäffer’s pointed lower-story
lower story also made evident its conceptualiza-
arches are here shown round.
tion as an extension of the churchyard and thus
an integral component of the urban complex of
More clearly defined in Schmidt’s view are
the buttresses at the corners of the octagonal
Rothenburg.
chapel. The two shown fully are set back once at
the level of the curved upper zone of the window
includes one other important piece of information.
heads. Those flanking the west face of the building
Through the two arches of the lower story visible
become more filigree above this and end in finial
in the print can be glimpsed the interior vaulting
bouquets. In contrast, the buttress between the
as well as trellised arches in the north part of the
southwestern and southern faces of the chapel
space. These gated arches appear to section off the
continues unadorned to the cornice, where it
back of the octagon with a pierced wall. The trel-
terminates in a simple pyramidal cap. The balcony,
liswork presumably controlled physical access to
familiar from Schäffer’s view, protrudes from the
the space beyond without restricting its visibility,
west wall, topped by a slanted roof supported by
and it is likely here that the bones of the dead were
slender posts, one at each corner and one in the
stored.42
center. A round-arched doorway feeds into the
space beyond. On this facade, Schmidt lightly
story arches of St. Michael as “[s]upporting arch or
sketches stone coursings, presumably an indication
vaulted passageway whereon the library stands,” is
of ashlar masonry though possibly also a regulariz-
significant in this context. The notion of a “pas-
ing painting program.
sageway” reflects not only the eighteenth-century
take on the structure—which served as the city’s
41
102
Like the surviving two-story charnel houses,
The relative precision with which Schmidt
Though difficult to decipher, Schmidt’s view
Schäffer’s legend, which identifies the lower-
renders St. Jakob suggests that his image of St.
library beginning in the mid-sixteenth century—
Michael’s is for the most part trustworthy. Early
but also its likely use in the fifteenth century. Like
modern artists, however, often invented details
the lower story of the charnel-house chapel in
such as the tracery forms in the windows. Those
Kiedrich (fig. 49), the ossuary of the Rothenburg
shown in the windows of the east end of St. Jakob
charnel house was divided into two spaces: the
correspond in lancet number but not in decorative
stacked bones were relegated to one side of the
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Fig. 49 Interior of the lower ossuary of St. Michael in Kiedrich toward the east.
ossuary chamber, while the other side was used for
chapel.47 Within this context, the altar dedications
processions.43
offered reminders not only of death but also of the
promised resurrection and judgment to come.
In this location, the skeletal remains were shel-
tered by the upper-story chapel both physically and
The construction of the west end of St. Jakob,
spiritually. Here, the chaplain of St. Michael held at
from 1453 to 1471, added to the already strong
least four services a week, periodically descending
connections between the parish church and the
the stairs to sprinkle the remains with holy water.44
freestanding charnel house. Indeed, the archi-
For these services the charnel house in Rothenburg
tectural ties between St. Michael and the west
had its own set of vestments and liturgical fur-
end of St. Jakob, with its elevated Chapel of the
nishings, listed in an inventory from 1543 as “four
Holy Blood, are so strong that early scholarship
liturgical vestments with all accessories and four
on Rothenburg proposed the Niclaus Eselers as
corporals, which belong to the blessed holdings of
architects of both buildings.48 Nevertheless, since
the charnel house.”45
the Eselers are not documented in connection with
The two altars of the elevated chapel—one dedi-
Rothenburg until 1449, it is unlikely that they had a
cated to Saint Michael, the protector of souls, in the
role in the design of the chapel. It is, however, clear
east, and the second dedicated to the Holy Cross
that they took into account the earlier chapel in
in the north—befitted the shielding role of the
their design of the western pilgrimage chapel of St.
charnel house. Sources indicate that on All Saints’
Jakob after arriving on-site.
Day a memorial service for the dead was said in
the Chapel of St. Michael, and it is likely that on
Holy Blood, were linked through their design in
the following day, dedicated to All Souls, the chapel
three striking ways. First, their position on axis
also featured prominently. These were just two of
at opposite ends of the parochial complex set
several feast days on which celebrations included
them up as counterpoints. Second, they related in
processions to and through the charnel-house
composition, sharing the similar spatial scheme
46
The two chapels, of St. Michael and of the
The Urban Complex
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of an elevated late Gothic chapel positioned above
miracle-working blood relic had no permanent
an open passageway. Third, each chapel included
home, and it is possible that St. Michael served as
a projecting pulpit, ideally suited for the display
a temporary location for its display. Clearly, it was
of relics before a crowd. For St. Michael, this was
in the city’s interest (financially and otherwise) to
the outdoor pulpit set in its western facade; for
keep pilgrimage to the relic active during construc-
the Chapel of the Holy Blood, it was the pulpit
tion. Ellringen’s dated miracle accounts indicate
that projected at the center of the western gallery
that the relic performed miraculous healings into
within the church (figs. 9 and 43). Considering
the 1380s and then again, after a pause, beginning
that processions—such as the one held annually on
in the 1430s.53 This pause in recorded miracles
Church Consecration Day—periodically charted a
corresponds closely to the period of construction
path from one chapel to the other, medieval visitors
on the two-story Chapel of St. Michael and makes
would have noticed these connections.
it likely that the chapel served as a temporary
49
At Kiedrich the outdoor pulpit is the most
continued to feature in processions of the relic, as
as well (fig. 47). The platform sits beneath a
in Kiedrich, after the completion of the new Chapel
deep ogival arch, has a tracery balustrade, and is
of the Holy Blood.
accessible through a door in the north wall of the
upper-story chapel. Friedrich Wilhelm Fischer has
construction chronology corroborates the impres-
convincingly argued that the two-story Kiedrich
sion given by its formal appearance, disposition,
chapel related to a tradition of medieval Heil-
and function: that it was closely integrated into
tumskirchen, or reliquary churches, intended to
the urban complex of Rothenburg. It was built by
display relics from an elevated position in front of
the city between the completion of the nave and
a gathered crowd. On important feast days the
the start of work on the west end of St. Jakob, as
relics of Saint Valentine were taken from the parish
attested by a series of surviving textual sources.
church in procession through the churchyard and
Unfortunately, the financial records of the parish
displayed from the outdoor pulpit of St. Michael.52
fabrica do not survive for the period of the chapel’s
In this elevated location they were visible to a large
principal construction campaigns.54 The first doc-
audience.
ument proving a sense of progress on the project
is the record of the chapel’s first consecration, on
50
51
104
home for the miracle-working relic. Perhaps it even
striking exterior feature of its principal facade
Constructed between 1434 and 1444 and
What we know of the Chapel of St. Michael’s
consecrated in 1445, the Chapel of St. Michael
October 25, 1411. This included an indulgence of
in Kiedrich was an exact contemporary of the
forty days for heavy sins and one year for lighter
Chapel of St. Michael in Rothenburg, and the
sins of visitors to the chapel on the anniversary of
charnel-house chapel in the Franconian Reichsstadt
its consecration (the Feast of St. Michael), on listed
may have had a similar function of relic display.
feast days, or on Sunday.55 Though a consecration
Between the destruction of the old Chapel of the
does not always correspond to the completion of
Body and Blood of Christ around 1388 and the
a building project, here it probably indicates that
completion of the new Chapel of the Holy Blood
work was under way and that an altar had been
in the west end of St. Jakob in 1471, Rothenburg’s
established. By 1435 the upper-story chapel must
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have been well advanced, because in that year the
final consecration ceremony in 1485. The resultant
two-time widow Selena Langmantel, to commem-
program and architecture formed a tightly knit
orate her late husbands, made an endowment to
complex, with a structured visual and ideological
religious institutions throughout Rothenburg that
dialogue unfolding in the space between St. Jakob
included services in the Chapel of St. Michael.
and St. Michael.
Langmantel’s bequest for the celebration of a Mass
in perpetuity was confirmed in May 1449, by the
fabrica that the Chapel of St. Michael continued
commandery of the Teutonic Order in Rothenburg
to be considered part of the parish fabric after its
and Bishop Gottfried IV of Würzburg.
completion. References to the charnel house punc-
tuate accounts related to the Church of St. Jakob,
56
57
In the same year, 1449, an inscription tablet was
It is clear from the financial records of the
placed in the northern wall of the upper chapel to
to the urban complex, and to a wider network of
commemorate a second consecration and indul-
chapels throughout the city. For example, an entry
gence. This time it was Auxiliary Bishop Hermann
recorded on October 12, 1488, three years after
von Akkon representing Bishop Gottfried IV of
the consecration of the urban complex, notes “2
Würzburg who, on April 27, consecrated the chapel
flor 3 lb 5 d for glass to be installed in the parish
to the patron saints Michael, Gregor, Lucia, Ottilia,
church, on the charnel house, and in the Chapel
Jodocus, and Christopher. The celebration of the
of Our Lady, which the weather and the hail
consecration was set for Quasimodo Sunday (the
destroyed.”60 Thus repairs on the windows of three
Sunday after Easter) and again included an indul-
separate buildings (St. Jakob, St. Michael, and the
gence of forty days for heavy sins and one year for
Marian chapel on the Milchmarkt) damaged in a
lighter sins.
hailstorm were included in a single payment. Both
during the initial construction and for later repairs,
58
Though they cannot provide an absolute
chronology for the building campaigns of the
the same craftsmen worked on St. Michael and St.
chapel, these dates are nevertheless points of
Jakob, and expenses for work on St. Michael con-
reference for its construction. Accordingly, the
tinued to be seamlessly interspersed among entries
Chapel of St. Michael was built on the heels of
related to St. Jakob and the parish’s other chapels.61
the nave of St. Jakob and completed just before
Funded by the same means, constructed by the
work began on the west end of that church. In
same teams of masons, and administered by the
other words, what appears to be a halt in the
same city-appointed caretakers as served the parish
construction of the parish church, when St. Jakob
church, the Chapel of St. Michael was a distinct
is considered alone, is instead a shift in the focus
yet integral component of the urban complex of
of construction to complete the Charnel-House
Rothenburg.
Chapel of St. Michael before turning to the western pilgrimage chapel of the complex.59 Considered in this way, St. Michael must be seen as one compo-
The Altarpiece of the Holy Cross
nent in an uninterrupted campaign on the urban complex of Rothenburg during the century from
Three to five years after the last pieces of the Altar-
the laying of the nave cornerstone in 1373 to the
piece of the Holy Blood were mounted in the west
The Urban Complex
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Fig. 50 Holy Cross Altarpiece by Tilman Riemenschneider now in Detwang. Fig. 51 Reconstruction of the Holy Cross Altarpiece now in Detwang. Courtesy of Eike and Karin Oellermann.
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end of St. Jakob, Riemenschneider carved another
altarpiece spanned 4.09 meters (13 ft. 5 in.). The
altarpiece for the city of Rothenburg with the Cru-
superstructure, forfeited when the altarpiece was
cifixion as its central scene. Though the original
installed in Detwang, would have added substantial
location of this altarpiece has been debated, I argue
height to the retable as well, and with it, the Oell-
that it most likely stood on the altar of the Holy
ermanns estimate the retable once rose to a total
Cross in the upper-story chapel of St. Michael.
height of 5.10 meters (16 ft. 8 ¾ in.) (fig. 51).63
Recontextualizing the altarpiece, now in Detwang,
within its original setting in Rothenburg demon-
date of the retable, the current understanding of
strates that the iconography of Riemenschneider’s
Riemenschneider’s stylistic development generally
composition was designed to complement both the
leads scholars to place it between 1508 and 1513.64
spatial logic of the charnel-house chapel and the
The altarpiece in Detwang certainly seems to be
broader thematic program of the urban complex.
the work of a mature artist at the height of his
achievement. The crisp yet deep and graceful folds
Today the Holy Cross Altarpiece by Riemen-
Though scholarship is divided as to the exact
schneider stands crowded into the small square
that articulate the drapery of Mary and the other
choir of the Church of Sts. Peter and Paul in
mourners (fig. 52), their soft fleshy hands, and the
Detwang (fig. 50). The central shrine of the
painful naturalism with which Christ’s feet are
triptych encases an image of Christ crucified
depicted nailed to the cross evince both a technical
with two figural groups huddled near the base of
and an artistic mastery of the medium. The heavily
the cross—mourning women and Saint John the
clothed figures at the foot of the cross contrast with
Evangelist on Christ’s right, scowling men on his
Christ’s slender, molded body above. With drawn
left. A man in a military shirt and floppy hat in
brow, sunken cheeks, and parted lips, he appears to
this second group seems to stare intently at Christ’s
breath his last as his head falls forward (fig. 53). The
knee. This misguided gaze is neither prophetic nor
delicate creases of the loincloth pulled taut across
programmatic but rather the result of cutting the
his hips transition to deeper folds at its fluttering
central piece down in width when it was relocated
ends. The quiet sorrow expressed in the huddled
to Detwang. The wings of the altarpiece, displaying
figures at the base of the cross, visible even in the
low-relief scenes of the Mount of Olives (left) and
concerned faces of the soldiers grouped around
the Resurrection (right), preserve their original
Caiaphus, gives way to an airy space above, in
form and therefore, when added together, as they
which Christ’s final breath appears a release born
would be when closed, provide the original mea-
upward by a breeze that catches his loincloth and
surements of the central shrine. According to the
once also buoyed the wings of attendant angels.
reconstruction proposal made by Eike and Karin
Oellermann after their restoration of the altar-
further the sense of transition from weighty
piece in the early 1990s, the central shrine, now
solemnity to airy reprieve. The left scene, of the
forty-four centimeters narrower, once included
Mount of Olives, is scoured by sharp folds and
three additional standing figures, a kneeling figure
jagged rocks. The sleeping trio of apostles in the
of Mary Magdalene at the base of the cross, and
foreground fills the frame, creating a dense group
angels surrounding Christ. With open wings, the
behind which Jesus appears isolated yet crowded
62
The reliefs on the retable’s moveable wings
The Urban Complex
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Fig. 52 Detail of the mourning group from the central shrine of the Holy Cross Altarpiece now in Detwang.
108
by rocky outcrops (figs. 50 and 54). He kneels,
the subtle torsion in Christ’s body creates momen-
hands folded in prayer, and gazes upward to a now-
tum as he steps forward, and on to the lower right
lost apparition. The composition of the right wing,
corner, where an awakened guard kneels and
depicting Christ’s resurrection from the tomb, is
raises his hand as if to shield his eyes from Christ.
strikingly different. The positioning of figures and
Conceived as a tightly knit triptych, the principal
features of the landscape creates a sense of space
scenes of the altarpiece not only narrate a sequence
that surrounds the frontal figure of Christ (fig. 55).
of Christological stories but also convey an emo-
He strides toward the viewer, his loose drapery
tional trajectory from the painful anticipation of
billowing out behind and to his left. The flag hung
Christ’s death at the Mount of Olives, through the
from his staff, too, is caught in the gust of wind
sorrow and release of the Crucifixion, to the vital
that blows from the viewer’s left to right across the
wonder experienced at the Resurrection.
scene. A diagonal axis, accentuated by the strong
line of Christ’s tomb slab, flows from the rear left
published a source pertaining to the Detwang
corner of the composition, where the three Marys
altarpiece that proved the retable once stood in
appear to enter through a gate, to the center, where
a church in Rothenburg: the financial ledgers of
In 1925 Paul Schattenmann discovered and
Riemenschneider in Rothenburg
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Fig. 53 Detail of Christ on the cross from the central shrine of the Holy Cross Altarpiece now in Detwang.
Detwang include an entry from 1653/54 reporting
the Charnel-House Chapel of St. Michael and the
that an altarpiece was “dismantled, brought down,
church of the Dominican convent, which once
and reassembled” in Detwang. Since Detwang
stood two blocks to the northwest of St. Jakob but
lies in the Tauber River valley less than two miles
was torn down in 1812.67
(about 2 km) from Rothenburg, this source
confirms that the altarpiece originally stood in
what we can reconstruct of the scale of the two
the hilltop city and that it was disassembled and
proposed locations, the Chapel of St. Michael
reconstructed in altered form for the small Church
is the more likely original setting.68 The textual
of Sts. Peter and Paul.66 The two primary contend-
sources indicate that an altar dedicated to the
ers for its original installation in Rothenburg are
archangel and endowed with a benefice existed in
65
Given both the documentary evidence and
The Urban Complex
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Fig. 54 Detail of the sleeping apostles from the left wing of the Holy Cross Altarpiece now in Detwang.
the chapel by 1449; that in 1479, 1503, and 1522 an
the altarpiece now in Detwang would not have fit
altar of the Holy Cross (“altare sanctae crucis”)
beneath the west gallery of the Dominican convent
was the location for the presentation, investiture,
church but would have had ample space within the
and collation of the chaplains of St. Michael; that
upper-story chapel of St. Michael.72
in 1555 an altar mensa was dismantled there; that
in 1653 or 1654 the Riemenschneider altarpiece in
menschneider altarpiece now in Detwang made
question was brought down from somewhere in
two discoveries that also seem to corroborate its
Rothenburg to its current location in Detwang; that
original placement in the Chapel of St. Michael
in 1747 Johann Georg Bezold recorded the presence
in Rothenburg. First, the surface on which the
of an altar mensa in the upper-story chapel of St.
altarpiece stands has a polygonal shape—effectively
Michael; and that the Chapel of St. Michael stood
a rectangle with the two back corners cut to give
until its demolition between 1804 and 1806.
it an unusual six-sided form. This may relate to its
intended placement against the wall of a polygonal
69
70
110
Though both the Chapel of St. Michael and
The last team of restorers to work on the Rie-
the Dominican convent church were torn down
space. Second, instead of having its own base, the
in the early nineteenth century, the buildings that
central shrine of the altarpiece sits directly on the
once abutted them survive and preserve valuable
predella as a kind of hutch, a construction unusual
material evidence (figs. 56 and 57). This makes
for such altarpieces. The absence of a bottom for
possible a rough reconstruction of the scale of both
the shrine would seem to indicate that it had to
the Chapel of St. Michael, with its two individual
be transported to its destined location in smaller
stories, and the western gallery of the Dominican
pieces and constructed on-site. As the Oellermanns
convent church, beneath which its Corpus Christi
have pointed out, these two discoveries can best be
altar most likely stood (figs. 58 and 59).71 These
explained by an original location in the elevated
reconstruction attempts support a conclusion that
octagonal chapel of St. Michael.73
Riemenschneider in Rothenburg
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Fig. 55 Resurrection scene on the right wing of the Holy Cross Altarpiece now in Detwang.
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(clockwise from top left) Fig. 56 Partially surviving wall of the Charnel-House Chapel of St. Michael in Rothenburg. Fig. 57 Aerial view of the location of St. Michael in Rothenburg, with the surviving staircase and partial wall. Fig. 58 Color-washed ink drawing of the Dominican convent church in Rothenburg by Johann Ludwig Schäffer, 1738. © Stadtarchiv Rothenburg ob der Tauber. Fig. 59 Surviving convent building with upper and lower doors to the destroyed Dominican convent church.
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The preponderance of evidence, thus, points to
(fig. 31); the Altarpiece of the Holy Cross begins
the upper-story chapel of St. Michael as the most
with a repetition of the Mount of Olives, takes the
likely original location for the altarpiece now in
Crucifixion for its central scene, and ends with the
Detwang. In Rothenburg the Holy Cross Altarpiece
Resurrection (fig. 50).
would have suited well the spatial and ideological
program of both the charnel-house chapel and the
of Olives scene, rather than redundant, would have
larger parochial complex. Through its iconography,
served as a transition that insisted on the close
the retable offered common artistic conceits of the
relationship between the two retables, encouraging
time, but the location in St. Michael would have
visitors to read them as part of the same program
endowed them with additional local relevance. The
(figs. 60 and 61). It is true that Riemenschneider’s
program, centered on Christ’s death and resur-
workshop often repeated compositions in almost
rection, offered general hope of life after death,
serial fashion, a practice that has been investi-
but positioned above the skeletal remains in the
gated from the standpoint of workshop process.75
ossuary, this imagery would have read as a more
However, setting aside the practical and economic
specific promise of salvation for the local commu-
reasons for such repetition, the installation of two
nity. Paired with an altar dedicated to the angelic
altarpieces with a strong compositional over-
protector Saint Michael, the chapel served as a
lap within the same urban complex would have
kind of local Golgotha, with the dead taking the
made a visual statement. For one, it means that
place of Adam’s bones beneath the cross. Given
the representatives of the city who commissioned
that the cross reliquary containing Rothenburg’s
both pieces within a matter of years and specified
Holy Blood also included a piece of “the stone on
the iconographic program of each retable chose to
which the cross of Christ was erected,” it is possible
repeat a scene. For another, in returning to the same
that the Crucifixion scene carried additional local
workshop for both commissions, the city would
significance by calling to mind a specific object in
clearly have intended a stylistic affinity between
the parish’s holdings.
the two pieces. This is all the more apparent in
that both altarpieces were never polychromed but
74
In addition to the importance accorded the
In such a pairing, the repetition of the Mount
altarpiece by its spatial setting, its relationship to
instead left holzsichtig (literally “wood-visible”), an
other components of the complex, in particular
uncommon choice at the time. The resultant pair
to the Altarpiece of the Holy Blood, would have
resonated strongly in everything from details in the
created a unique program found only in Rothen-
treatment of hair, hands, folds, and facial types to
burg. In the parish complex at the heart of the
compositional choices, to the evocation of a con-
city, the Altarpiece of the Holy Cross in the upper
templative mood. These affinities would not have
chapel of St. Michael would effectively have con-
been lost on the patrons or on visitors who joined
tinued the program of the Holy Blood Altarpiece
in ritual activities linking both spaces.
in the west end of St. Jakob: the triptych of the
Holy Blood Altarpiece begins with the Entry into
iconography of each altarpiece would nevertheless
Jerusalem, then shows the Last Supper in its central
have been uniquely suited to its individual setting:
shrine, and concludes with the Mount of Olives
the Holy Blood Altarpiece, with its assertion
Although strongly related to each other, the
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Fig. 60 Mount of Olives scene on the right wing of the Holy Blood Altarpiece in Rothenburg. Fig. 61 Mount of Olives scene on the left wing of the Holy Cross Altarpiece now in Detwang.
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of the origin of the Eucharistic feast in the Last
field within which visitors experienced artistic
Supper, displayed the city’s miracle-working blood
ensembles as intentional programs, despite their
relic and accompanied the weekly celebration of
aggregation over centuries.
ocular Communion; the Holy Cross Altarpiece,
with its focus on the death and resurrection of
urban complex of Rothenburg encouraged visitors
Christ, promised protection and resurrection for
to recognize central themes that repeated in its
the dead in the lower ossuary. At the heart of both
different visual environments. The combination
altarpieces was the promise of salvation through
of four unusual features in Rothenburg’s parish
the body and blood of Christ, though one was
center—the opposed apses of St. Jakob, its west-end
addressed primarily to the living community of
chapel elevated over a passageway, the location of
Rothenburg (Holy Blood), the other to the dead
the freestanding charnel house to the east of the
(Holy Cross), and one foregrounded a specific
main apse of St. Jakob, and the parallel east–west
healing relic of Christ’s blood, while the other
altars of the Holy Blood and Holy Cross, set in
emphasized his sacrificed body.
their respective buildings’ second stories—com-
The spatial system of the architecture in the
pelled a consideration of the spatial, figurative, and devotional complex as a whole.
The Artistic Program of the Urban Complex
The themes encountered in Riemenschneider’s
Altarpieces of the Holy Blood and Holy Cross were Although not planned in a unified and prescriptive
not newly introduced by these pieces; they were
way from the start, the urban parochial complex
woven throughout the wider program of the urban
in Rothenburg nevertheless followed a spatial,
complex long before Riemenschneider first came to
functional, and iconographic logic that unified its
Rothenburg. Of course, it is impossible to recon-
disparate elements into an evocative multimedia
struct the full artistic landscape of the city’s parish
program. While art history as a discipline, and
center. It once included hundreds of monuments
medieval art history in particular, has tended to
marking burial sites, and more ephemeral instru-
organize objects by medium, medieval people
ments of commemoration such as candles and
experienced and navigated artistic programs
fabrics that have long disappeared. Sources indicate
through iconographic themes. The late medieval
that by 1807 at least fourteen metal plaques had
viewer undoubtedly understood that a Mount of
been removed from the Church of St. Jakob, and
Olives in stone and a Mount of Olives in wood
in 1825 several more bronze epitaphs weighing a
were related objects. Like other elaborate ensem-
total of 6.5 centners (about 325 kg) were sold to a
bles, the one in Rothenburg offered a web of
bell maker in Nuremberg.77 Numerous paintings,
diverse correspondences, which integrated earlier
too, were removed from the church at this time,
commissions into a continually developing pro-
and in 1854 Karl Alexander von Heideloff received
gram. Following the art and spaces of Rothenburg’s
permission to further clear the church of altar
urban complex thematically allows us to recuperate
tables, galleries, and all postmedieval additions.78
associations that may have been more apparent
The material evidence of the rich tradition of com-
in the past, providing an idea of the intricate
memoration and intercession in Rothenburg has
76
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Fig. 62 High altar and sacrament niche in the east choir of St. Jakob in Rothenburg.
116
thus largely vanished. The exception is a number
Jakob was built, in the third quarter of the fifteenth
of monumental works that were retained over the
century, it was dedicated simply to the Holy Blood,
centuries and that can still provide a glimpse of the
though the earlier chapel it replaced had been
original artistic program.
dedicated to the body and blood of Christ.79 This
shift in nomenclature not only underscores the rise
Two interconnected themes, in particular, seem
to have dominated the late medieval artistic pro-
in importance of the local blood relic but also hints
gram, judging by these survivals: one, the emphasis
at a spatial restructuring of the theme.
already noted on the body and blood of Christ,
and two, the focus on death and the promise of
presence of Christ existed in each species of the
resurrection.
Mass and in every particle of consecrated bread
and wine.80 This meant that a reference to one
The theme of the Holy Body and Blood of
The theory of concomitance held that the total
Christ was an old one in Rothenburg, but from the
substance sufficed to recall the full promise of the
last quarter of the fourteenth century through the
Eucharist. In late medieval Rothenburg, however,
first quarter of the sixteenth century, it rose to new
it is notable that blood was stressed alongside
prominence there. When the new west end of St.
more ubiquitous images of Christ’s sacrificed body.
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In the particular local context, this insistence on body and blood recalled the active power of blood-become-relic.
Already in the late fourteenth century, an elab-
orate visual program was added to the east choir of St. Jakob to incorporate this theme. About 1390 the city-appointed administration of the church oversaw the commission of two prominent pieces to refurbish the choir. Although individual donors may have been involved in funding these projects, their prominent and integral locations would have necessitated the approval of the appropriate authorities. Together, the new sacrament niche and stained-glass windows visualize the promise contained in the body and blood of Christ. The elaborately sculpted sacrament niche in the north wall of the choir is the more conventional of the two additions, articulating the real presence of Christ in the Eucharist primarily through a focus on his body (fig. 62).81 But one of the two windows added to the choir terminus at the same time is very unusual and notably highlights the Eucharist in both species, bread and wine, with a particular
Fig. 63 Detail of the middle register of the south stained-glass window in the east choir of St. Jakob in Rothenburg.
focus on the active role of Christ’s blood.
The unique program of the south stained-glass
choir window elaborates the redemptive power of
The many visual repetitions between the scenes
Eucharistic bread and wine by connecting them
of the window invite the viewer’s gaze to wander
directly to the body and blood of Christ on the
through the composition, constantly revisiting
cross. From top to bottom, the window shows
groups to find new parallels.
God the Father, the Old Testament story of manna,
Abraham, a priest celebrating Mass (hereafter
vertically aligned representations of Christ on the
called the middle register), purgatory, and the
cross. The first appears in the large Crucifixion
Crucifixion (hereafter called the bottom regis-
scene of the bottom register. The other two fall
ter). Detlef Knipping has argued that the window
in the middle register, in the scene of the priest
must be read from bottom to top. However, the
celebrating Mass: Christ on the cross appears in
complex web of visual parallels and thematic
the depicted altarpiece and again sprouting from
correspondences throughout the window seems to
the host elevated by the celebrating priest (fig. 63).
promote a holistic reading rather than a linear one.
Therefore, already in the repeated imagery of the
82
83
The central axis of the window includes three
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Crucifixion, the historic body of Christ on the
in prayer, but instead of the devils typical of repre-
cross (the large Crucifixion) is related to repre-
sentations of hell, angels administer to the tortured.
sentations of Christ in figural art (the depicted
These angels pour liquid for the penitent to drink
altarpiece) and to his real presence in the Eucharist
(on the left) and carry purified souls upward (on
(the elevated host).
the right). An inscription bounding purgatory
states: “The sacred offerings of Saint Gregory bene-
The bottom register of the window, in par-
ticular, relates the benefits of the sacraments to
fit the souls.”86 The souls are thus said to profit from
Christ’s sacrifice (fig. 64). Flanking the large image
the offerings of the Mass, a concise statement of the
of Christ crucified that fills the central panel of
window’s theme: salvation through the Eucharist.
this register are scenes of Mass and baptism. From
Within Rothenburg’s parish church, the thematic
Christ’s hands, nailed to the cross, emerge two
program of this unusual stained-glass window
thick streams of blood that flow to the flanking
would have resonated with the liturgical celebra-
panels. On the left, a priest catches the blood in
tions of the Mass as well as with the pilgrimage to
a chalice he holds aloft during the celebration of
the sacramental relic of the Holy Blood. After all,
Mass. On the right, the blood stream lands in a
the healing relic of Rothenburg was three drops
large baptismal font in which a living child is being
of Eucharistic wine that actively protected its
baptized. Around Christ float angels, some carry-
devotees.
ing souls of the purgatorial dead, or Armeseelen,
in their arms. One angel lifts up a praying soul
through materials of Christ’s body to the story of
to make contact with the blood that flows from
his death and resurrection and to the promise of
Christ’s side wound.
life after death offered to all other Christian souls.
84
Throughout the program, the blood of Christ
This program also connected powerfully
Indeed, the south stained-glass window of St. Jakob
assumes an active role. It flows directly from
rises alongside a somewhat older central window
Christ’s wound into the chalice of the celebrat-
(ca. 1340–50) showing scenes of Christ’s life and
ing priest, making a strong visual argument for
death, thereby presenting the parallel visually. The
transubstantiation. The consecrated wine is the
axial window is composed of four lancets with a
blood of Christ shed on the cross, and it is through
typological frame of Old Testament prophets who
the outpouring of this blood that the souls held by
stand in fantastic architectural tabernacles and
angels are purified. This power of purification is
turn toward the central narrative scenes. Individ-
reiterated in the scene of baptism. Here, the blood
ual banderols identify these witnesses by name,
of Christ on the cross becomes the water of bap-
while a continuous red band carries their biblical
tism that purifies a living child as well as the souls
texts around the borders of the window. With two
of the dead.
scenes to a row—read from left to right and bottom
to top—the sequence of central panels shows the
85
The rare representation of purgatory and its
accompanying inscription articulate the stakes of
Annunciation, the Visitation, the Nativity, the
the window’s message. Purgatory, crowded with figures in a fiery setting, divides the bottom register from the middle one. Nude souls fold their hands
118
Fig. 64 Bottom register of the south stained-glass window in the east choir of St. Jakob in Rothenburg.
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120
Adoration of the Magi, the Flight into Egypt, the
Supper in the central window and again among
Baptism of Christ, the Last Supper, the Mount
the manna in the parallel register of the south
of Olives, the Betrayal of Christ, the Trial Before
window—demonstrate the extent to which the
Herod, the Flagellation of Christ, the Crown-
newer commission responded in detail to elements
ing with Thorns, Christ Carrying the Cross, the
already present within the artistic environment.
Crucifixion, the Deposition, the Burial, and finally,
The resonance among artworks in the newly
beneath delicate Gothic microarchitecture, the
refurbished choir crafted a program that was site
Resurrection and the Harrowing of Hell. The four
specific both in its particular combinations and in
Evangelists at the bottom and two angels at the top
its engagement with the local devotional context.
of the window complete the program.
The beliefs espoused were commonplace, but
their manifestations in Rothenburg were new and
It is notable that the widow terminates with the
Resurrection and the gates of hell. In the topmost
distinctive.
level of the lancets, just beneath the tracery, a red
text band forms a basket arch with the inscribed
like that of the east choir, could extend beyond
words “Resureccio Domini” (Resurrection of the
the single environment and resonate across the
Lord). This text gives the culminating theme of the
broader complex. Sometime after the glazing of the
window, Christ’s resurrection from the dead. The
central window but before the glazing of its south-
figure of God the Father, present in many compa-
ern counterpart, circa 1360–80,87 a novel sculptural
rable window programs, and Christ’s Ascension
composition was added to the exterior of the choir,
into Heaven are absent. In both final scenes Christ
which ultimately drew the themes of the interior
holds a staff with a golden cross on it. The cross
program beyond the walls of the church and into
has trilobed termini and resembles the reliquary
the space of the cemetery. Positioned against the
cross now set in the altarpiece of the Holy Blood
exterior surface of the central choir window stands
in the west end of the church. The window thus
a Man of Sorrows—the popular late medieval
emphasizes Christ’s death and resurrection, with
image type of the resurrected Christ displaying his
a possible reference to the local blood relic and a
wounds—that summarizes the ideological content
reminder of the souls in hell (or purgatory) await-
of the program in stained glass. Though two coats
ing their liberation.
of arms at its base identify the figure as an indi-
vidual donation, the intricate incorporation of the
The addition of the south stained-glass widow
The implications of an artistic program,
acted as a gloss on this older central window,
group into the architecture of the church, before
with its program of narrative scenes from Christ’s
the axial stained-glass window, again suggests that
life. The idea of salvation through Christ’s sacri-
the church fabrica must have approved and over-
fice, with which the central window culminates,
seen the installation of this prominent addition.88
receives expanded treatment in the south window,
linking the promise more directly to the institution
central window of the choir is true to the medieval
of the Mass and the agency of Christ’s blood. Subtle
original, although both the original stone setting
correspondences between the two windows—such
that delicately supported the figure in front of the
as the inclusion of a pretzel on the table of the Last
stained glass and the life-size sculpture itself have
The position of the Man of Sorrows before the
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Fig. 65 Man of Sorrows group on the exterior of the east choir of St. Jakob in Rothenburg.
been replaced with limestone copies.89 Today the
transitional position is emphasized by the stepped
life-size figure of the Man of Sorrows forms the
platform of openwork tracery on which the figures
center of a cluster of sculptures, but only one other
stand.
figure, that of Christ at the whipping post directly
above the Man of Sorrows, demonstrably belonged
in the region. The sculpted program of the
to the medieval ensemble (fig. 65). Centered
sacrament niche of St. Sebald in Nurnberg, for
on the eastern terminus of the church, the group
instance, stretches up into the window zone, where
stands before the molding dividing the socle
Christ appears in the Second Coming, framed by
from the window zone. It thus bridges the strong
an ornate arch and backlit by the window glass.
horizontal band of the lower wall and aligns with
The striking placement of the Man of Sorrows
the vertical stretch of the choir windows.91 This
group in Rothenburg may similarly have carried
90
Though rare, such a position is not unknown
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With a striking directness, the Man of Sorrows
displays both his wounds, the evidence of his suffering and death, and his vitality, the proof of his resurrection. Although strongly weathered, the preserved original still retains traces of the thick drops of blood that spill from Christ’s open wounds (fig. 66). Christ holds his right hand, marked by its deep nail wound and petallike blood drops, close to his side wound, emphasizing the latter through gesture.92 Together with the smaller figure of Christ at the whipping post, the Rothenburg Man of Sorrows addressed its audience and the medieval cemetery with a timeless visualization of Christ’s suffering.
Gerhard Weilandt has argued that the medi-
eval Man of Sorrows was not simply an object for human pietas (sympathy) but represented Christ as the embodiment of divine misericordia (mercy).93 Often included in epitaphs or positioned in proximity to graves, the Man of Sorrows became a popular motif of memoria.94 Anniversary-day processions, such as those described earlier, visited gravesites while reciting the Miserere, which asked Fig. 66 Original Man of Sorrows figure. © RothenburgMuseum.
God for mercy for the dead. The image of the Man of Sorrows effectively made permanent this ritually vocalized appeal.
122
iconographic meaning by underscoring Christ’s
Repetition of the Man of Sorrows within a
resurrection and the liminal period between his
single church program was common. In the pre-
death and ascension. Not only does Christ ascend
served furnishings of St. Jakob in Rothenburg, the
from the earth-bound zone of stone to the ethereal
Man of Sorrows appears several times: in addition
realm of light represented by the glass, but the
to his position facing the cemetery, he is found
group inverts the traditional relationship between
in the crest of Riemenschneider’s Holy Blood
artistic media: whereas stone generally holds glass,
Altarpiece, beside the sculpted sacrament niche
here glass seems to support stone. This inversion
of the east choir, in the crest of Friedrich Herlin’s
and the play on the contrast between the solid mass
retable for the high altar, as a painted half figure on
of the stone sculpture and the fragile medium of
the back of the same retable, and as a stone figure
glass may offer a symbolic-material iteration of the
in the north side aisle of the nave. Here, then, was
promise that out of death will come life.
an image type that connected two primary themes
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of the church: Christ’s body and blood, particu-
program and gently shift the nature of the assem-
larly as related to the Eucharist, and the promise
blage can be demonstrated with one further
of resurrection. Although each Man of Sorrows
example. A figure of Saint Michael slaying a dragon
figure in Rothenburg was made at a different time,
now stands on its console beside the sacristy door
by a different artist, and for a particular setting,
in the choir of St. Jakob (fig. 69).98 This figure of
together they formed an iconographic program
the archangel was an individual commission that
that stretched throughout the urban complex.
was integrated into the thematic program not long
Repetition was not redundant but rather served as
after the final consecration of the Charnel-House
a means of organization that punctuated the medi-
Chapel of St. Michael. In its original installation
eval Christian spaces with familiar image types.
within the easternmost bay of the north side aisle
of St. Jakob, “over the door behind the pulpit,” the
By the end of the fifteenth century, several
monumental stone groups—including the Man
polychromed statue, console, and now-lost accom-
of Sorrows (ca. 1360–80), a Mount of Olives (ca.
panying inscription plaque formed a group that
1450–60 and 1505–7),95 a now-lost Crucifixion
commemorated the burgher Michael Offner, who
(ca. 1320–30), and a Second Coming (ca. 1310)
died in 1462 and was buried nearby,99 but it also
showing Christ in Majesty flanked by trum-
had broader significance.
pet-blowing angels above a Lichterker, or lantern
of the dead97—were positioned throughout the
asked for God’s mercy for the “respectable Michael
churchyard, promising the residents of Rothen-
Offner,” took the form of a metal trefoil with a coat
burg mercy and resurrection through the example
of arms at its center. In 1462 it joined a group of
of Christ (figs. 67 and 68). This program was
similar, often polylobed pieces that commemorated
articulated in three-dimensional sculpture: in the
specific dead within the church. Indeed, the fact
tactile and earthy medium of stone. The biblical
that many of the documented commemorative
history told in the ethereal medium of glass in the
inscriptions were inscribed as trefoils or quatrefoils
east choir of St. Jakob became more physical as it
shows that beyond serving as individual texts to
addressed the churchyard. At the same time, glass
be read, such inscriptions also functioned as visual
retained a symbolic role in the exterior program as
emblems—nonfigural programmatic reminders—
a nonfigural symbol of the divine. By the time the
of commemoration that worked collectively.
two-story Charnel-House Chapel of St. Michael
was constructed at the east end of the cemetery, the
of the north side aisle, the statue of Saint Michael
artistic topography of the parish churchyard must
extended the saint’s protection over a group of
have read like a miniature Jerusalem. The chapel
similar inscriptions and graves located within the
itself contributed to the complex eschatological
parish church, particularly over a dense cluster in
program that mediated between the living and the
the eastern bays of the nave side aisles.100 Indeed,
dead, the waiting ground of the cemetery and the
a spatial system seems to have guided the organi-
day of resurrection and judgment to come.
zation of individual monuments within the urban
complex of Rothenburg, demonstrating that even
96
How each addition to the visual field of the
urban complex could resonate with the broader
The accompanying inscription plaque, which
From its elevated position in the eastern bay
small individual commissions were subject to
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Fig. 67 Sculptural groups on the exterior of St. Jakob in Rothenburg that once overlooked the cemetery.
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Fig. 68 Original Christ in Majesty figure. © RothenburgMuseum. Photo by Hellmuth Möhring.
notions of appropriateness or decorum.101 Epi-
advance of private donations into the straight bays
taphs and tombstones filled the nave, clustering
of the choir—which the choir stalls and possibly a
especially in the eastern bays of the side aisles;
rood screen delineated as the realm of the Teu-
the east choir, by contrast, seems to have been
tonic Order104—may be taken as another visual
restricted to a particular form of commemorative
expression of the shift in power from the religious
object: a round wooden plaque commemorating
order to the city government, but it also points to
a dead civilian, often painted with both an image
the existence of unrecorded regulations, which
and an inscription. The first of these so-called
delineated the possibilities for individual commis-
death shields, in German Totenschilder, known
sions. Similarly, the consoles positioned around the
from Rothenburg sources dated to 1400.102 Around
eastern piers of St. Jakob, designed and built with
1420, at a time when the nave of St. Jakob was
the rising nave, made space for later sculptural
newly completed, the city experienced a significant
donations, thereby drawing together individual
increase in commissions for these round wooden
and iconographically diverse commissions.
plaques. When Bezold recorded the inscriptions
of Rothenburg, in 1747, these death shields pri-
role in the fate of the dead in the Middle Ages,
marily hung on the north and south walls of the
late medieval cities developed visual programs
choir, with a few exceptions located on the piers
to serve as constant reminders of the roles and
of the nave, and there is no reason to believe that
responsibilities of civic community. In Rothenburg,
this placement was not original, especially consid-
the donation of a piece that would join the artistic
ering the similar placement of death shields still
program of the parish complex was a means not
preserved in the parish churches of Nuremberg.
only of entering the reciprocal system of benefits
These plaques, then, were monuments permitted
promulgated by the Church but also of insert-
to enter the restricted east end of the church. This
ing oneself into the visual field that in its spatial
103
With the living playing such a determinant
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programming ensured a flexibility that could accommodate a wide range of contributors and contributions.
Conclusion Guided by a deep sensitivity to earlier commissions and to the shifting structures of patronage, the oversight committee of the parish fabrica in Rothenburg conceived of a set of spaces related through form, function, and iconographic theme that established a meaningful complex at the heart of the city. This provided the backbone of a system within which individuals could contribute pieces that gave them a visual presence within the community. Patrons exercised some freedom of choice in iconography, medium, and artist’s workshop, yet they remained bound by conventions and expectations set out by the extant program. These limits were seldom written down, yet they guided new commissions to such an extent that the new works often appear seamlessly integrated into the spatial environment. Fig. 69 Figure of Saint Michael slaying the dragon in St. Jakob in Rothenburg.
Though it is impossible today to reconstruct
Rothenburg’s urban complex comprehensively, the surviving fragments evince striking relations that provide an idea of how medieval visitors would
126
system, thematic insistence, and ideas of decorum
have experienced cohesive themes as program-
defined collective community at the heart of the
matic. Within the overall program—promising
city. As a result, the urban complex both displayed
salvation for the living and dead through the body
and helped shape ideas of community. Community
and blood of Christ—subtle variations related
members were the conceivers, builders, funders,
to the functions of different environments. The
and primary beneficiaries of the parish church and
Parish Church of St. Jakob explored Christolog-
its artistic program. Art was an opportunity for
ical concerns by concentrating on the dual and
investment in an individual’s fate and public image
concomitant materiality of the Eucharist. In the
but also in the material, reputation, and prosperity
east end of the church, the sacrament niche and the
of the city. The complex processes guiding such
south stained-glass window linked the materials of
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the Mass to Christ’s sacrifice. The souls of the dead
represented and helped build local community, not
as well as the living were shown to benefit from the
merely in exceptional moments of “cathedral build-
Eucharistic body and blood, and this message was
ing” that spurred a community into heightened
drawn out to the cemetery and to clusters of tombs
action, but also through the generation-to-genera-
in the side aisles through a rich array of artistic
tion layers of artistic sediment that contributed to
media. In the west end of St. Jakob, the materials
a living, synchronic program. Exploring the parish
of the Mass were similarly linked to the promise of
urban complex in Rothenburg demonstrates this:
salvation but within the context of pilgrimage to its
that medieval artistic programming could stretch
miracle-working blood relic. The iconographic pro-
over many generations and disparate building
gram of the Holy Blood Altarpiece supported the
projects yet remain remarkably coherent. At its
local practice of ocular Communion, responded to
core, this coherence stemmed from the sensitivity
established patterns of pilgrimage, and instigated
of the local government and individual patrons
a network of iconographic interactions centered
to the visual and social environments of the city.
around the species of the Eucharist.
Although the core themes and rituals that wove
together the distinctive spaces of parish church,
Ultimately, the idea of the urban complex can
help adjust our understanding of medieval urban
cemetery, and charnel house into an urban com-
planning as an aggregated yet structured process
plex drew from universal Christian doctrine, their
because it presents a spatial system within which
particular expression in Rothenburg was unique.
an ever-changing landscape of monuments accommodated the commissions of individual donors into larger assemblages. These assemblages both
The Urban Complex
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Remapping the City
I
Chapter 4
n 1474 the parish fabrica ecclesiae of St. Jakob in
mention only Zeichen, or “signs,” that Saint Wolf-
Rothenburg ob der Tauber purchased a painted
gang “came” to the witness and that there were
panel of Saint Wolfgang. The following year a local
related “miracles.”3 Whatever role images may have
tradesman, Georg Laterer, witnessed a miracle
played in the miracle of 1475, in its immediate after-
by the same saint. This miracle instigated a new
math art objects clearly became an integral part of
pilgrimage in Rothenburg and led to the construc-
the nascent pilgrimage to St. Wolfgang, with statues
tion and furnishing of a chapel dedicated to Saint
of Mary and Wolfgang erected on-site even before
Wolfgang, complete with a painted altarpiece con-
the construction of a permanent pilgrimage chapel.4
taining sculpted figures by the workshop of Tilman
Indeed, the city clearly worked to create an environ-
Riemenschneider in its central shrine (fig. 70).
ment that enhanced the experience of (and extracted
donations from) visitors: it applied for indulgences,
1
It remains uncertain whether the two initial
events related to Saint Wolfgang—the commis-
built a temporary shelter, set up a portable altar,
sioning of the painted panel and the witnessing of
purchased a chalice, missal, corporal cloth, and
the miracle—were directly connected. Images were
vestments, and erected an offertory box on the site,
often instigators of miraculous visions, but the
all within a few years of the miracle.5 These efforts
contemporary sources for the Wolfgang miracle in
were so successful that the income from donations
Rothenburg leave its precise nature unclear. They
was enough to cover the considerable expense of
2
constructing a new chapel. Figural images continued Fig. 70 St. Wolfgang Altarpiece by Tilman Riemenschneider and Wilhelm Ziegler in the Chapel of St. Wolfgang in Rothenburg.
Boivin, Riemenschneider_PRINT.indd 129
to be important for the pilgrimage to St. Wolfgang after the completion of the chapel, for the space was outfitted with a series of three altarpieces by 1515.
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130
The central of these altarpieces contained in its
figures by Riemenschneider’s workshop that were
sculpted shrine a trio of standing figures repre-
installed throughout Rothenburg between circa
senting the saints to whom the altar was dedicated:
1485 and 1514. The polychromed figures of the St.
Wolfgang, Sebastian, and Roch. For the last time,
Wolfgang Altarpiece thus joined a group of carv-
the city of Rothenburg commissioned figures from
ings executed in Riemenschneider’s recognizable
Riemenschneider’s workshop. Wilhelm Ziegler,
workshop style that established a flexible network
a resident of the city since 1507, was charged
across Rothenburg. Within this network, themes
with painting the altarpiece, including its casing,
were continually mapped through an elaborate set
sculpted figures, and both sides of its moveable
of devotional practices and public performances.
wings. Judging by the construction and carving
As new centers of devotion, corporate identity,
of the casing, it is possible that Erhart Harschner
and ritual processions, altarpieces intervened in
again supplied the armature. Elegantly customized
the urban fabric and formed points of connection
to suit the scale, architectural articulation, and
between the physical and social city.
function of the chapel, the altarpiece formed a
focal point of the late Gothic environment.
an assemblage of altarpieces by Riemenschneider
as Rothenburg. So the question arises, Why did the
A new pilgrimage, like that to St. Wolfgang in
No other city could boast as many or as dense
Rothenburg, was bound to have a dramatic effect on
city collect such a significant inventory over the
the material and social fabric of the city. It created
course of three decades? How did repeat commis-
new centers of attention, changed traffic patterns,
sions from one artist’s workshop contribute to the
and reshaped identities. In Rothenburg, this was
development of spatial networks within medieval
especially true, given that the site of the new pil-
Rothenburg? How did the many repetitions appar-
grimage lay just outside the city’s northern gate and
ent throughout a medieval city’s altarpieces support
that the civic authorities—interested in capitalizing
their function as instruments of urban planning?
fully on the enthusiasm over St. Wolfgang, not to
mention on the accompanying income—resolved
universal and deeply contextual works, were
to integrate the site into its urban fabric. The new
essential elements in late medieval networks of
chapel was connected to the city’s fortification
civic religious space.6 They explored in their carved
system and designed to relate visually to other
or painted imagery familiar Christian themes and
pilgrimage destinations within the city.
supported common rituals, yet they did so while
Given the prominence of images in establishing
rooted to their specific locations, to particular
and sustaining pilgrimage, it is no surprise that the
relics and saints, and to local ritual schedules.
integration of the Chapel of St. Wolfgang into the
This fundamental duality in their identity gave
existing urban fabric of Rothenburg was accom-
altarpieces a powerful and flexible agency that
plished not only through the physical layout of the
made them ideal tools of urban planning. Mitchell
space but also through the addition of the principal
Merback has remarked “how collective perception
altarpiece of the same name. The distinctive style
could be directed toward an expanded topogra-
of its carved shrine figures resonated with at least
phy of cult and memory, encompassing spaces
six, and likely eight, other altarpieces incorporating
beyond [a] shrine itself.”7 His point of departure
This chapter argues that altarpieces, at once
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was a single urban cult that was projected into
between 1485 and 1514. I then consider how the
the surrounding city. The field becomes more
fifteenth-century chapels of Rothenburg formed
complex when considering multiple cult sites and
a network that extended ideas of pilgrimage and
their overlapping topographies across the space
local identity across the wider cityscape. Finally, I
of an entire city. Building on Merback’s idea, this
suggest how ritual processions and parades helped
chapter explores the interrelated networks of cult
direct a communal experience of the city using key
space that were mapped and remapped throughout
altars within their church spaces.
the city of Rothenburg during the late medieval
period. These cults were not purely religious but
gramming during the Middle Ages was approached
also strongly cultural. Through appeals to partic-
as an ongoing process of civic self-formation rather
ular audiences, correspondences in iconographic
than as a necessary means of achieving some
themes, or participation in feast-day celebrations,
preconceived whole. Indeed, medieval audiences
not only did altarpieces serve as visual foci for the
often experienced objects in various stages of com-
ritual sacrament and for cultic devotion to saints
pletion, and their unfinished nature seems not to
or holy materials within a church, but they also
have impaired the agency of the objects or that of
had the potential to project ideas of communal
the assemblages to which they belonged. Riemen-
identity beyond church walls. In particular, I argue,
schneider’s altarpieces in Rothenburg demonstrate
this potential existed in the many stylistic, icono-
this fact. The case of Rothenburg thus calls into
graphic, and aesthetic correspondences within a
question modern notions of “completeness” that so
collection of related works and in the experience of
often and problematically condition the approach
visitors who charted paths through the collection.
to medieval ensembles.
Ultimately, I intend to show that artistic pro-
The altarpiece, therefore, must be considered as part of the city’s urban fabric, not as separate from it merely because of its location within the walls
Geographies of the Altarpiece
of a church or chapel. Church space was, after all, largely public space, and it was envisioned by
By the time the Reformation first arrived in
municipal authorities as contiguous with the civic
Rothenburg, in 1525, the city likely boasted nine
urban fabric.
altarpieces by Riemenschneider’s workshop,
more than are known to have stood in any other
Consideration of the full list of known Rie-
menschneider altarpieces that once adorned the
single city.8 Of course, there were other towns
religious spaces of the city, in their architectural-
that purchased multiple pieces from the prolific
liturgical settings as well as their iconographic and
workshop: the parish church in Großlangheim,
aesthetic correspondences, presents the opportu-
for instance, may have had four Riemenschneider
nity to reevaluate not only the visual identity of
altarpieces, gauging by surviving fragments and
late medieval Rothenburg but also the emerging
a visitation report from the seventeenth century.9
civic identity of its community. In what follows,
Würzburg, the location of the artist’s workshop,
I introduce the altarpieces by Riemenschneider’s
certainly had more individual Riemenschneider
workshop that were commissioned for Rothenburg
works than Rothenburg, showcasing the rich
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variety of the artist’s production—from stone
and the nave (fig. 38).13 This prominent position
buttress figures adorning its Marian chapel to a
placed it on axis with both the high altar dedicated
wooden bust figure carried in procession through
to Saint James the Greater and Mary in the east
the city, to stone tomb effigies in the cathedral, to a
choir and the altar dedicated to the Holy Blood in
limestone-and-oak table in Würzburg’s town hall.
the elevated western pilgrimage chapel. As the lay
But few altarpieces by Riemenschneider can with
altar, it served as the principal site for the celebra-
confidence be placed within the episcopal city,
tion of Mass for the general community of faithful
and therefore their number, location, and density
in the city. Here, the second daily Mass was sung
in the Middle Ages is unclear. For the most part,
and the lay population gathered to receive Com-
no more than one or two altarpieces by the artist
munion on Easter and other special occasions.14
graced a particular town, so that Rothenburg
stands out as a primary location to study Riemen-
the 1496 altarpiece, possibly from Riemenschnei-
schneider’s work. In fact, if Iris Kalden-Rosenfeld
der, the city of Rothenburg had seen fit to equip
is correct in her estimate that Riemenschneider’s
the central Marian altar with a retable. In 1481 the
workshop produced a total of around twenty
fabrica of St. Jakob recorded a payment of 34 fl
altarpieces between 1490 and 1525, then the city
7 1/2 lb to an unnamed Würzburg sculptor (“dem
of Rothenburg was one of the principal clients of
bildschnitzer zw Wirtzburg”) for the altarpiece
Riemenschneider’s workshop.11
(“die tafeln”).15 Previous scholarship has generally
overlooked this indication that the 1481 altarpiece,
10
I have already shown how two altarpieces by
Riemenschneider contributed to the artistic pro-
as well as its 1496 replacement, came from Würz-
gram of the urban parish complex in Rothenburg:
burg.16 Although Riemenschneider cannot be the
the Altarpiece of the Holy Blood and the Altarpiece
author of the earlier altarpiece, because he only
of the Holy Cross stood in their respective elevated
became a journeyman in the Guild of St. Luke in
chapels and underscored the strong relationship
Würzburg in 1483 and a master sculptor and citizen
between these two spaces. A third altarpiece con-
of the same city in 1485, the accounts demonstrate
tributed to this ensemble: one mentioned in the
that Rothenburg was already looking to Würzburg
sources as a Marian altarpiece commissioned from
as a source for altarpieces at the time.17 Signifi-
a Würzburg sculptor (“schnizer gen Wirczburg”)
cantly, they also demonstrate that the Marian
to stand on the lay altar in the Church of St. Jakob.
altarpiece was, from its first iteration, a carved
The figures of this altarpiece, too, were likely
retable rather than a painted panel.
carved by Riemenschneider and his workshop,
though nothing is known of its iconographic
according to a later chronicle, leaving no trace of its
program.
form or iconography. In 1496 a replacement costing
28 guilders was delivered from Würzburg.18 By this
12
132
Already fifteen years before the purchase of
It is clear that the Marian altarpiece (“di tafel uff
The Marian altarpiece of 1481 burned in 1494,
unser liben frauen altar”), carved for the Church
time Riemenschneider had already finished three
of St. Jakob by a Würzburg sculptor in 1496, was
altarpieces for the Franciscan church in Rothen-
made for the lay altar dedicated to the Virgin Mary,
burg, and it makes sense that the city would have
which stood at the junction between the east choir
applied to his workshop for the new carved retable.
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It is interesting to consider whether the expense
does not necessarily imply that it was half the size.
recorded for “die tafeln” covered a full new altar-
Without further information, interpretation of this
piece or one for which elements from the previous
difference in cost would be chancy.
carved retable were salvaged and incorporated.
Certainly the price of 28 guilders was not high,
ance of the 1496 Marian altarpiece must remain
compared to the 60 guilders paid Riemenschnei-
conjecture, it is worth rehearsing one of the most
der for the Altarpiece of the Holy Blood or the 75
tempting proposals. Since Eduard Tönnies’s
guilders he received for the Altarpiece of Christ
and Karl Adelmann’s publications around 1900,
and the Apostles formerly in Windsheim. If the
scholars have periodically suggested that the
payment was for figures rather than for a complete
Marian Assumption Altarpiece now in the Herr-
altarpiece, it may have been on par with the cost of
gottskirche, or Church of Our Lord, in Creglingen,
other work the city commissioned from Riemen-
originally stood on the Marian altar of St. Jakob
schneider’s workshop. However, it is worth noting
in Rothenburg (fig. 71).22 Justus Bier dismissed
that the price of a project did not always depend
this suggestion because, according to his stylis-
on its scale or even on the amount of material
tic chronology of Riemenschneider’s works, the
used. For example, Riemenschneider’s workshop
Creglingen altarpiece fell later in the artist’s devel-
received more for the two figures of Adam and
opment than the 1501–5 Holy Blood Altarpiece
Eve commissioned to flank the principal portal of
and must therefore postdate it.23 His suggestion
the Marian church in Würzburg than it did for the
that the Creglingen altarpiece be dated about 1505
fourteen apostle figures intended for the buttresses
has remained the most popular, so that the date
of the same building. In fact, the difference in cost
range for the piece is generally given as 1505–10.24
is staggering: for the two figures of Adam and Eve,
However, Holger Simon has argued that Riemen-
Riemenschneider received 110 guilders, along with
schneider’s workshop, working from sculptural
a 10-guilder tip; for the fourteen buttress figures, he
models, had the ability to move between stylistic
received only 10 guilders per figure. In the case of
motifs, indeed that Riemenschneider employed
these larger-than-life-size stone figures, the price
what Simon calls “an eclectic work process” (eine
of the job seems to have depended on the position
eklektizistische Arbeitsweise).25 In Simon’s anal-
of the figures, their degree of finish, and the extent
ysis, the terminus post quem for the Creglingen
to which the master sculptor himself—as opposed
altarpiece is 1493, determined by a woodcut of the
to journeymen in his workshop—completed
Annunciation from the Nuremberg Chronicle that
the work. Despite differences in the quality and
served as a direct model.26 This earlier date would
execution of the figures, however, there was clearly
make possible the interpretation—which Simon
a huge range in the amount Riemenschneider was
himself favors—that the Creglingen altarpiece and
willing to accept for various commissions. Though
the Marian altarpiece of St. Jakob delivered in 1496
the documented expenses related to the Marian
were one and the same.
altarpiece made for St. Jakob in Rothenburg in 1496
were thus less than half as much as those recorded
Creglingen altarpiece conducted by Volker Schaible
for the figures of the Holy Blood Altarpiece, this
and Jochen Ansel has reopened the question of
19
20
21
Although any suggestions about the appear-
Recently, an extensive technical study of the
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its original location.27 Evidence from the study
Herrgottskirche during the last decades of the six-
suggests that the altarpiece only arrived in the Her-
teenth century. Probably around the same time, all
rgottskirche in Creglingen in the 1580s, though it
but four of the original sixteen ceiling beams in the
does not definitively establish its original location.
church were sawed off. This aggressive interven-
tion may have been connected to the installation
28
Some of the most important evidence from
the recent technical investigation is inscriptions
of the tall altarpiece, whose upper crest would
high on the back of the retable that are visible only
otherwise have been obscured or even blocked by
under special lighting. The inscriptions—really
the beams. Finally, the earliest graffiti that can be
pieces of graffiti—date to the 1550s and appear in
connected to individuals or families resident in
a zone above the pierced windows at the back of
Creglingen appear low on the back of the retable
the central shrine that is now about 4.5 to 5 meters
and date between 1606 and 1663.31 Together, this
from the ground (fig. 72). The height of the
evidence strongly suggests an installation in the
inscriptions provides the interpretive key because,
Herrgottskirche in Creglingen in the late sixteenth
as Schaible argues, either “Maria Binz 1550” and
century and not a century earlier, when the altar-
others climbed a ladder to reach this part of the
piece was carved.
altarpiece and scribble their graffiti across its back,
or the altarpiece had been dismounted by the 1550s
determine the original location of the Assumption
and stood on the floor, so that those of average
Altarpiece, it does compel a reconsideration of the
height might easily write their names across the
possibility that it once stood on the Marian altar of
back in this area. The likelihood of someone using
St. Jakob in Rothenburg. An entry recorded in the
a ladder to write graffiti high on an altarpiece still
financial accounts of St. Jakob for 1553, discovered
mounted on an altar in a church is so low that,
by Schaible, documents a payment for two curtains
whatever its original location, one must assume
to cover the Marian altarpiece of the church,
the Riemenschneider Marian altarpiece, now in
possibly during the time it was dismounted from
Creglingen, was indeed dismounted in the 1550s.
the altar and placed in storage: “4 lb 12 d for 3 1/2
quarters black cloth for two curtains on Our Lady’s
29
30
Several additional discoveries support Schai-
Though this new research alone cannot
ble’s interpretation that the retable was in storage
altar in the parish church.”32 The Marian altarpiece
by 1550 and not set up in the Herrgottskirche in
of St. Jakob may thus have been dismounted at a
Creglingen until a few decades later. Dendrochro-
time precisely corresponding to the graffiti on the
nological examinations of the wooden supports for
back of the Marian Assumption Altarpiece now in
the altarpiece in its current installation in Creg-
Creglingen.
lingen returned a fell date of winter 1585/86. Along
with the documented installation of a pulpit in
lingen altarpiece would have been striking on the
1594, these results suggest that the altarpiece likely
lay altar in Rothenburg. There, the retable’s tall
came to Creglingen during a refurbishment of the
and slender figure would have been accentuated
Certainly the scale and program of the Creg-
by the framing arch of the choir. With its carved Fig. 71 Marian Assumption Altarpiece by Tilman Riemenschneider now in Creglingen. Photo by Matthias Weniger.
predella, central shrine, and superstructure, it is nearly identical in overall height to the Holy
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Fig. 72 Back of the Marian Assumption Altarpiece now in Creglingen.
136
Blood Altarpiece. A sense of how it would have
nave and choir.33 Here, the remarkable shallowness
looked within this space is therefore afforded by
of the Creglingen shrine, which measures a mere
the seventeenth-century painting of the interior of
twenty-five centimeters, would have been disguised
St. Jakob rendered after baroque renovations had
by the virtuosic appearance of depth achieved by
replaced the Marian retable with the Altarpiece of
the central composition.
the Holy Blood on the lay altar (fig. 73). Framed at
the junction between the choir and nave by vaults
Assumption scene is upward rather than inward,
much higher than those of Holy Blood Chapel with
complementing the verticality of the retable’s
respect to the floor level, the large altarpiece would
overall form as well as the tall and narrow propor-
have accentuated the division of space between the
tions of the choir of St. Jakob. Instead of forming a
The dominant momentum of the Creglingen
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Fig. 73 Detail from an anonymous oil painting of the interior of St. Jakob in Rothenburg toward the east, ca. 1670. © RothenburgMuseum.
single row, as in the Holy Blood Altarpiece, the late
left hip is countered by a fluttering swag of fabric
Gothic tracery windows that pierce the back of the
on her right; her long hands, with fingertips about
Creglingen retable’s shrine case (here unglazed) are
to touch, are held at center; and her head counters
tiered, with the three central windows set higher
the incline of her body (fig. 74). The crisp folds of
than the pair to either side. The figure of Mary,
her drapery give the material weight while bestow-
held aloft by angels, floats before these central win-
ing a sense of dynamism. Overall, Mary is graceful
dows above a void positioned between two groups
and composed, yet a sense of animation surrounds
of gazing apostles, which Merback has likened to a
her in her state of suspension.
symbolic tomb. The Virgin stands on ribbonlike
clouds, the hem of her mantle ornamented with
ear tracery vaults and fanciful Rankenwerk that
embroidery and gems. Despite the strong lean
further draw the eye upward (fig. 75). Lithe
of her upper torso to her right (the viewer’s left),
vegetation sprouts from pendent bosses deco-
Mary’s figure remains balanced: the thrust of her
rated with delicately capped niches. These vines
34
Mary is crowned by a canopy of curvilin-
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lack the naturalistic details—such as lateral buds and pruned ends—of their counterparts in the Holy Blood Altarpiece; instead, they are rendered with striations reminiscent of late Gothic tracery profiles. Interwoven with slender ribs and finials, they represent a living architecture that seems to support the superstructure above.
The wings of the altarpiece contribute to the
impression of its verticality, with two stacked scenes appearing in each (fig. 71). These scenes proceed clockwise around the central shrine, beginning at the bottom left with the Annunciation, followed by the Visitation (top left), Nativity (top right), and Presentation in the Temple (bottom right). The wings are supported by relatively flat and simple corbels that appear more like the cross section of a late Gothic molding profile than the ribbed vaulting simulated by their equivalents in the Holy Blood Altarpiece. They also project less dramatically from the solid predella, which is strictly divided into three niches with a low-relief carving in each: at center, a rendition of
Fig. 74 (opposite) Detail of Mary from the central shrine of the Marian Assumption Altarpiece now in Creglingen. Photo by Matthias Weniger. Fig. 75 (above) Detail of the Rankenwerk and crest of the Marian Assumption Altarpiece now in Creglingen.
a cloth held up by angels that likely served as the backdrop for a displayed monstrance; to the left, the Adoration of the Magi; to the right, the Presen-
she appears to lean forward, whereas in the central
tation in the Temple.
scene she leans back (fig. 76). Her mantle now
flows over her right shoulder and down to her
The superstructure of the Creglingen altarpiece
takes the shape of a buttressed tower. Rather than
knees, as if shielding her from the viewer’s gaze.
individual figures perched in a web of openwork
Above this heavenly scene, the final crest of inter-
canopies, as in the Holy Blood Altarpiece, the
laced ogival arches supports a freestanding Man of
scene of the Coronation of the Virgin is set in a
Sorrows in a dainty architectural canopy.
microarchitectural room pierced at back with its
own set of Gothic tracery windows. It thus adds
of increasing intricacy: from the strictly divided
a second narrative level to the altarpiece’s cen-
tripartite predella to the tall shrine and wings, to
tral shrine. Mary, flanked by the Father and Son,
the towerlike crest with its lacy, microarchitectural
kneels to be crowned by two descending angels.
detail. Positioned at the east end of the nave of St.
Her folded hands, loose tresses, and outward gaze
Jakob in Rothenburg, this altarpiece would have
echo elements of the central shrine, though here
formed a fitting counterpart to the Holy Blood
The Creglingen altarpiece has an overall effect
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Fig. 76 Coronation of the Virgin in the crest of the Marian Assumption Altarpiece now in Creglingen. Photo by Matthias Weniger.
Altarpiece, with features such as the windows
Mary’s Assumption, and it is tantalizing to imagine
piercing the shrine, the central predella niche
performances in Rothenburg taking place in front
intended for the display of a monstrance, and their
of the retable now in Creglingen akin to those
near identical height echoing between the two.
documented for Schwäbisch Hall, Halle, Schwerin,
and elsewhere.36
35
140
At the apex of transverse ribbing visually above
the location of the Marian altar in St. Jakob is a
Add to this ensemble the Holy Cross Altar-
ring boss (fig. 11), whose use in dramatic late medi-
piece—now in Detwang but once likely installed in
eval stagings is a matter of speculation. Centrally
the elevated Chapel of St. Michael—then the parish
positioned between the second and third bays of
urban complex of Rothenburg would have had a
the nave, the ring boss would have related to the
central longitudinal axis, articulated not only by
Marian altar in an arrangement similar to that of
significant altarpieces but also, more particularly,
its counterpart in front of the Holy Blood altar in
by unpainted, or monochrome, Riemenschnei-
the west end of the church. Although no surviv-
der altarpieces. The Holy Blood, Holy Cross, and
ing source addresses its use, the situation of this
Marian Assumption imagery would have res-
opening made it a fitting location for the staging of
onated all the more strongly, since its thematic
Riemenschneider in Rothenburg
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Fig. 77 Compilation of surviving fragments from the Crucifixion Altarpiece by Tilman Riemenschneider and Martin Schwarz now in Munich. © Imhof Verlag, from Matthias Weniger, Tilman Riemenschneider: Die Werke im Bayerischen Nationalmuseum (Petersberg: Michael Imhof, 2017), 58, fig. 1.19. Compilation by Andreas Weyer and Matthias Weniger.
connections were underscored by stylistic and
church, is likely the earliest of these retables.37
compositional correspondences. Even if, instead of
Several fragments of the retable survive in museum
the Marian Assumption Altarpiece in Creglingen,
collections, making it possible to gain an excellent
another altarpiece with figures by Riemenschnei-
sense of its program and to estimate the scale of
der once stood on the Marian altar of St. Jakob,
its central components. Two figural groups from
strong formal and iconographic ties would have
the deeply carved shrine are now on display in the
pertained.
Bayerisches Nationalmuseum in Munich, panels
from its wings are housed in Berchtesgaden, and
Outside the parish urban complex is a second
concentration of altarpieces in Rothenburg with
figural groups from the predella stand in the Skulp-
figures by Riemenschneider. Indeed, the three
turensammlung in Berlin (fig. 77).38 As is often
altarpieces, assembled under the guardianship of
the case, little is known about the armature of the
Martin Schwarz in the church of the Franciscan
altarpiece; only the figural elements survive, since
monastery, constituted the earliest collection of
they were valued for their aesthetic qualities even
works by the sculptor in the city. A Crucifixion
after the retable had lost its function and the Fran-
or Passion Altarpiece, stylistically dated around
ciscan monastery had been dissolved.39 Given the
1485–90 and carved for the high altar of the
width of the scenes from the wings, however, it is
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Fig. 78 Left figural group from the central shrine of the Crucifixion Altarpiece now in Munich. © Bayerisches National Museum, Munich. Photo by Matthias Weniger.
Fig. 79 Right figural group from the central shrine of the Crucifixion Altarpiece now in Munich. © Bayerisches National Museum, Munich. Photo by Matthias Weniger.
reasonable to estimate that the altarpiece originally
entire altarpiece was painted by Martin Schwarz,
measured nearly six meters across in its open state,
an attribution confirmed by a stencil pattern used
a scale that suggests it also would have boasted a
on Saint John’s robe that is also found on a signed
tall crest. Iconographically, it featured the Cruci-
panel from the Dominican convent church in
fixion as its central scene, flanked on its wings by
Rothenburg, now on loan to the Germanisches
shallow reliefs of the Mount of Olives (left) and
Nationalmuseum in Nuremberg.40
the Resurrection (right). The predella depicted two
groups of figures mourning Jesus at his entomb-
triptych but also their composition and style
ment. Once its carved elements were complete, the
were repeated in the Holy Cross Altarpiece now
Not only the choice of scenes for the central
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Fig. 80 Detail of the figural groups in the central shrine of the Holy Cross Altarpiece now in Detwang.
in Detwang about two decades later (fig. 50). In
while Mary leans forward and appears more stable
both, tightly grouped and heavily clad figures
on her feet; in the later Holy Cross Altarpiece
stand on either side of the cross. Even in details,
now in Detwang, the sweep of Mary’s garments
these figures are often similar (figs. 78, 79, and
and the position of Saint John behind her subtlety
80). For example, Mary’s delicate fringed veil, her
suggest a faint. The posture and garb of Caiaphas
composed though longing gaze, and her hands,
is different in each as well: in the altarpiece made
folded across her breast, repeat in both retables.
for the Franciscan church, his fleshy clean-shaven
The deep, crisp drapery folds, supply modeled
face is framed by loose curls, while the long tippet,
faces, and freely falling curls of figures from both
or liripipe, of his chaperon drapes over his left
altarpieces also share strong stylistic ties. The
shoulder; in the altarpiece now in Detwang, he
differences between the two are relatively minor
instead appears bearded, wearing a turban tightly
and read as compositional choices by the same
wound around his head and with his hand tucked
workshop. In the earlier Crucifixion Altarpiece
behind his cloak. Instead of turning out toward the
for the Franciscan church, for instance, Saint John
viewer, he casts his eyes down toward the base of
turns wistfully toward the cross and gazes upward,
the cross.
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Fig. 81 Mount of Olives scene from the left wing of the Crucifixion Altarpiece by Tilman Riemenschneider and Martin Schwarz now in Berchtesgaden. © Wittelsbacher Ausgleichsfonds München. Photo by Matthias Weniger.
144
The compositional similarities between the
those of the altarpiece in Detwang (figs. 55 and 82).
two retables continue in the low-relief carvings of
In both renditions of the scene, for instance, the
their wings as well. In the Crucifixion Altarpiece of
sleeping guard in the lower left corner extends his
the Franciscan church, the three sleeping apostles,
right leg, his knee turned out toward the viewer,
their garments characterized by crisp angular folds,
while he rests his head on his hand supported by a
again fill the foreground of the Mount of Olives
raised left knee. His companion in the foreground,
scene (figs. 61 and 81). Behind them, Christ kneels,
however, who has awoken with a start, is composed
gazing upward toward a rocky outcrop where a
differently. In the earlier altarpiece, his lower body
heavenly apparition once appeared. In this earlier
twists awkwardly back toward the middle of the
composition, however, Christ is given more space,
scene and his legs stick out as he shields his eyes
his head framed by the blue ground of the sky with
from Christ. In the later composition, Riemen-
the glow of the sun just visible over the horizon at
schneider has “fixed” this awkwardness by having
his back. In the scene of the Resurrection, the three
the figure crouch on one knee, the bottom of his
attendant soldiers have poses nearly identical to
left foot visible to the viewer as it stretches behind
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Fig. 82 Resurrection scene from the right wing of the Crucifixion Altarpiece now in Berchtesgaden. © Wittelsbacher Ausgleichsfonds München. Photo by Matthias Weniger.
the extended leg of the other soldier. His shielding
figures and scenes of the earlier altarpiece were fin-
gesture, however, is the same. Both in details and in
ished has an overall aesthetic different from that of
more general choices of posture and composition,
the monochrome Holy Cross Altarpiece. The added
then, the altarpiece now in Detwang reads as a
painted details of textile patterns, loose curls, and
selectively revised repetition of the earlier Crucifix-
feathery eyebrows accentuate the naturalism of
ion Altarpiece.
the figures. Caiaphas, for instance, has a shadow
The two most salient differences are in the
of stubble around his fleshy jowls and double chin.
proportions of the compositions—the wings (and
The color also highlights certain features, like eyes,
therefore also the original proportions of the
which have dark makeup-like liner. The bodies of
central shrine) of the Crucifixion Altarpiece from
the sleeping apostles in the Crucifixion Altarpiece’s
the Franciscan church are relatively wide com-
Mount of Olives scene appear almost fragmented
pared with those of the Detwang altarpiece, which
by the contrast between the bright gold of their
are more vertical—and in the Fassung, or finish,
cloaks and the deep purple of their undergarments.
of each. The vibrant polychromy with which the
By comparison, the monochrome treatment of the
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Fig. 83 Nave and rood screen of the Franciscan church in Rothenburg toward the east.
same figures in the Holy Cross Altarpiece now in
rood-screen chapel within the same church), they
Detwang shapes them into a more even and unified
were likely more modest than those of the high
mass at the bottom of the scene (fig. 54).
altarpiece.
Around 1490 the Crucifixion Altarpiece
was joined in the Franciscan church by another
ing the stigmata occupies the central shrine (fig.
altarpiece carved by Riemenschneider and poly-
84). Set within a steep rocky landscape with a dis-
chromed by Schwarz: the Altarpiece of St. Francis.
tant church and central well, the gold-clad figures
Though this retable now stands on the high altar,
of the kneeling saint and his sleeping companion
it was originally installed in one of the chapels
stand out against the dark green ground. Francis,
beneath the rood screen, most likely in the second
his head raised, his upper torso turned toward
chapel from the north (fig. 83). There, its smaller
the viewer, opens his arms to receive the stigmata
scale was appropriate, and though the original
from a now-missing seraph. The saint appears
predella and superstructure have been lost (the
bared, an impression accentuated not only by his
current predella comes from an altarpiece dedi-
posture but also by the pleating of his garments. In
cated to Saint John that once stood in the southern
contrast to the deep folds that heighten the sense
41
42
146
A narrative scene showing Saint Francis receiv-
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Fig. 84 St. Francis Altarpiece by Tilman Riemenschneider and Martin Schwarz in the Franciscan church in Rothenburg.
of foreshortening of his hooded companion, the
his face in his hands (fig. 85). The compositional
few shallow folds of Francis’s girded robe describe
and stylistic affinities of the two altarpieces, seen
a figure pressed forward and exposed to view. They
within the same church in close proximity to each
fall vertically to his knees, then cradle his legs,
other, must have encouraged viewers to draw par-
minimizing the sense of depth.
allels between Saint Francis and his model, Christ.
Compositionally, the central scene of the St.
Probably in the 1490s the Franciscans commis-
Francis Altarpiece echoes elements of the Mount of
sioned a third work, the small winged Altarpiece
Olives depicted on the left wing of the Crucifixion
of St. Ludwig of Toulouse. Though it now stands
Altarpiece. In both, the principal figure kneels in
in the south side aisle of the Church of St. Jakob, it
a landscape characterized by rocky outcrops while
was originally installed on an altar in the northern
others sleep. The posture of the single companion
rood-screen chapel of the Franciscan church and
in the Altarpiece of St. Francis resembles one of the
therefore directly to the left of the Altarpiece of
sleeping apostles in the Crucifixion Altarpiece: the
St. Francis as seen from the nave.43 The fixed and
left leg of each extends, the knee pointing outward;
moveable wings, displaying scenes from the life
the bent right leg supports a book; and each rests
of its titular saint, were likely painted by Jakob
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gloves of fine fabric; and the angled eyes and supple flesh around the bishop’s cheeks and mouth convey both age and a sense of contemplation (fig. 86). Although lacking the narrative content of the other, larger altarpieces by Riemenschneider’s workshop for the Franciscan church in Rothenburg, the St. Ludwig Altarpiece nevertheless would have related to these stylistically.
Within the Franciscan church, then, visitors
would once have encountered in tight sequence three altarpieces with sculptures in Riemenschneider’s characteristic style. Since the primary public entrance to the church was in the north side aisle of the nave, the Altarpieces of St. Francis and St. Ludwig, in the northern two chapels of the rood screen, would have faced visitors as a highly visible pair, ushering them across the aisle and into the central nave (fig. 83). The high altarpiece, the programmatic focus of the friar’s choir, stood at a greater distance from the lay audience, but its large scale made it visible from the nave through the Fig. 85 Detail of the sleeping companion in the central shrine of the St. Francis Altarpiece in Rothenburg.
central opening in the rood screen.
In contrast to the trio of Riemenschneider
altarpieces in the parish urban complex, the altarpieces of the Franciscan church were brightly Mülholzer, with whom Riemenschneider also
colored, a notable difference, especially given that
collaborated on an altarpiece for the parish church
the two groups stood not far from one another in
in Windsheim. The lone figure of the saintly
Rothenburg’s two most significant churches. It is
bishop Ludwig, which stands in the central shrine,
all the more puzzling in light of the close similarity
bears many characteristics of Riemenschneider’s
between the Holy Cross and Crucifixion Altar-
workshop style, though it was possibly carved by
pieces that once stood respectively in the Chapel
a journeyman rather than by the master himself:
of St. Michael and on the high altar of the Francis-
the saint’s robes are cinched together, forming
can church in Rothenburg. Would these retables
delicate creases around his waist; a swath of his
have read as copies, as variations on a theme, or
mantle tucked in beneath his belt forms a sweep
as works strongly differentiated by means of their
of fabric animated by crisp angular folds at front
contrasting finishes?
and deeper hanging pleats at the sides; the figure’s
graceful hands are covered by delicately rendered
of color in Riemenschneider’s oeuvre. Conservators
44
148
There is much astute scholarship on the question
Riemenschneider in Rothenburg
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Fig. 86 Central-shrine figure of the St. Ludwig of Toulouse Altarpiece now in St. Jakob in Rothenburg.
and historians have long debated why Riemenschnei-
do with the desire of the patrons than with the aes-
der and other contemporary sculptors left select
thetic penchants of the artist. This becomes clear
pieces unpolychromed, or holzsichtig, beginning
from details in surviving contracts and from the
shortly before 1500.45 Although I cannot hope to
many documented cases where altarpieces initially
resolve the question here, I would like to offer some
left unpainted were later colored at the behest of
reflections spurred by the consideration of the collec-
a patron. The substantial evidence from textual
tion of Riemenschneider’s altarpieces in Rothenburg.
sources, gathered by Georg Habenicht, has done
much to document this phenomenon and demon-
Scholars now generally agree that the decision
whether to paint an altarpiece likely had more to
strates that patrons often considered polychromy a
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way of “finishing” an altarpiece. The Altarpiece of
the final figures for the Holy Blood Altarpiece
St. John in Basel, for instance, stood unpainted for
and was paid off for his work, he received a new
a least ten years before a 1523 document men-
commission from Rothenburg to carve an altar-
tioned its paintings (picturis) were finally finished
piece dedicated to Saint Anne for the city’s Marian
(consummatum).
chapel.50 Although this does not definitively
In many of the cases where an altarpiece was
rule out the possibility of an intent to color the
initially installed with a monochrome aesthetic but
monochrome altarpieces of the city, it shows, at
later received a colorful treatment, cost may have
the very least, that the city prioritized paying for
played a factor. It is staggering to recognize that
new sculpted and polychromed retables over the
the cost of polychroming an altarpiece could be
painting of installed unpainted ones, regardless
twice as high as that of its carving and construction
of their relative importance. The polychroming of
combined. On the other hand, the wood stains
certain altarpieces, then, was at best a low priority
occasionally used by artists like Riemenschnei-
in Rothenburg and was more likely intentionally
der to finish monochrome works included rare
omitted. Particularly in considering the Riemen-
imported ingredients and therefore could be quite
schneider altarpieces of Rothenburg as a group, the
pricey as well. Given this, it is hard to rationalize
monochrome aesthetic of select retables appears a
a patron’s paying for such a stain if the decision to
resolute choice.
postpone polychroming the piece was due to a lack
of resources. Instead, if cost were the determin-
relation to the understanding of artistic program-
ing factor, the altarpiece would more predictably
ming that I have been developing throughout this
have been erected without a stain as it awaited the
study. Questions about intention and “finish,”
intended colorful finish.49 This may explain why
particularly, foreground the notions of “complete-
the Marian Assumption Altarpiece in Creglingen
ness” to which art historians frequently subject
never received a finishing Fassung.
medieval material. Perhaps more productive than
the question whether an altarpiece was consid-
46
47
48
150
Of course, the evidence demonstrating that
The topic of polychromy bears a noteworthy
patrons sometimes polychromed altarpieces
ered “finished” if it lacked a colorful coat of paint,
originally left unpainted (or that they intended
or even the question of what the initial intent of
to do so whether or not they eventually did) does
patrons might have been, is the observation that
not preclude the possibility that the intent in some
altarpieces functioned as visual and cultic centers
cases was to leave select pieces holzsichtig. The sit-
regardless of finish and often before a colorful coat
uation in Rothenburg, moreover, makes it unlikely
of paint was added. The many unpolychromed
that the motivation was exclusively financial. The
altarpieces that were installed several years before
city, which was able to fund the painting of two
being dismounted, painted, and reinstalled demon-
altarpieces in 1514 and 1515 for the Chapel of St.
strate the flexible mentality of medieval audiences,
Wolfgang, surely could have found the means to
for whom a lack of color was not a deficiency that
do the same for the more important Holy Blood
impaired the ability of an altarpiece to function
Altarpiece in the Church of St. Jakob. Instead, in
within its liturgical environment. The capacity of
the same year that Riemenschneider delivered
an unpolychromed altarpiece—or even one that
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already had color—to be (re)painted was in tune
it is not uncommon that monochrome altar-
with the medieval understanding of artistic pro-
pieces stood alongside polychromed ones. Even
grams as possessing inherent potential for change
within the Church of St. Jakob in Rothenburg,
and addition. “Finishing” an altarpiece, either “in
Riemenschneider’s unpainted works were erected
its paintings” or with a monochrome stain, then,
alongside retables with a polychrome finish, like
was about applying a particular layer or surface
the high altarpiece by Friedrich Herlin, dated 1466.
treatment rather than finalizing the object and
Within the Diocese of Würzburg, reports docu-
forever fixing its aesthetic identity.
ment numerous unpainted medieval altarpieces in
towns such as Volkach, Iphofen, Münnerstadt, and
51
Beyond these considerations, the selective
polychroming of Rothenburg’s altarpieces with
Dettelbach. The Parish Church of St. Laurentius
figures by Riemenschneider also points to the
in Nordheim am Main even had three unpainted
nature of late medieval aesthetic sensibilities,
altarpieces.54 But Rothenburg makes the choice all
which rejoiced in variety, even where they sought
the more apparent, since it erected painted and
incorporation and repetition. The chronology of
unpainted altarpieces that were carved by the same
Riemenschneider’s altarpieces created for Rothen-
artist’s workshop within such a short span of time.
burg demonstrates that the decision to install
altarpieces unpainted was not simply a matter of
location, function, or significance of certain
changing aesthetic fashion in the decades leading
altarpieces motivated their holzsichtige aesthetic.
up to the Reformation. Both the earliest and the
In fact, given the location of known monochrome
latest altarpieces for the city were brightly painted,
and polychrome altarpieces in Rothenburg, it
while at least two chronologically central altar-
seems probable that the choice of finish depended
pieces received a monochrome finish. Even works
on the particular setting. The Franciscan church
commissioned around the same time could be
of Rothenburg had three altarpieces with figures
finished differently: an All Saints Altarpiece for the
by Riemenschneider’s workshop that were all
Dominican convent church, commissioned from
polychromed (the Crucifixion, St. Francis, and St.
Riemenschneider in 1507/8 and paid for in full in
Ludwig Altarpieces) while the parish urban com-
1509/10, is a close contemporary of the unpainted
plex, just blocks away, had at least two, and possibly
Holy Cross Altarpiece now in Detwang. Two
three, altarpieces that were left in a monochrome
figures preserved in the collection of the Cleveland
finish (the Holy Blood, Holy Cross, and Marian
Museum of Art that are likely from this work and
Altarpieces). Even the involvement of a painter
two others now in the Historisches Museum in
like Martin Schwarz, guardian of the Franciscan
Frankfurt suggest that the All Saints Altarpiece was
church and artistic advisor and signatory on the
polychromed, while the Holy Cross Altarpiece now
contract with Riemenschneider for the Holy Blood
in Detwang was given a monochrome finish.53
Altarpiece, did not guarantee that an altarpiece
In Rothenburg, then, monochrome and
would necessarily be painted before its installa-
polychrome altarpieces from the same sculptor’s
tion or that all works within the same city would
workshop were erected in close physical and
be treated in a similar fashion. Retables like the
chronological proximity to one another. Of course,
Holy Cross and Crucifixion Altarpieces displayed
52
Perhaps, then, something about the specific
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strong iconographic, compositional, and stylistic
urban planning; it is my contention that altar-
similarities to which medieval audiences must have
pieces, too, represented interventions into the city’s
been attuned, but at the same time, their different
fabric that could chart associations between multi-
Fassungen allowed these altarpieces to operate
ple environments and therefore serve to reorganize
variously within their individual environments of
the urban landscape.
installation. It seems, then, that the choice between
a monochrome or a polychrome finish of a piece
nel-House Chapel of St. Michael at the eastern edge
could at times depend on the dictates of a particu-
of the cemetery, the city was also busy building
lar environment.
a chapel dedicated to the Virgin Mary on the
Milchmarkt. Although this Marian chapel was torn
Returning once more to the possibility that
Already during the construction of the Char-
the retable now in Creglingen once stood on
down in 1805, entries in the financial records of the
the Marian altar of St. Jakob, consider now the
parish fabrica report that it once housed an Altar-
following: the first Riemenschneider altarpiece
piece of St. Anne by Riemenschneider.55 In January
delivered to the parish (1496) was installed without
1505, then, at the same time the sculptor received
any polychromy, likely with the intent to “finish” it
his final payment for the Holy Blood Altarpiece, he
at a later date; the aesthetic success of this altar-
accepted a commission from the same represen-
piece within the church soon prompted a second
tatives of the city to carve the St. Anne Altarpiece.
and later a third commission from the sculptor’s
This he delivered to Rothenburg in May 1506 and
workshop—the Holy Blood (1499–1505) and Holy
received final payment for it the following month.56
Cross (1508–13) Altarpieces—to be installed with
a monochrome stain. They thereby embraced the
survive in museum collections, though it is impos-
holzsichtige aesthetic of the earlier retable and rein-
sible to make an attribution with any certainty.
forced the axial program of the urban complex.
Some favored contenders are fragments from a
Fragments from the St. Anne Altarpiece likely
single altarpiece showing the Holy Kindred that are now distributed between the collections of the
Chapel Itineraries
Landesmuseum Württemberg in Stuttgart, the Skulpturensammlung in Berlin, and the Victoria
152
The stories of the last two Riemenschneider
and Albert Museum in London. Of these, the
altarpieces known to have been commissioned for
Berlin fragment is the largest and once belonged
Rothenburg are best told in connection with the
to the central group of the altarpiece. In it, Anne
histories of the chapels in which they stood. The
is shown seated on a high-backed seat. Her face
Chapels of the Virgin Mary on the Milchmarkt
betrays her age, with eyes framed by heavy lids
(later known as the Kapellenplatz) and of St. Wolf-
above and bags below and sagging skin forming
gang outside the Klingentor, the city’s northern
gentle hollows at her cheeks. Her figure is ani-
gate, were built as cult, or pilgrimage, sites during
mated by lively drapery folds as she reaches to her
the fifteenth century and belonged to a network of
right (viewer’s left), where she once addressed her
related spaces drawn across the late medieval city.
daughter, Mary, and the infant Jesus at the center
Chapels have been recognized as instruments of
of the composition. Behind Anne stand her three
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husbands: turbaned Joachim, heavyset Cleophas,
Rothenburg, which survives as a fragment in the
and bearded Salomas. The carving of this group
Bayerisches Nationalmuseum in Munich, instead
is masterly: a sense of quiet sorrow characterizes
was polychromed. The Munich relief depicts Saint
the faces; the three men form a tight-knit trio with
Anne seated in profile before a curtain. Traces of
Cleophas and Salomas looking to Joachim, whose
paint indicate that the curtain was once painted
lips are parted as if in speech. They back Anne
red to contrast with Anne’s blue mantle and green
yet are separated from her as she devotes her full
inner lining.57 The carving of the Munich piece
attention to the predestined infant.
betrays close stylistic and compositional ties to the
The two figures preserved in the Stuttgart
Holy Kindred fragments described above, making
fragment strongly resemble Anne and Joachim in
them not only products of the same workshop but
the Berlin relief. In fact, Maria Cleophas (Anne’s
also likely close in date. For instance, the crescent
daughter by Cleophas) and her husband, Alphee,
pattern on the hem of Anne’s cloak repeats on both
are represented as a mirror image of the older gen-
the Berlin and Munich fragments, and the dimple
eration. Like her mother, Maria Cleophas betrays
in the veil falling across the forehead appears
in her face her mature age and quiet concern. She
in figures of the Munich, Berlin, and Stuttgart
once sat at the left of the family group, turning
fragments. Given that it is impossible to determine
toward the center, with her husband standing
which, if any, of these fragments originally formed
behind the draped parapet at her back. Alphee’s
part of the St. Anne Altarpiece in Rothenburg, we
long face is framed by his turban, beard, and hair,
cannot know whether the retable featured a mono-
which falls in deep spry curls about his shoulders.
chrome or a polychrome finish.
In the original composition, Mary Cleophas
Whatever its finish, the St. Anne Altarpiece was
and Alphee were balanced at the right by Anne’s
destined for the Marian chapel on the Milchmarkt
other daughter, Mary Salome (fathered by Salo-
in Rothenburg. The construction story of this
mas), and her husband, Zebedee, preserved in the
chapel clearly demonstrates how civic authorities
London fragment. Like her sister, Mary Salome
used chapel space to shape not only the physical
holds an open book on her lap and turns toward
city but also its social structures: the chapel was
the original center of the composition. She appears
built on the site of a destroyed synagogue, and its
younger than Mary Cleophas, her skin tighter
construction, from 1404 to 1411, accompanied the
around her eyes and cheeks, her hands graceful
displacement of the local Jewish population from
and smooth. In contrast to the energy conveyed
the center of the city to an area a few blocks to the
by the tight creases of Saint Anne’s robes—which
north of the Parish Church of St. Jakob.
make her a clear focal point of the retable—the
long pleats of both Mary Cleophas’s and Mary
tural project, however, that served as an instrument
Salome’s clothing fall in gentle sweeps and would
of urban planning; the commission of the St. Anne
have led the viewer’s eye back to the central figures.
Altarpiece also represented a social, devotional, and
aesthetic reorganization within the city. The altar
The altarpiece to which these fragments
It was not only this fifteenth-century architec-
belonged was finished in a monochrome stain;
on which Riemenschneider’s retable was erected in
another contender for the St. Anne Altarpiece in
1506 was one of two side altars in the Milchmarkt
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chapel. First mentioned in a document of 1478,
presumably followed the scheme found in the
this altar was initially dedicated to Saints Sebastian
majority of similarly sized churches and chapels:
and Pancras and only later associated with Saint
a main altar in the central apse and two side altars
Anne. The altar’s change in nomenclature indicates
set against the east wall of the nave to either side.60
a shift in the city’s cult topography, one in which
The St. Anne altar, with its carved retable by Rie-
the carved altarpiece would have played a highly
menschneider, was therefore not centered within
visible role. Information about the Saint Anne cult
the space, yet its role as the site of a popular late
in Rothenburg is limited: archival records indi-
medieval cult would have made it a pivotal furnish-
cate that it had its own offertory box—mentioned
ing. Although the Marian chapel never developed
in the financial records of the St. Jakob fabrica in
a pilgrimage equivalent to those of the Holy Blood
1515—and an associated fraternity. It therefore rep-
or St. Wolfgang Chapel in Rothenburg, it did serve
resented not only a new devotional focus but also
as a prominent space on a market square of the late
a new social group, whose existence and financial
medieval city.
status were given visual expression within the city
in the commissioned Altarpiece of St. Anne.
remain something of a mystery, but the retable
itself almost certainly featured Riemenschneider’s
58
59
What is known of the chapel’s appearance
largely concerns its exterior, so that knowledge
signature style and within the Marian chapel on
of the original setting of the altarpiece, like that
the Milchmarkt resonated with other altarpieces by
of Riemenschneider’s All Saints Altarpiece in
the sculptor throughout the city. The long sinuous
the Dominican convent church, is limited. Two
hands, supply molded skin, sprightly curls, and
views in Schäffer’s chronicle dated 1745 and one by
fleshy faces of Riemenschneider’s figures, which
Schmidt from around 1762 show the chapel from
may at first appear individualistic, formed common
the south, southwest, and west respectively (fig.
tropes within the artist’s oeuvre that constitute a
87). Accordingly, the chapel had a two-bay nave
recognizable workshop style. Discerning medieval
and a narrower choir. The choir boasted tall Gothic
audiences, attuned to the aesthetics of the time
windows, a polygonal terminus, and buttresses
and conditioned to perceive subtle differences
outfitted with ornate finials. The principal entrance
between contemporary compositions, must have
was a portal in the western bay of the south side
seen Riemenschneider’s workshop productions as
that was flanked by a pair of statues standing on
standing apart from other late medieval sculpture.
corbels, while a smaller door also provided access
As the focus for the cult of St. Anne in Rothen-
through the west wall. Large four-lancet windows
burg, located in a Marian chapel administered by
lit the nave from the south, while the west wall was
the civic parish authorities, the altarpiece would
broken only by a vertical arrangement of two small
have been highly visible during Marian feast-day
baroque oculi and a simple round-arched window.
celebrations throughout the liturgical year.
The junction between the nave and choir was
crowned by a modest bell turret.
the ensemble made by Riemenschneider for
Rothenburg: the Altarpiece of St. Wolfgang in the
The arrangement of the three altars known
to have stood within the Milchmarkt chapel
154
The setting of the St. Anne Altarpiece may
One last retable must be counted among
pilgrimage chapel of the same name. Scholarship
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Fig. 87 Color-washed ink drawing of the Marian chapel on the Milchmarkt by Johann Ludwig Schäffer, 1745. © Stadtarchiv Rothenburg ob der Tauber.
on Rothenburg has to date seen the quick response
to incorporate this site into the established network
to the St. Wolfgang miracle of 1475 as an effort
of urban chapels.
on the part of the city council of Rothenburg and
the bishop of Würzburg to control and dampen
rial and social contours of Rothenburg. In 1475,
The new pilgrimage changed both the mate-
the nascent pilgrimage before it got out of hand.
the same year as the witnessed miracle, a separate
The evidence, however, suggests that the city
fabrica was established under the aegis of Rothen-
approached the miraculous occurrence, whatever
burg’s city council to oversee the administrative
its nature, as an opportunity rather than a threat.
organization of the St. Wolfgang pilgrimage. The
Indeed, the quick and strategic maneuvering of
wool merchant and city councilman Michael
the governing officials betrays a desire to promote
Ottnat stepped up to take a leading role in the new
pilgrimage at yet one more location in the city and
fabrica, keeping meticulous financial records and
61
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Fig. 88 Chapel of St. Wolfgang in Rothenburg from the south. Fig. 89 Longitudinal section and plan of St. Wolfgang in Rothenburg. © Bayerisches Landesamt für Denkmalpflege. Section and plan by Anton Ress.
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ensuring that the excitement around the initial
With the exception of its south side, the exterior of
miracle flourish into a permanent cult.62
the chapel is strictly rectilinear in plan and strongly
Ottnat was evidently an exceptional organizer
fortified in appearance. The sheer north, east, and
as well as a good businessman. In addition to estab-
west walls overlook the city’s mote, pierced only by
lishing a fitting visual and ritual environment at the
narrow high-set windows. By contrast, the south
site of the Wolfgang pilgrimage, he also instigated
side of the chapel faces the inner Klingentor and
the formation of a fraternity of wool merchants and
the city beyond with large Gothic windows filled
shepherds to take on the role of principal institu-
with elaborate tracery forms (fig. 88). The relation-
tional patron of the chapel. Since Ottnat was one of
ship between the exterior and interior forms of
Rothenburg’s leading wool merchants himself, this
the chapel is complicated by a system of defensive
organization suited his private as well as political
passageways set within the northern and western
aspirations. It also drew a group of shepherds, who
walls, upon which the chapel sits (fig. 89). These
spent much of their time outside the city walls,
connect to the interior of the chapel at two points:
into the civic community by giving them an official
one, through a small ogee-arched doorway in the
group identity and an annual convocation.
north wall of the east choir; the second, in the
western nave bay, adjacent to the outer gate.
In the years following its 1476 formation, the
Fraternity of Shepherds raised significant funds,
averaging about 100 fl a year, to support the
articulated with late Gothic lierne vaults (fig. 90).
Chapel of St. Wolfgang and its endowed Masses.
The spatial divisions and distinct vaulting systems
The income from the fraternity supplemented
of the chapel’s spaces become tighter toward the
that from the offertory box set up on-site, which,
east, progressively focusing attention on the central
during the construction of the Chapel of St. Wolf-
altar and its crowning altarpiece. A thick transverse
gang, from 1477 until about 1507, brought in the
arch resting on corbels divides the interior into a
substantial average sum of 140 fl per year, enough
three-bay star-vaulted nave and a narrower two-
to support the majority of building costs. In
bay net-vaulted choir. The latter ends in a shallow
exchange for their patronage, the chapel accom-
polygonal terminus set within the thickness of
modated an annual meeting of the members of the
the exterior walls. These three sections are further
fraternity on the Feast of St. Bartholomew (August
accentuated by single-step increases in the floor level
24), and two services were read there every week
moving from west to east. Overall, then, the interior
for the benefit of their living and dead brethren.64
of St. Wolfgang remains compact and focused yet
They were thus integrated into the social fabric
varied in its articulation of distinct zones.
of the city, just as their chapel was connected phys-
ically to its urban fabric.
choir mitigates one of the strongest idiosyncrasies
of the composition: the fact that the longitudinal
63
As built, the Chapel of St. Wolfgang is a small
Inside, the chapel is modest in scale yet richly
The thick arch separating the nave from the
yet fascinating creation, a structure integrated into
axis of the chapel’s nave vaults does not align with
the city’s fortification system so that it sits in the
that of the choir vaults. Instead, the line is offset at
liminal space between two city gates (figs. 2 and
the junction between the two spaces because the
13). As a result, its form is rather unconventional.
inset of the choir from the wider nave occurs only
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Fig. 90 Interior of St. Wolfgang in Rothenburg toward the east.
158
on the south side, whereas, on the north side, the
Within this setting, the Altarpiece of St. Wolf-
nave arcade continues in line with the north choir
gang, on the main altar, forms a visual and cultic
wall. Three shallow net-vaulted chapels set into the
focus. It is joined by two additional late Gothic
north wall give a semblance of balance to the space,
altarpieces on side altars dedicated to the Virgin
but they do not shift the center line of the main
Mary (north) and Saint Wendel (south).65 This
nave vault. As a result, a tension exists between the
trio, positioned to mimic a high altar and balanc-
apparent spatial alignment of the choir and nave at
ing side-aisle altars, helps disguise and normalize
ground level and their misalignment in the upper
the unusual spatial system of St. Wolfgang by
zone of the vaults. The choir’s eastern polygo-
treating the northeast side chapel as part of the
nal terminus follows the axis of its straight bays,
nave. According to a reference in the city archives,
though it is set apart by its lower vaults. Framed by
the Fraternity of Shepherds in Rothenburg was
a rounded arch that mirrors the shape of the single,
instrumental in setting up both the St. Wolfgang
deeply flanged axial window (now shuttered), the
Altarpiece of 1514 and the St. Wendel Altar-
choir terminus creates a small, intimate space that
piece of 1515 (“two costly altarpieces with several
appears to telescope out from the wider nave.
images”).66
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The St. Wolfgang Altarpiece, in particular,
is balanced by the tilt of his head in the opposite
seems custom-made for its setting. The case of its
direction. His expression is thoughtful and sad,
central shrine projects out subtly into the chapel
the brows knit together, the thin lips turned down.
space, the twisted columns that frame it recalling
A swath of Saint Wolfgang’s cope falls from his
the twisted bases of the chapel responds behind the
crooked left arm, its long pleats contrasting with
altar (fig. 91). The two pinnacles of the altarpiece’s
the crisp creases about his thighs. The bishop holds
modest superstructure correspond so closely to
an open book in his gloved right hand. Sculpted
the articulation of the chapel that they appear as
gems ornament his mitre, cope, and gloves, and
supports for the system of ribbed vaults above (fig.
rings encircle his fingers. Gold dominates the
70). Although my focus is on the carved elements
Fassung of both this figure and those flanking
of the altarpiece, its painted program, too, refer-
it; all three also stand before a golden backdrop
ences its location within the Rothenburg chapel.
painted to simulate a curtain hung from a rod.
For instance, the painter Wilhelm Ziegler—a
In its setting within the small choir of the Chapel
resident of Rothenburg since 1507 who signed and
of St. Wolfgang, the predominance of gold in the
dated the altarpiece—included a “portrait” of the
retable’s central shrine seems calculated to catch
Rothenburg chapel in a scene from the life of Saint
light from the large southern windows. As a result
Wolfgang (fig. 91). Located in the lower panel of
of the unusual architecture of the chapel, light on
the open right wing, the Chapel of St. Wolfgang
the altarpiece is always from the south or south-
appears as the legendary church the saint built with
west. Shining in from this direction, it highlights
the help of the devil. Recognizable by its adjoining
the long swath of Wolfgang’s cope and illuminates
gate tower, paired portals, and arrangement of
the exposed left side of his face. The saint’s stance
windows, this painted depiction of the Rothenburg
and the turn of his head—which, for instance, is
chapel even includes the sculpted relief of Saint
opposite that of the figure of Saint Ludwig from the
Wolfgang positioned between its two portals. In
earlier altarpiece for the Franciscan church—seem
Ziegler’s rendition, the close connection between
designed for the space (figs. 86 and 92).
the saint and his chapel are underscored formally.
The chapel leans forward, as if bowing to Wolfgang,
through two side-by-side portals in its southern
who, astride his horse, turns back and raises his
flank (fig. 93). It is striking, and more than a little
right hand toward the chapel. Other heads turn to
odd, that both portals, separated from one another
follow Saint Wolfgang’s gesture, so that the scene
by a few feet, feed into the same interior space.
has a dynamic rotation toward the depicted chapel.
Though similar in scale and height, they differ
somewhat in articulation, most notably in that the
67
The carved figures in the central shrine of the
Visitors access the Chapel of St. Wolfgang
St. Wolfgang retable have been linked to Rie-
inner arch of the western portal ends in an ogival
menschneider’s workshop based on their style.
point, while its eastern counterpart is rounded. The
The saintly bishop at center, in particular, has
western entrance is further distinguished by the
the subtly molded cheeks of a middle-aged man,
presence of a foundation inscription carved into
familiar from other works by Riemenschneider
the masonry abutting its western shoulder. Given
(fig. 92). The curve of his body to the viewer’s right
these differences, it seems evident that the western
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Fig. 91 St. Wolfgang Altarpiece by Tilman Riemenschneider and Wilhelm Ziegler, 1515.
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Fig. 92 Detail of the central shrine figure of the St. Wolfgang Altarpiece.
portal served as the primary entrance to the chapel,
arrangement, the paired portals of St. Wolfgang
the eastern portal as a corresponding exit.
are strikingly similar to those of the earlier Heil-
tumskammer, which likewise sit side by side and
The paired portals of St. Wolfgang not only
facilitated movement through the chapel space
feed into a single interior space (fig. 19). Although
but, by echoing the similar pairing of portals in the
the precise processional uses of the Chapel of St.
Heiltumskammer of St. Jakob only three hundred
Wolfgang and the Heiltumskammer must remain
meters down the street, also related the new chapel
hypothetical, the strong visual parallel of paired por-
visually to this established pilgrimage site and to
tals situated close to one another on the same major
processional routes within the city. In their unusual
street strongly suggests an intended connection.
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Fig. 93 Paired portals of the St. Wolfgang Chapel in Rothenburg from the south.
162
One final chapel that belonged to the building
citywide processions. Indeed, the chapel’s location
boom in Rothenburg during the fifteenth century
beside the bridge that directed Rothenburg’s most
deserves mention, although its medieval furnish-
important trade route over the Tauber River and
ings do not survive.68 Despite its location outside
into the city made it an important destination
the city walls, at the base of the Tauber valley, the
(figs. 3 and 13).69 For example, the Feast of Church
Chapel of Our Lady in Kobolzell was incorpo-
Consecration, an occasion for documented proces-
rated into the network of Rothenburg’s chapels
sions through the urban complex of Rothenburg,
through its administrative structure, architectural
also brought people from the city to the chapel
form, and use as a pilgrimage site and station in
of Kobolzell.70 Seen from outside the chapel,
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Fig. 94 Interior of the Marian chapel of Kobolzell toward the west.
Rothenburg appeared to its best advantage, a forti-
fied city perched above sunny southern slopes.
demonstrate its pilgrimage function. Beneath its
Features of the chapel’s architecture also
In 1472, directly after the completion of the
western gallery, three large portals feed into the
west end of St. Jakob and just three years before the
chapel from the north, south, and west. On the
miracle of Saint Wolfgang, the city broke ground
exterior, large creeping crockets articulate the head
on the new building project. Completed by 1505,
of the western portal, marking it as a distinguished
the new Chapel of Our Lady in Kobolzell replaced
entrance, likely used for formal processions (fig.
an older structure, first mentioned in 1298, that
95). The north and south portals are relatively sleek
seems to have been a site of Marian pilgrimage.
by comparison, though they are large and richly
profiled with moldings that rise from delicately
71
Architecturally, the chapel of Kobolzell evinces
close ties to both the earlier west end of St. Jakob
carved, late Gothic bases. They sit across from each
and the contemporaneous Chapel of St. Wolfgang.
other to accommodate circulation in one way and
These ties include an overlap in masons’ marks,
out the other, a feature associated both in Rothen-
similarities in detailed forms, and parallels in
burg and elsewhere with pilgrimage traffic.72 The
spatial conception. For instance, stretching across
location of an inscription to the west of the south-
the western bay of the chapel of Kobolzell is an ele-
side portal suggests this was the primary entrance;
vated gallery visually similar to the western gallery
the north portal would have served as the corre-
of St. Jakob (fig. 94), the star vaults at Kobolzell
sponding exit. In addition, one of the most striking
are elegant precursors by a matter of years to
and unusual characteristics of the chapel, a double
those of the nave of St. Wolfgang, and molding
spiral staircase in the west wall, affords a similar
profiles throughout the riverside chapel resemble
provision for circulation up to the western gallery:
those found in the other late Gothic chapels of
one of the intertwined staircases feeds from inside
Rothenburg.
the chapel’s western bay up to the gallery, while the
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Fig. 95 Marian chapel of Kobolzell from the southwest.
164
other leads down from the gallery to outside the
mentioned in textual sources have led Ludwig
chapel’s west facade. The Kobolzell chapel’s elegant
Schnurrer to suggest that the pilgrimage focused
system of portals, therefore, would have allowed a
on a Marian statue that once stood on the main
steady flow of pilgrims to pass through the main
altar.74 An inventory from 1515 suggests that both
space as well as up to the western gallery.73 In pro-
this Marian statue and a statue of Saint Jodo-
viding for the flow of traffic, then, it is akin to the
cus—which originally stood on the main altar but
west end of St. Jakob, with its paired Heiltumskam-
was ultimately moved to its own altar within the
mer portals and double staircases leading to the
chapel—were dressed in fine robes specifically
elevated Chapel of the Holy Blood.
made for the figures. The western gallery was the
location of large trunks used to collect and store
Though the furnishings of the Kobolzell chapel
were destroyed during an iconoclastic episode
donated items until they could be sold to benefit
associated with the arrival of the Reformation in
the chapel.75
Rothenburg—an altarpiece (tafel) originally set
up in 1488 was defaced and thrown into the river
function comes from the accounts of the fabrica of
in 1525 along with other images—several items
St. Jakob. They record not only an unusually rich
Final confirmation of the chapel’s pilgrimage
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intake of gifts, in the form of clothing and mate-
an extension of the protective power of venerated
rial goods from the chapel, but also substantial
saints and relics across the city. Within this assem-
donations placed in the offertory boxes at Kobolzell
blage of spaces, altarpieces served as important
on important feast days. In the years for which
visual and cultic fulcrums, themselves capable of
financial records survive, the donations collected
remapping the urban center. Their chosen iconog-
in the chapel of Kobolzell accounted for about 36
raphy, but also their stylistic and compositional
percent of the total donations to the parish fabrica
affinities, established relationships between various
ecclesiae made throughout the city. In addition to
sites that would have been particularly apparent
demonstrating the pilgrimage function of the way-
during processional and feast-day rituals.
76
side chapel, these donations also suggest that the site was incorporated formally into processional itineraries, bringing large crowds to the chapel
Processional Networks
from the hilltop center on festive occasions.
Together, the late Gothic chapels of Rothen-
Of the approximately thirty-six altars that stood
burg—the Marian chapel on the Milchmarkt,
within the city walls of Rothenburg by the early
the Chapel of St. Michael, the Chapel of the Holy
sixteenth century, roughly 25 percent boasted
Blood, the Marian chapel of Kobolzell, and the
carvings by Riemenschneider’s Würzburg-based
Chapel of St. Wolfgang—formed a network of
workshop. Together, these altarpieces formed quite
religious spaces that stretched from one side of the
a collection, contributing to the “look” of the city
city to the other, even extending into the Tauber
more than the works of most other artists. This
valley. They represent a substantial investment in
is especially true given the many repeated motifs
and remapping of the cityscape. In fact, over the
and the strong workshop style that characterize
course of a century, the number of churches in
Riemenschneider’s oeuvre. Though it is impos-
Rothenburg doubled. This meant more altars, more
sible to reconstruct a specific experience of the
offertory boxes, more chaplaincies with secular
artistic programs of late medieval Rothenburg,
priests, and more processional stations.
evidence of organized processions and parades
demonstrates how visitors often experienced the
In addition to the physical development they
represented for the city—the extension of its
city’s spatial environment as connected networks.
fortification system, the positioning of a protective
Throughout Europe processions regularly wound
relic over a major urban thoroughfare, the increase
their way through medieval cities, stopping at
in traffic to certain key locations—the late Gothic
various stations en route. The highly organized and
chapels also effected a host of other significant
ordered movement of these processions mapped
changes. These included a redistricting of the
important ideas of civic identity across the fabric
city’s residential spaces with the relocation of the
of the city.77 Processions—both those marking
local Jewish population, a remapping of the city’s
exceptional occasions like the visit of an emperor
soundscape through the addition of new bells,
and those marking the reoccurring feasts of the
a multiplication of the public religious spaces in
liturgical year—were fundamentally local in nature:
which the city council exercised its authority, and
routes were determined by the topography of the
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specific city; hierarchies of participants performed
important feast days of the liturgical year. Because
local social structures; and the collections of relics
they were unusual, the visits of kings were recorded
and treasures, banners and standards, on dis-
by the city scribe, thus providing detailed accounts
play reflected particular aspects of local identity
not available for the more regular liturgical celebra-
and identification. They were therefore strategic
tions. These accounts highlight the importance of
demonstrations of piety but also a show of power
the city’s religious environments, as well as portable
structures, of collective and individual identities,
objects, in the display of civic identity.
and of the attributes of the particular place. Charles
Zika has described how “the very marking-out of
Rothenburg on February 4, 1474, for example, a
territorial space in regulated fashion demonstrated
crowd met him before the city gates. The mayor
an identification with the authorities who exercised
and city councilmen presented the emperor with
jurisdiction over that space.” Although many
the keys to the city on a red velvet pillow, and
theories exist on the role of ritual in constructing,
ninety priests and all the students of the city were
confirming, or challenging power structures, such
present to witness the occasion. Rothenburg’s
processions clearly formalized an experience of
religious population carried with it the city’s holy
spaces among their participants.
relics and other treasures, and all the bells in the
In late medieval Rothenburg, processions were
city were rung.80 On display was not simply the
instrumental in projecting a unified vision of civic
finery of individual burghers but also the entire
community, one that subsumed other institutional
fabric and social structure of the city itself, led by
and group identities. Although the sources for pro-
the city council.
cessions in Rothenburg provide insufficient detail
to reconstruct precise itineraries, they do demon-
to proceed directly to the Parish Church of St.
strate how the governing authorities—“those who
Jakob. However, this planned adventus ceremony
most controlled ritualization”—brought together
met with an unexpected setback. Perhaps due to
the concrete city and the social city in a dynamic
the poor weather, the emperor was instead escorted
performance.79 The movement of the strictly
to his temporary quarters in a stately house on the
ordered participants, often led by the mayor and
Herrengasse and asked that the relics be taken to
governing councilmen and accompanied by the
St. Jakob so that he might visit them at his leisure
sounding of bells and the display of relic treasures,
later on. The intended procession to Rothenburg’s
exhibited the government’s control, not only over
principal church was therefore delayed, though it
space but also over time and material manifesta-
nevertheless took more than an hour for the large
tions of the divine within the city.
cortege of approximately fifteen hundred people
and a thousand horses to enter the city, and the
78
166
A clear sense of the local government’s author-
When Emperor Frederick III arrived in
From the city gates, a procession was scheduled
ity over and investment in such public displays can
celebrations lasted into the night.81
be gleaned from records of how Rothenburg wel-
comed important dignitaries. The formal parades
not appear in the church that night, nor did he
that met and accompanied these visitors shared
visit the relics the following day, so that the city
much in common with the processions staged on
officials were thwarted in their plan to show off
Despite the emperor’s stated intention, he did
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Rothenburg’s most impressive church early in his
out to escort the emperor into the city, but that the
visit. In fact, it was not until Sunday, February
emperor declined the distinction on this occasion.
14, ten days after his arrival in the city, that the
Instead, he asked that the canopy be brought to
emperor finally entered St. Jakob. He did so in
him the next day so that he might walk to church
order to attend Mass and receive Communion in
beneath it.83
the company of a venerable list of guests. Pres-
ent were the king of Denmark, the archbishop of
the accompanying ceremonies for the self-image
Mainz, and the master of ceremonies of the Polish
of Rothenburg is clear from the text of the city
court, all seated in the carved pews of the east choir
scribes who recorded them. In 1474 the scribe
of the church.
began his account: “Since it behooves all respon-
sible officeholders of sacred as well as worldly
Despite the emperor’s delay in visiting St.
The importance of these imperial visits and
Jakob, Rothenburg’s sociopolitical structures were
dignity, character, and class to retain for future use
strongly inscribed in the spaces of the city during
and management of their office the memory of
his visit. Members of the imperial court were
our past history; since this occasionally slips from
housed according to their rank in the homes of
human knowledge out of stupidity or excessive
Rothenburg’s citizens, and the banners of the realm
diligence, but through written formulation may be
were displayed in the recently completed west end
presented to the people and transmitted to their
of St. Jakob for the full duration of the emperor’s
descendants, so are the following stories, regimes,
two-week sojourn. Social hierarchy was thereby
and practiced actions presented and incorporated
underscored both in the ordering of bodies and in
in this short account for lasting memory, espe-
the uses of urban space. Although the emperor’s
cially for the praise and honor of this imperial city
reasons for delaying his visit to the parish church
Rothenburg ob der Tauber.”84 As noted earlier, the
remain unknown, this resistance may have served
city used written documents in order to confirm its
as a display of his power over public functions
authority, “praise,” and “honor.” The image of unity
and ritual within the city, the subjugation of the
it projected could thereby be passed down through
Reichsstadt’s display of social empowerment to his
generations “for lasting memory.”
own authority.
That the city saw its parish church as a source
were liturgical feast days that occasioned proces-
of pride and a locus of civic identity is clear from
sions. These Hochzeiten, as they are called in the
its intention, both in 1474 and again in 1513, when
Rothenburg sources, were often major events cele-
Emperor Maximilian I came to Rothenburg, to
brated not only within individual churches but also
conduct the esteemed guests from the city gates
throughout the wider city.85 Many of the portable
directly to St. Jakob. Though Emperor Maximilian
treasures of the city, including the most lavish vest-
did not wait ten days to make his appearance in the
ments of its religious institutions, were used during
church, he, too, chose to delay his visit. Rothen-
these events. The St. Jakob inventory of 1543, for
burg’s city scribe reported that the Traghimmel—a
instance, mentions “three red velvet copes with
canopy made of blue fabric and carried over the
all accoutrements and several stones and buttons,
host in processions on Corpus Christi—was sent
which are used for all high feast days”; “four small
82
More frequent than imperial visits to the city
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white boys’ vestments, which are used for the high
most significant relic—the miracle-working drops
feasts”; and “four more patterned copes, which
of Holy Blood—was, after all, closely linked to the
the [altar] boys wear for feast days.” An older
holy sacrament of the Mass. It is no coincidence
inventory of St. Jakob from around 1410 similarly
that every Thursday a priest celebrated Mass on
indicates several pieces that were used in unspeci-
the altar of the Holy Blood in the west end of
fied processions through the city: for instance, “one
St. Jakob in Rothenburg, for Thursday, too, was
silver monstrance, which Hans Newenstat made, in
the day on which the Last Supper was thought
which one carries Our Lord’s body [i.e., the host]”
to have occurred and therefore also the day on
and “two monstrances, in which one carries Our
which the moveable Feast of Corpus Christi
Lord’s body in the city; one is silver and the other
was celebrated. It is difficult to say whether the
golden.”
original chapel dedicated to the body and blood
of Christ in Rothenburg in 1266 was related to
86
87
Citywide processions boasted not only the
treasures of the parish church and of the other
the Feast of Corpus Christi from the start.90 If the
religious institutions of the city, but also members
nascent feast indeed inspired the chapel’s titular
and objects contributed by various lay organiza-
dedication, then the chapel dedicated to Corpus
tions. The Shepherds’ Fraternity in Rothenburg, for
Christi in Rothenburg stood as one of the earliest
instance, had its own flag for such occasions. This
known examples of what later became a medieval
would have joined a host of other banners, stan-
staple. At latest by the last quarter of the thirteenth
dards, and costumes that charted different group
century, the Feast of Corpus Christi was known in
identities within the larger social body of the city.
Rothenburg: an indulgence issued for the Rothen-
burg chapel from Augsburg in 1278 gave forty days
88
The richest evidence of specific processions
in medieval Rothenburg relates to the annual
off purgatory to those who visited the chapel on
celebration of the Feast of Corpus Christi, on the
the anniversary of the consecration of the church
Thursday following the octave of Pentecost. The
or “on the day on which the Mass of the all holy
feast honoring the body of Christ in the form of the
body and blood of Christ is celebrated and on
Eucharist was initiated in Liège around 1246, where
its octave.”91 The list of indulgences in Ellringen’s
it was inspired by the visions of Juliana of Liège.
tripartite compendium included indulgences for
It was sanctioned by Pope Urban IV two decades
the Feast of Corpus Christi and its octave, along-
later, so that the official start date of the feast is
side those for the chapel, again emphasizing the
often given as 1264, though it was incorporated and
strong association (if not the causative relation-
published in a collection of canon law, the Clem-
ship) between the feast day and the local chapel.92
entines, only in 1317. By this time the practice of
By the time the new west end of St. Jakob was
celebrating Corpus Christ with citywide proces-
erected, then, in the third quarter of the fifteenth
sions had spread through many channels and was
century, the Feast of Corpus Christi was one of the
common especially in Germany.
most important events in the liturgical calendar of
It should come as no surprise that Corpus
Rothenburg and closely linked to the local Chapel
Christi was one of the most important feast days
of the Holy Blood. Once installed, the Holy Blood
celebrated in late medieval Rothenburg. The city’s
Altarpiece would have served as one of the most
89
168
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important stations during the annual feast-day
that it dates to the beginning of the fifteenth cen-
celebrations.
tury. This corresponds well to the first mention of
the play in Rothenburg, in a document of 1400.98
Processions on Corpus Christi commonly
included a city’s religious and lay dignitaries as
The timeframe is confirmed by a related source
well as candles, flags, and music. The spectacle in
from 1403, again written by the schoolmaster of
Rothenburg was certainly to type. For example, the
Rothenburg, which lodged a complaint: “Also,
Holy Ghost Spital of Rothenburg paid someone to
dear sirs, in the previous two years you gave me 1
walk in front of the treasure of relics and musi-
guilder each year for my work on the play, which
cians to accompany the procession. Pride of place
is held for Corpus Christi and the consecration of
in the procession was accorded to a monstrance
the church; this year you gave me none of this.”99
containing a consecrated host, which was listed in
Importantly, this source underscores the close
the 1543 inventory of the holdings of St. Jakob as
relationship between the Feasts of Corpus Christi
“one large silver monstrance, as used for Corpus
and Church Consecration as they were celebrated
Christi, with its accoutrements: 1 silver cross, 2
in Rothenburg: the schoolmaster uses both names
small silver monstrances, 2 small silver vessels, and
to refer to the annual four-day festivities stretching
one silver thurible; all this is used for high feast
from Thursday through Sunday to which the play
days.” The large monstrance was distinguished
in question belonged.
by the blue Traghimmel canopy and carried by the
parish priest of St. Jakob, who wore an expensive
resembles the better-preserved Innsbruck Corpus
cope. In addition to the listed silver treasures, the
Christi play, so that its larger structure may be
Heiltümer, or relics of the parish, were also carried
hypothesized. The Innsbruck play probably origi-
in procession.96 The gilded thirteenth-century
nated in the middle of Germany at the beginning
cruciform reliquary containing the relic of the Holy
of the fourteenth century, but the earliest surviving
Blood was placed on a designated staff and also
manuscript dates to 1391.100 The sequence begins
carried through the streets (fig. 15). Indeed, it pos-
with appearances by Adam and Eve followed by
sibly shared with the host the distinction of being
a longer section exploring the Apostles’ Creed in
carried under the blue canopy. In any case, both
an exchange between the twelve apostles and an
species—consecrated bread and wine, the latter in
equivalent contingent of prophets. It ends with
the form of the Dauerwunder relic—were carried
speeches by the three Magi and finally by the pope.
through the town for all to see.
The surviving Rothenburg fragment corresponds
to the monologue of the first of the Magi, King
93
94
95
97
One of the festivities of the day was the
What survives of the play itself strikingly
performance of a play, which included costumed
Caspar, in the Innsbruck play. The directions of the
participants enacting biblical scenes at various
Innsbruck manuscript have the king appear with
locations throughout the city. A small fragment
myrrh, turn toward the Holy Sacrament held aloft
of the text of this Rothenburg Corpus Christi play
by a priest, recite his speech, and present his gift.101
survives in a document written by the schoolmas-
ter, who signed his position though not his name.
seems likely that the enactment of the scene fol-
The script and the watermark of the page indicate
lowed a similar staging. For one, the king says, “I
From clues in the Rothenburg fragment, it
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see him there in the priest’s hands; / I want to turn
myself to his service, / I have my offering ready
the blood of Christ, not just the body, continued
here,” and later mentions that his offering is myrrh
as a theme throughout the entire Rothenburg play.
(mirren). What the priest held up was probably
Little, too, can be said about the rest of the props
a host standing in for the Christ Child. The one
used, though repeated entries in the financial
difference Elizabeth Wainwright has identified
ledgers of the religious institutions of Rothenburg
between the Rothenburg fragment and its Inns-
confirm a considerable array of visual supports.
bruck model is in the final lines of the speech. In
Schnurrer has identified references to costumes
the Rothenburg play, Caspar concludes:
that included a dragon, the Antichrist, a devil,
102
We may never know whether the emphasis on
Adam and Eve, and prophets.104 Crowns, beards, Lord, now let your help shine upon us
and a Judenschüssel (literally “Jew’s bowl”) were
Through your bitter torments
also mentioned in financial accounts, and carpen-
And through your precious blood so red!
ters, tailors, and painters were engaged for work
Help us, that your holy death
related to the play.105 In 1485 thirteen boys participated in the play; by 1494 that number had risen to
Be never lost upon us Since you were born for our solace!
103
twenty.106 The picture this affords is of a lavish and colorful celebration that moved through the city,
170
This plea, unlike its model, is addressed directly
incorporating props and participants from various
to God, “Herre,” and includes lines from an earlier
constituent communities.
speech in the Innsbruck play. While Wainwright
dismisses this as a minor difference, it in fact
tions was ensured, for already in 1282 King Rudolf
indicates an emphasis in the Rothenburg play that
I of Germany had given Rothenburg permission
related powerfully to the local context. The exclam-
to hold an annual eight-day market beginning on
atory appeal to the “tewres plut so rot,” the precious
Corpus Christi.107 The crowds thus included not
red blood of Christ, must have resonated in a city
only many of the roughly five thousand inhabitants
whose central pilgrimage was to a relic of the Holy
of the city at the time but also visitors from the
Blood. Although the visual prop held by the priest
surrounding area. This high attendance and par-
to represent Christ was probably the host, it is the
ticipation in the festivities celebrating the octave of
red blood that provides the desired help in the text.
Corpus Christi during the late medieval period is
Here, then, is a direct textual (or oral) appeal to
indirectly recorded in the financial accounts of the
the mercy of Christ represented by his blood, one
parish. For example, in 1501/2, during the octave
akin to the visual appeal made in the figure of the
of Corpus Christi and the Feast of Church Con-
Man of Sorrows as it was repeated throughout the
secration, the fabrica ecclesiae collected 108 1/2 lb
urban complex of Rothenburg. Of course, it would
in donations made to the offertory box located in
be fascinating to know where this particular speech
the Chapel of the Holy Blood.108 In comparison,
was performed—in the Holy Blood Chapel itself,
the income from the same box on the Feast Day of
on the street outside the towering west end of St.
Saint James, the patron saint of the parish church,
Jakob, or elsewhere?
amounted to 50 lb 25d.
An audience for these Corpus Christi celebra-
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Such records also provide a hint at a possi-
Germany, it was common for processions held on
ble itinerary for the Corpus Christ procession in
Corpus Christi, the Assumption, and Rogationtide
Rothenburg, though its exact route can no longer
not only to circumambulate the town but also to
be reconstructed. The starting and ending point for
move through agricultural lands outside the city
most liturgical processions in Rothenburg, includ-
walls, conducting what have been called blessings
ing Corpus Christi, was in all probability the Parish
of the air.109
Church of St. Jakob, just as this church was the
intended first stop for imperial adventus parades
liturgical feast for Rothenburg, similar festivities
in the city. The Chapel of the Holy Blood clearly
no doubt occurred at other moments of the year.
featured as a separate stop in the procession as well,
The seven Marian altars positioned throughout
as the recorded donations suggest. Whatever the
Rothenburg were likely connected through devo-
sequence of stops, it is likely that the procession
tional practices on Marian feast days, including the
moved through the street passageway beneath the
Assumption. These stood in St. Jakob, the chapel of
west end of St. Jakob at some point, possibly cir-
Kobolzell, the Chapel of St. Wolfgang, the Marian
culating through the Heiltumskammer on its way,
chapel on the Milchmarkt, the Dominican convent
because the Klingengasse connected the northern
church, and the Franciscan church. In fact, the
part of the city, the location of the Dominican con-
numerous repetitions in altar dedications through-
vent church and the Chapel of St. Wolfgang, with
out the city suggest a flexible system within which
the city center (fig. 13).
various networks might be drawn. Saint Catherine,
for instance, was venerated at four altars through-
The itinerary of each procession, like that held
Though Corpus Christi is the best-documented
on Corpus Christi in Rothenburg, was undoubt-
out the city, Saint John and all saints each at three
edly affected by the location and dedication of
altars, and Saint Nicholas, Saint Leonhard, Saint
altars. The Dominican convent church in Rothen-
Jodocus, and the Three Kings each at two. Since
burg, for instance, housed an altar dedicated to
many of these altars boasted altarpieces or statues,
Corpus Christi—the one proposed by Vetter as the
the networks were reinforced not only through
original location of the Riemenschneider altarpiece
titular dedications but through visual correspon-
now in Detwang—as did the Spital church. It is
dences as well.
likely, therefore, that these churches, too, featured
in the Corpus Christi procession. The Franciscan
burg have moved from their original locations
church, as one of the largest and most centrally
or disappeared, processions connecting Rothen-
located churches of the city, not to mention the
burg’s religious spaces would necessarily have
church endowed with the most private services,
passed by several retables with figures executed by
likely warranted a stop as well. By virtue of its
Riemenschneider’s workshop. These altarpieces
location within the city’s fortification system and
shared close formal, stylistic, and sometimes
its paired portals, the Chapel of St. Wolfgang also
iconographic characteristics, so they would have
seems a likely candidate for citywide processions,
formed a significant visual assemblage within the
which often included not only churches and cha-
city. The result of the many commissions by the
pels but also the marketplace, gates, and walls. In
Würzburg sculptor was therefore that late medieval
Although many of the altarpieces of Rothen-
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Rothenburg developed a veritable topography of
commissioning works that were transported to the
altarpieces in the distinctive workshop style that
city on carts.
could be variably networked through ritual and
individual itineraries. These altarpieces strongly
then, was how to craft a unique aesthetic identity
affected the “look” of Rothenburg church space and
of place while using imported styles and artworks.
encouraged visitors to recognize repetitions as pro-
Whereas artistic centers like Paris and Nuremberg
grammatic. This program and others like it formed
drew primarily on local production and therefore
interventions in the built environment and served
developed styles traceable to the particular place,
as part of the ongoing process of urban planning, a
Rothenburg’s uniqueness had to consist of some-
process that actively shaped the projected identity
thing else. Throughout this book I have described
of the city.
several strategies for addressing this challenge.
A fundamental challenge Rothenburg faced,
The shift between the construction of the choir of St. Jakob and its nave, traced in chapter 1, demon-
Conclusion
strates how the city council rejected a design based on a single model in favor of one that drew
172
Throughout the late Middle Ages, Rothenburg
eclectically on a variety of models. This move away
attempted to establish itself as a significant
from the single “copy” toward multiple “citations”
Reichsstadt not only through politics but also by
represented a change in the approach to visually
means of its material fabric. The city’s aesthetics
expressing Rothenburg’s developing identity.
(fortifications, towers, churches) and its socie-
Rather than demonstrate a deferential affiliation,
tal structures (the city council, fraternities, and
it proudly situated Rothenburg within a family of
practices of giving) projected an image of pres-
other imperial cities.
tige and beauty according to common medieval
ideals. Art and architecture were important tools
identity was to establish individual spatial environ-
involved in shaping these material and immaterial
ments that insisted on the particular local context.
qualities of the city. Despite the importance of
Universal concerns of the Church might, through
the arts in Rothenburg, however, the city never
artistic and devotional gestures, take on heightened
developed into a center for artistic production.
local significance. Thus, motifs in the Holy Blood
Although known artists did at times take up
Altarpiece, in the particular context of its instal-
residence within Rothenburg—Friedrich Herlin,
lation, spoke not only of the general promise of
Martin Schwarz, Erhart Harschner, and Wilhelm
the Eucharist but also of the specific place: of local
Ziegler, among others—the city never developed a
viticultural production, of the healing powers of
system of artistic guilds or became the permanent
Rothenburg’s blood relic, and of a rooted place of
home of stable workshops. As a result, Rothenburg
pilgrimage. Broad themes were thereby tied to the
had to import much of the art used to construct
particular city and community.
its spatial environments, employing architects
whose primary affiliations lay elsewhere and
to a single identity of place, it was important that
A second strategy for creating a unique civic
For such individual environments to contribute
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they be perceived as connected. Spatial systems,
southern windows of the chapel and the move-
like the urban complex, emphasized strong yet
ment of Judas across and into the Last Supper
flexible relationships between individual envi-
scene at the center of the Holy Blood Altarpiece
ronments. Repetition played an important role
betray a sensitivity to the conditions of the envi-
in underscoring such connections within the
ronments in which they were installed. Combined
experience of visitors, so that two axially aligned
with the choice of finish and the custom-made
two-story chapels with complementary altar
armature, the design of an altarpiece could
dedications and matching altarpieces, for instance,
resonate both with other media within a single
might be read as continuations of a single pro-
environment and with other altarpieces across a
grammatic theme.
church or city.
The tightly structured system of the urban com-
In fact, the uniqueness of the image Rothen-
plex at the heart of Rothenburg was supported by
burg crafted for itself over the two centuries
wider networks as well. These networks stretched
under study depended on specific configurations.
throughout the city, allowing visitors to flexibly
The combination and spatial arrangement of
chart diverse itineraries. The boom in chapel build-
individual elements gave meaning to St. Jakob’s
ing in Rothenburg during the fifteenth century
architectural citation, to its rooted spatial envi-
evinces the city government’s desire to establish
ronments, to the parish urban complex, and to the
such networks, reinforced by the repetition of altar
citywide networks that made Rothenburg unique.
dedications, architectural features, imagery, and
The process of late medieval artistic programming
style. The strategic activities of processions and
required that these configurations remain flexi-
feast-day celebrations formalized the experience of
ble: open to new additions and supple in content.
these networks.
While artistic programs were locally determined
and site specific, they were universally dynamic
Thus, despite the fact that much of the art in
Rothenburg was brought to the city from other
works in progress rather than finished or prede-
centers, it was successfully tailored to the spe-
signed products. Our understanding both of the
cific setting, where it entered a local discourse
medieval city as material and social entity and of
that emphasized Rothenburg’s uniqueness. The
artistic production during the late Middle Ages
example of altarpieces from Riemenschneider’s
must accommodate this flexibility. By acknowl-
workshop is exemplary of this process of produc-
edging that medieval programs were continually
tion and custom fitting: the repetitions of style and
subject to change and that they defied stable
composition among altarpieces betray a workshop
notions of completeness, we liberate moments
practice operating from a set of models that could
like the consecration of a church or the erection
be exported to a variety of locations; yet these
of a monochrome altarpiece from ideas of a fixed
models were sometimes manipulated subtly or
endpoint or preconceived plan. Instead, we allow
combined in unique ways to relate to their specific
for multiple actors—individuals, institutions, art
intended environments. The turn of the figure
objects, and spatial environments—to contribute
of Saint Wolfgang to catch the light through the
to the dynamic visual identity of the medieval city.
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Although Rothenburg cultivated a distinct
mark the city as peripheral, the practices I have
identity for itself in the late Middle Ages, its
traced in Rothenburg made it a powerful center
process of configuring spaces as a means of estab-
of combination. The spatial environments of the
lishing civic identity and giving programmatic
medieval city were generative agents of artistic
form to aggregated collections of art objects was
creation.
common among late medieval cities. Rather than
174
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Epilogue The Modern Medieval City
O
n March 14, 1501—exactly one month and
Rathaus itself: “that excellent building,” with “walls
one day before Riemenschneider signed the
that had dominated for years.”3 He mentions its
contract for the Holy Blood Altarpiece in Rothen-
high gable, its castlelike turret, its squared masonry
burg—a fire devastated the east wing of the city’s
and hard stones, and its sonorous bell, which came
Rathaus, claiming two lives and a large portion
crashing down. He laments, too, the loss of writ-
of the municipal archives. A poem by Johannes
ings that had been preserved for generations in the
Beuschel, likely published the same year in Leipzig,
city council’s “famous library.”4 In the poem, the
documents the horrific experience of that night.
material fabric of the Rathaus serves both to glorify
At the heart of Rothenburg—a city “held by a
the city and to demonstrate the devastating force of
high mountain” and crowned with “sparkling high
the fire.
walls” and “glimmering churches”—a crackling
1
The fire of 1501 left a deep scar in the center of
blaze engulfed the fourteenth-century Rathaus.
Rothenburg, which the city council was eager to
Before Beuschel turns to the effects of the fire
repair. Rebuilding the destroyed east wing of the
on the city’s inhabitants—on the pale and trem-
Rathaus, however, proved to be a protracted project
bling mothers, on the heroic councilmen, on the
that not only outlasted the arrival and gradual
clamoring burghers roused to action, and on the
adoption of the Reformation in Rothenburg but
unfortunate tower watchman and his wife, whose
also reflected major shifts in both the aesthetic
harrowing shrieks are heard from below as they
sensibilities and the urban objectives (“urbanische
perish in the flames—he bemoans the loss of the
Zielsetzungen”) of the city.5 The old Gothic Rathaus
2
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had been built around 1360—just after the com-
however, demonstrates the extent to which this
pletion of the choir of the Church of St. Jakob and
reputation persists despite extensive loss and
before the start of work on its nave—by a munic-
rebuilding of the city’s medieval fabric. On March
ipal government intent on a broad campaign of
31, 1945, for example, less than two months before
urban Kirchenpolitik. Its steep double gable and
the end of World War II in Europe, sixteen Allied
slender belfry, still visible in a panel of Friedrich
bombers dropped their deadly cargo over Rothen-
Herlin’s high altarpiece for St. Jakob, faced the
burg, leveling more than 40 percent of the city’s
stately Herrengasse, while its north and south sides
historic center, including more than seven hundred
were lined with shops and stalls. The replacement
meters of its encircling walls.10 A significant section
Renaissance wing was ultimately built from 1572 to
of the city thus had to be reconstructed.
1580 as part of an urban-renewal project focused
on profane structures, including the Gymnasium,
I end with a glance at Rothenburg’s postmedieval
the granary (Schranne), and a series of fountains
history and at the modern “medieval” city that con-
along the north–south axis of the city.6 The new
tinues to draw visitors today. While the success of
wing retained the general footprint and shape of
Rothenburg during the Middle Ages rested on its
its predecessor but substituted a scrolled Renais-
ability to establish its distinctiveness through the
sance profile for the Gothic stepped gable, added a
configuration of imported arts, its modern fame
richly articulated corner oriel, and conceived of the
relies on its ability to export an ideal image of the
marketplace side as a second facade (fig. 96). The
remarkably preserved and representative medieval
rebuilding of Rothenburg’s Rathaus wing in new
city. Joshua Hagen has contributed much toward
Renaissance style—which marked the start of a
this history, demonstrating how Rothenburg
decoupling of civic identity from religious space in
repeatedly served as a site for the construction of
Rothenburg—in many ways demarcates the end of
German national ideals, not simply because of its
the process of medieval urban programming.
actual preserved medieval fabric but because of its
ability to invoke a sense of a general shared past.11
7
Today Rothenburg ob der Tauber represents the
quintessential well-preserved German medieval
As a result, the present-day experience of Rothen-
city. It has been so successful in cultivating this
burg effects what Alexander Nagel and Christopher
reputation that at least a dozen cities vie for titles
Wood have called “a clash of temporalities” by
like “Rothenburg of the North” or “Westphalian
placing in dialogue two competing encounters with
Rothenburg” and modern guidebooks extol it as
the medieval city.12
“a true medieval gem” with a “miraculous legacy
of perfectly preserved medieval and Renaissance
historical mode, whereby those engaged with the
buildings.” Elements from Rothenburg have even
city track changes and losses to its material fabric
served as synecdochic representatives of German
over time. In this vein, the formal language of
medieval architecture, such as the old wing of the
the Renaissance wing of Rothenburg’s Rathaus
Rathaus, which inspired features of the Deutsches
juxtaposed with the earlier Gothic wing attests
Haus at the Chicago World’s Fair of 1893. Even a
to the fire of 1501 and the subsequent rebuild-
cursory look at Rothenburg’s postmedieval history,
ing. Less immediately visible is evidence of the
8
9
176
In concluding this book, it seems fitting that
The first of these encounters is the dominant
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Fig. 96 Rathaus in Rothenburg, with its old and new wings.
Boivin, Riemenschneider_PRINT.indd 177
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reconstruction of that same Renaissance wing
St. John were heavily damaged during the March
following the bombing of 1945. After the war,
31, 1945, bombing of Rothenburg; while the surviv-
the damaged wing was deemed to hold special
ing sections were preserved, there was little interest
historical importance and therefore to be worthy
in restoring these churches following their original
of faithful reconstruction. Consequently, it was
forms.15 Features like modern ceilings make visible
rebuilt as a copy of the sixteenth-century post-
the loss to the original substance. These gaps invite
fire rebuilt structure, along with other secular
visitors to imagine the lost sacred spaces of the city
buildings, such as the contemporary Renaissance
and thus to participate in a process of collective
grammar school and several of Rothenburg’s
remembering aided by tour guides and commemo-
fortification towers. Only those in the know would
rative plaques.
realize that the reconstructed Rathaus wing also
incorporated some symbolic changes: the original
influential publications and by the recent wave of
sandstone floor tiles, for instance, were replaced by
reconstructions of historic centers across Germany,
limestone slabs taken from the Reichsparteitags-
Rothenburg today increasingly includes remind-
gelände in Nuremberg. The Rathaus thus invites a
ers of its postwar rebuilding history. Tours and
historic narrative that tells of moments of remark-
information pamphlets now mention the bomb-
able preservation and others of loss and rebuilding.
ing in 1945, the substantial loss of historic urban
fabric, and the subsequent rebuilding. In general,
13
14
178
Whereas Rothenburg’s damaged secular struc-
In part, no doubt prompted by Hagen’s
tures, like the Rathaus, were often rebuilt, the city’s
this narrative of successful preservation versus
lost sacred structures have left perceptible holes in
loss and reconstruction dominates over consid-
the urban fabric. Several aggressive changes were
eration of more subtle changes to the city’s spatial
made to the sacred fabric of Rothenburg during
environments.
the eighteenth through twentieth centuries: the
church of the Dominican convent and the Chapels
burg after the Reformation offer a case in point.
of St. Michael and the Virgin Mary on the Milch-
Shortly after Protestantism was formally adopted
markt were torn down before antiquarian interest
in the city, the Chapel of St. Michael was converted
in Rothenburg began to have an effect on preser-
into a library; select panels of Friedrich Herlin’s
vation in the mid-nineteenth century. These lost
1466 high altarpiece for St. Jakob were painted
structures manifest as legible gaps in Rothenburg’s
over;16 and the Altarpiece of the Holy Blood was
urban fabric: the site of the Dominican convent
moved to the juncture between the choir and
church, for instance, is now a picturesque garden
the nave of St. Jakob. There, in its new Lutheran
studded with bits of Gothic tracery; the octagonal
context, Riemenschneider’s central scene of the
plinth of St. Michael serves as a restaurant ter-
Last Supper—which in its original context had
race in the shadows of the chapel’s one partially
asserted Eucharistic piety through the sacramen-
preserved wall (fig. 57); and the site of the Chapel
tal and miracle-working nature of Rothenburg’s
of the Virgin Mary is an open square called the
blood relic—was reinterpreted as a more gen-
Kapellenplatz, though it no longer has a Kapelle.
eral statement on the significance and origin of
The Spital church and the Chapel of the Knights of
the celebration of the Mass.17 The centrality of
A few changes to the urban complex of Rothen-
Riemenschneider in Rothenburg
Boivin, Riemenschneider_PRINT.indd 178
1/5/21 4:28 PM
Judas, which in the elevated western chapel spoke
recent creations, like Kaethe Wolfahrt’s glistening
expressly to pilgrims moving across the space,
Christmas Museum, the medievalist Meistertrunk
obtained a new inflection that accentuated indi-
festival, and a stuffed bear blowing bubbles from a
vidual contrition and self-contemplation. Today, of
second-floor window on the Hafengasse. Rothen-
course, the situation has changed again. Riemen-
burg’s reputation relies on visitors’ willingness to
schneider’s famous altarpiece has been returned to
substitute the ambience created by the combina-
its original location, and the overpainted sections
tion of these features for the experience of the late
of Herlin’s altarpiece have been uncovered.
medieval city (fig. 97).
The narrative of remarkable preservation often
The resultant image of Rothenburg, exported
casts such changes as minor episodes in an object’s
on so many postcards and souvenirs, tends to
postmedieval history, flyover territory that helps
champion the city’s secular features—its squares,
account teleologically for the successful survival
cobblestone streets, and encircling wall. It also
of original fabric. Read differently, however, these
concentrates on architecture, in particular on
adjustments may be seen as part of a continuing
architectural exteriors. While the postwar res-
process of artistic programming, which places
toration of the Rathaus and other distinguished
in dialogue the precise originary moment of an
buildings valued fidelity to the original structures,
artifact with its ongoing participation in an active
the majority of the city’s residential areas that were
spatial environment.
destroyed during World War II were filled with
loose architectural reconstructions considered
The anachronisms encountered in Rothenburg
today are at once highly visible markers of a linear
fitting for the overall ambience of the city but not
history while at the same time part of a collective
designed as strict copies of lost originals.18
image that evokes the nonspecific “medieval” past.
And this is the second mode in which those who
and preservation, documented in so many plaques
engage with the city encounter the urban material
and remembered in guided tours that usher
fabric of Rothenburg today.
groups through its streets and churches, serves as
evidence of a sustained investment in the “medi-
Although “medieval” has come to mean many
The history of Rothenburg’s reconstruction
things, the “medieval city” is a concept remarkably
eval” identity of Rothenburg that contributes to
fixed in the contemporary imagination. It conjures
the city’s success as a representative exemplum
visions of fortified walls, towering churches, and
today. Gaps in the surviving medieval fabric are at
narrow winding streets familiar from fairytales,
once remembered and filled to ensure an ambi-
songs, and video games. Rothenburg’s success as a
ent experience of the “medieval” as distant and
modern medieval city relies on its ability to fulfill
fragmented yet remarkably present. In this context,
the expectations of this image, both aesthetically
incompleteness takes on a new role: rather than
and experientially. The two million visitors annu-
a sign of ongoing potential for transformation,
ally who come to Rothenburg today encounter
as it was in the late medieval period, it becomes
survivals from the fourteenth through sixteenth
an index of the historicity of the place, of a once
centuries alongside modern rebuildings and
complete entity partially preserved in the present.
historicizing replacements; they also enjoy more
Thus, the lost Riemenschneider altarpiece from the
Epilogue
Boivin, Riemenschneider_PRINT.indd 179
179
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Fig. 97 Aerial view of the southeast corner of the Marktplatz in Rothenburg.
180
Dominican convent church, the destroyed Chapel
tower gates were considered so important for
of St. Michael, the relocated urban cemetery, and
the city’s modern medieval image that they were
the missing crest of the altarpiece now in Detwang
rebuilt while many of the city’s inhabitants were
are features to be reconstructed or imagined, while
still homeless.19 Although the damaged portions
their very loss throws into relief the remarkable
of Rothenburg’s walls have since been rebuilt,
preservation of the surviving fragments and the
the campaign for their preservation is still active
lingering ambience of the “medieval” place.
today. Rothenburg’s website promises to commem-
orate donations upward of 1,200€ with a plaque
One of the most evocative places in which visi-
tors encounter this type of clash of temporalities in
inscribing the name and hometown of the donor
Rothenburg today is in the walkway along the city’s
in the walls.20 And indeed, the many tourists who
fortification walls. Among the many losses Rothen-
walk Rothenburg’s walls today find evidence of
burg incurred during World War II, the one given
the success of this international campaign, which
priority in rebuilding efforts immediately after the
continues to draw donations in great number,
war was the city’s damaged towers and encircling
not only from Europe but also from the United
defensive walls. Indeed, some of Rothenburg’s
States and Japan. The fortifications thus preserve
Riemenschneider in Rothenburg
Boivin, Riemenschneider_PRINT.indd 180
1/5/21 4:28 PM
some of their medieval material alongside modern
The altarpieces with figures by Riemenschneider
reconstructions that map the ongoing preservation
continue to shape the itineraries of visitors, and
campaign and its most significant benefactors.
architecture still articulates distinct multimedia
What has changed in Rothenburg since the late
environments, but the encounter with the mate-
Middle Ages is the reciprocal relationship between
rial past effects a dialogic clash of temporalities.
visitors and city, which during the medieval period
Rothenburg’s representative nature rests on its
motivated visitors to look to the future and par-
ability to bring together the city of the fourteenth
ticipate in the creation of a city identity through
through sixteenth centuries, which this book has
donations and memoria but now prompts them
attempted to reconstruct, with “the medieval city”
instead to construct a stable notion of the past.
of modern imagination.
Epilogue
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181
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Boivin, Riemenschneider_PRINT.indd 182
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Notes
Introduction 1. Oellermann, “Tilman Riemenschneider in Rothenburg”; Oellermann, “Bedeutung des Malers Martinus Schwarz.” 2. For a transcription and translation of the contract, see Baxandall, Limewood Sculptors, 172–76. 3. For a transcription of the sources pertaining to these dates, see Bier, Tilmann Riemenschneider: Die reifen Werke, 169–75. 4. For example: Weilandt, Sebalduskirche in Nürnberg; Nussbaum, Gebrauchte Kirche; Zchomelidse, Art, Ritual, and Civic Identity. 5. Sauerländer, “Integration,” 9. 6. Paul Crossley describes this approach to the cathedral as “the belief in some unitary and unifying ‘program,’ informing all aspects of the cathedral’s imagery and performance, and expressive of a wider cultural order, both political and ideological.” Crossley, “Integrated Cathedral,” 157–58. For the Gesamtkunstwerk idea, see Sedlmayr, Entstehung der Kathedrale, and von Simson, Gothic Cathedral. Also important for these holistic approaches were Hegel’s notion of the Zeitgeist and Panofsky’s ideas on scholasticism. Hegel, Phenomenology of Sprit; Panofsky, Gothic Architecture and Scholasticism. 7. Jung, Gothic Screen, 4. 8. Crossley, “Integrated Cathedral,” 166; Binski, Becket’s Crown, xii, xiv; Binski, Westminster Abbey. 9. This is what Paul Binski, following Clifford Geertz, has called the “imaginative universe within which cultural signs operate.” Binski, Becket’s Crown, xi– xii; Geertz, “Religion as a Cultural System.” 10. Klukas, “Durham Cathedral,” esp. 70, 78. 11. Draper, “Interpreting the Architecture of Wells,” esp. 127. 12. Binski, Becket’s Crown; Caviness, Sumptuous Arts; Weilandt, Sebalduskirche in Nürnberg; Crossley, “Integrated Cathedral,” 157. 13. See, for instance, the many contributions related to architecture and stained glass in Lane, Pastan, and Shortell, Four Modes of Seeing.
Boivin, Riemenschneider_PRINT.indd 183
14. Caviness, Sumptuous Arts, xix. 15. Weilandt, Sebalduskirche in Nürnberg; Maxwell, Art of Medieval Urbanism; Frost, Time, Space, and Order. Recent exceptions that broaden this scope include Bent, Public Painting, and Atkinson, Noisy Renaissance. 16. Sitte, Art of Building Cities; Collins and Collins, Camillo Sitte, 14–15; A. Morris, History of Urban Form, 92, 104–18; Kostof, City Shaped, 43–69. For a recent response to the organic-growth model, see Lilley, “Cities of God?” 17. Latour, Reassembling the Social; Bennett, Vibrant Matter, 9–10, 13. 18. Bennett, Vibrant Matter, 21. Bennett draws on assemblage theory, introduced by Deleuze and Guattari. Deleuze and Guattari, Thousand Plateaus. 19. Bennett, Vibrant Matter, 24. 20. Sauerländer, “Integration,” 11. 21. These included the painters Friedrich Herlin, Martin Schwarz, and Wilhelm Ziegler. 22. Borchardt, Die geistlichen Institutionen, 1:15; Schnurrer, “Neue Quellen,” 86. 23. Cologne and Prague, the largest cities in the Holy Roman Empire, were home to around 40,000 people each. 24. After 1505 Nuremberg also had more territory. Borchardt, Die geistlichen Institutionen, 1:15. 25. The first castle on this site may have been built as early as the tenth century, though the most important castle for the development of the surrounding city was the Hohenstaufen castle of the twelfth century. Ress, Stadt Rothenburg o.d.T., 443. 26. Already in 1242 Rothenburg appeared in the imperial tax rolls with a charge of 90 marks silver to its name. Ibid., 2–10. 27. Ibid. On the number of free imperial cities around 1500, see Bünz, “Klerus und Bürger,” 356. 28. Ress, Stadt Rothenburg o.d.T., 39. 29. The pact with Schwäbisch Hall was signed on November 10, 1397. Lubich, “Rothenburg und Schwäbisch Hall,” 33–34.
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30. Heinrich Toppler, member of the inner city council of Rothenburg, traveled to Nuremberg on at least one occasion when the imperial court was in town to adjudicate matters. He was also one of two delegates sent to Prague to represent Rothenburg. Schnurrer, Urkunden, 2:1037, 1051–52, 1058, 1069–70, entries 2657, 2691, 2707, 2737. On the court at Prague, see Boehm and Fajt, Prague: The Crown of Bohemia. 31. Lubich, “Rothenburg und Schwäbisch Hall,” 34. 32. Ress, Stadt Rothenburg o.d.T., 10–11; Borchardt, Die geistlichen Institutionen, 1:14; Weigel, Reichsstadt Rothenburg o.T.; H. Schmidt, “Heinrich Toppler.” 33. Ress, Stadt Rothenburg o.d.T., 11. 34. There is evidence of grumbling already in 1440, just three years after a devastating famine affected the city. Then in 1447 the city council instituted a new tax on wine production, which roused the outrage of the general population: in addition to the extant tax on each liter of wine poured in the city, the new law imposed a tax of 1 guilder on each ton of wine produced. This not only affected vintners but also drove up the price of the most popular beverage in the city. For a more detailed account, see Schnurrer, “Soziale und bürgerliche Aufstände,” 15–16, 21–24. 35. Dyers, weavers, masons, tanners, carpenters, metalworkers, butchers, vintners, and tailors represented their respective trades. Ibid., 21. For the following account, see ibid., 16, 21–24, 30–32. 36. Borchardt, Die geistlichen Institutionen, 1:11. 37. The restored constitution restricted the inner city council to sixteen members, the outer to forty. Schnurrer, “Soziale und bürgerliche Aufstände,” 31. 38. Borchardt, Die geistlichen Institutionen, 1:21–22. 39. Schnurrer, Urkunden, 2:1098, entry 2812. 40. For a chronological list of known members, see Borchardt, Die geistlichen Institutionen, 1:511–23. For an excellent summary of literature on the diversity and complexity of identities in the medieval city, see Bünz, “Klerus und Bürger,” 355–56, and Moraw, “Regionale Identität.” On the multiplicity of identities for single individuals, see H-J. Schmidt, Kirche, Staat, Nation, 23. 41. Borchardt, Die geistlichen Institutionen, 1:28. 42. Fild, “Geschichte der St.-Jakobs-Kirche,” 29. 43. Vice, “Bildersturm in Rothenburg,” 59. 44. Ibid., 60.
184
45. Baumann, Quellen zur Geschichte des Bauernkriegs, 339–47. 46. On the “rediscovery” of Rothenburg, see Hagen, Preservation. 47. Baxandall, Limewood Sculptors, 172–90, has studied the lighting effects on the Holy Blood Altarpiece in the west end of St. Jakob; Welzel, “Tilman Riemenschneider,” has emphasized the iconographic connection to blood pilgrimage; and Kalden-Rosenfeld, in Tilman Riemenschneider: Werkstattleiter, has discussed the movement of visitors through the space. For a more general contextualization, see Trepesch, Studien zur Dunkelgestaltung; Hecht, “Flügelretabel”; J. Schneider, “Memorialkultur im Spätmittelalter”; and W. Schneider, “Altaria deren seind Drey.” A forthcoming volume with Brepols attempts to narrow the gap in scholarship: Boivin and Bryda, Riemenschneider in Situ. 48. Maxwell, Art of Medieval Urbanism, 3; Atkinson, Noisy Renaissance, 31; Bent, Public Painting, 30.
Chapter 1 1. The translation into English is mine here and elsewhere unless otherwise stated. Wir Burgermaister und Rath der stadt Zu Rothenburg uf der tauber thun kundt ofentlich mit diesem brief vor aller menniglichen: Alß der Ehrwürdig, Geistlich herr, Herr Ulrich abt deß Closters Zu Hailßbronn des Ordens von Cister, in Eichstedter bistumb gelegen, auch sein Erbare botschaft gebetten hat, ihme ein warheit und gezeugnus Zu geben von deß baues wegen unserer Pfarr kirchen in unserer Stadt gelegen, mit welcherley gabe, gelt und hilff dieselbe Pfarr kirchen gebeßert sey worden. Alß bekennen wir, so ferne uns kundt und wißend ist, daß dieselbe unser Pfarr kirchen mit gabe, rath und hülff und gemeinem allmosen unserer mitburger, und auch anderer frommen Christenleuth, als gewonheit ist im land, gebauen und gebeßert worden ist, ohn alle geferde. Urkund versigelt mit unser Vorgenanten Stadt Zuruck aufgetruncktem Secret Jisigel, doch unß, unserer Stadt, und gemeind, ohne schaden. Datum feria sexta post Udalrici Ao. 1436. [Freitag, Juli 6]
Notes to Pages 10–15
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Excerpt as published in Tittmann, “Rothenburger Ratsantwort,” 74–75. Tittmann takes this from the chronicle by Gottfried Rösch (d. 1641), written between 1620 and 1638: Staatsarchiv Nürnberg, Akt. 72–73. Rösch, who served as Registrator and archivist to the city council of Rothenburg, copied this from an earlier transcription of the medieval original. The original letter presumably numbers among the losses of the 1501 city-hall fire, which consumed an inestimable number of medieval archives. Especially hard hit were documents dating to the fifteenth century, so that this period presents a large gap in what survives today. Schnurrer, Urkunden, 1:xxviii–lxxii. 2. Frugoni, Distant City; Davis, “Cathedral, Palace, Hôtel”; Oberste, Repräsentationen; Rubin, “Religious Culture,” 9. 3. Schnurrer, “Soziale und bürgerliche Aufstände.” 4. The one exception is Tittmann, “Rothenburger Ratsantwort,” 74–75. 5. The body of literature on the role of parish churches during the Middle Ages is growing. For the most part, this literature is still divided by country. For some of the most important and current literature on German parish churches and, in particular, on their role as a site for the expression of civic community, see the extensive scholarship of Enno Bünz and Christian Speer. Speer, Frömmigkeit und Politik; Bünz, “Klerus und Bürger”; Siewert, Stadtpfarrkirchen Sachsens; Philipp, Pfarrkirchen. 6. Binski, Medieval Death, 74. 7. There is much scholarship on this broad phenomenon as well as on individual case studies. See, for instance, Boockmann, Stadt im späten Mittelalter, 191–218; Isenmann, Deutsche Stadt im Spätmittelalter; Rüth, “Biberach und Eberbach”; and Kahleyß, “Zwickau,” 88. 8. The first city councils in German-speaking regions are documented around 1200 in towns such as Utrecht, Speyer, Worms, and Lübeck. For Strasbourg, a council is first mentioned in 1214, and by the second half of the thirteenth century, it was competing with the bishop and cathedral chapter for control over church space. Later chronicles for Rothenburg include city-council lists beginning in 1230. B. Klein, “Straßburger Münster”; Mertens, “Straßburger Ellenhard-Codex,” 578; Wiek, “Straßburger Münster”;
Borchardt, Die geistlichen Institutionen, 1:11; Ress, Stadt Rothenburg o.d.T., 4; Nicholas, Growth of the Medieval City, 208, 234–35, 301. 9. Borchardt, Die geistlichen Institutionen, 1:199. 10. Ibid., 1:3, 739. 11. In Philipp’s original: “dass es das Ziel einer jeden mittelalterlichen Stadt und insbesondere der Reichsstädte war, kirchenrechtliche Unabhängigkeit von einem Patronats- oder Inkorporationsherrn zu erreichen.” Philipp, “Hallenkirche ‘reloaded,’” 15. Similarly, Philipp, Pfarrkirchen, 23. 12. The hôtel de ville, Rathaus, or city hall in particular has been extolled by art historians as one of the greatest material expressions of this secularization of power. Gruber, Das deutsche Rathaus; Paul, “Rathaus und Markt”; Roeck, “Rathaus und Reichsstadt”; Friedrichs, “Das städtische Rathaus”; Stiehl, Das deutsche Rathaus im Mittelalter. Maureen Miller has also demonstrated that bishops’ palaces served as sites of the gradual transition of city governance. Miller, Bishop’s Palace. 13. Wine consumption at the convent was limited to the amount imbibed by the nuns themselves and a small additional allowance for the convent’s guests, thereby shutting down the convent’s use of its tax exemption to store and sell wine. Borchardt, Die geistlichen Institutionen, 1:158–61. 14. Ibid., 1:161–62; Schnurrer, Urkunden, 2:1033–35, entry 2652. 15. Schnurrer, Urkunden, 2:1033–35, entry 2652; Borchardt, Die geistlichen Institutionen, 1:162. 16. February 22, 1398: “Albreht, der etwan der closterfrawen kneht was, umb sulch missetat, als er dem rot geton, daz der rot wol weiz, dorumb er in gefancknuß kumen was, dorumb im sein awgen usgestochen wurden.” Borchardt, Die geistlichen Institutionen, 1:163, 2:918–19n39; Staatsarchiv Nürnberg, RA 86, fol. 88v. 17. Borchardt, Die geistlichen Institutionen, 1:163–64. 18. Ress, Stadt Rothenburg o.d.T., 458; Staatsarchiv Nürnberg, RAR 543. For more on the cloistering of nuns, see Hamburger, “Art, Enclosure, and the Cura Monialium,” and Hamburger, Visual and the Visionary, 35–109. 19. Murray, Beauvais Cathedral, 25; Branner, “Historical Aspects.”
Notes to Pages 16–20
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20. This was the case in German cities like Görlitz and Eßlingen, for instance. Speer, “Patronatsherrschaft,” esp. 104–7; Philipp, Pfarrkirchen, 11, 56–57; Brown, Civic Ceremony. 21. Bünz, “Klerus und Bürger”; Kuys, “Weltliche Funktionen.” Bünz also provides a good review of the literature on this question and the concept of a Sakralgemeinschaft. In particular, the work of Boockmann argues against the conflict model espoused by much of the scholarship. Boockmann, Bürgerkirchen, 186–204. Also important for this discussion is the concept of “civic religion,” first introduced by André Vauchez in the 1990s and developed by Andrew Brown in his study of Bruges. Brown, Civic Ceremony, 14–21. 22. Klaus Jan Philipp develops this idea of the city as verus fundator. Philipp, Pfarrkirchen, 57, 74. On patronage structures more broadly, see Caskey, “Medieval Patronage.” 23. Ress, Stadt Rothenburg o.d.T., 7, 24–26. 24. The shrewd patrician class, which until then held exclusive access to government positions in the city, managed to retain the upper hand for a while under the new institutional structure but gradually disappeared as the wealthiest trades families in the city rose to new prominence. Ress, Stadt Rothenburg o.d.T., 24–25. 25. Tittmann, “Zenner’sche Begräbnisstiftung,” 34, 38. 26. Ress, Stadt Rothenburg o.d.T., 76. A second indulgence for the Church of St. Jakob was issued in the same year. Schnurrer, Urkunden, 1:226–27, entry 293; Staatsarchiv Nürnberg, Reichsstadt Rothenburg, MA U 1980. 27. For a more nuanced discussion of the financing of construction, see Reitemeier, Pfarrkirchen in der Stadt, and Vroom, Financing Cathedral Building. 28. Schnurrer, Urkunden, 1:101, entry 230; Staatsarchiv Nürnberg, Akt. 72–73. I am not the first to suggest that the start of construction may have been related to the 1303 donation. Tittmann has similarly interpreted this document as indicating the initiation of construction of the east choir. Tittmann, “Zenner’sche Begräbnisstiftung,” 34, 38; Borchardt, Die geistlichen Institutionen, 1:39. 29. For a transcription of the resultant contract, see Schnurrer, Urkunden, 1:230, entry 551, and
186
Staatsarchiv Nürnberg, Reichsstadt Rothenburg, MA U 198. 30. Parish fabrica ecclesiae foundations began appearing in the first half of the thirteenth century and were often overseen by lay governments. Wim Vroom also sees their establishment as motivated by the desire of civic authorities to control church oblations. Vroom, Financing Cathedral Building, 57. 31. Schnurrer, Urkunden, 1:230, entry 551; Staatsarchiv Nürnberg, Reichsstadt Rothenburg, MA U 198. 32. In his 1959 publication on the religious architecture of Rothenburg, Anton Ress claims that “the absolute measurements, the total length as well as the depth, of both of the western narrow bays” of St. Jakob’s choir copied those of the Deutschhauskirche. This is roughly true of the length of each of the first four bays, but their width and height vary substantially. Ress, Stadt Rothenburg o.d.T., 119. For the specific measurements of each bay, see Boivin, “Architecture and Devotion,” 59–60. 33. Krautheimer, “Introduction to an ‘Iconography.’” 34. Borchardt, Die geistlichen Institutionen, 1:21, 52. 35. Murray, Plotting Gothic; Murray, “Narrating Gothic.” 36. In 1336 a burgher, mentioned in the sources as N. N. Karcher, donated an eternal light for an altar dedicated to Saint Catherine in the parish church; in 1344 Friedrich von Hemmendorf endowed a Mass to be held at an altar dedicated to All Saints; two years later Heinrich Hartrand endowed another, to be held at the altar of Saint John; two years after that his widow funded an eternal light at the same altar; and finally Friedrich von Hemmendorf in 1360 again stepped up, to donate an eternal light at the All Saints altar. Borchardt, Die geistlichen Institutionen, 1:52. Though Borchardt does not list a source for the 1336 eternal light donated by Karcher, he likely relies on the 1336 contract between the city and the Teutonic Order for this information. Schnurrer, Urkunden, 1:230, entry 551; Staatsarchiv Nürnberg, Reichsstadt Rothenburg, MA U 198. 37. The dendrochronological examinations indicate that the trees used for the roof timbers were cut around 1347, and they would likely have been used within the next few years. Mägele et al., “Kirche St. Jakob,” 36. Based both on its style and on the life span of its donor—the landed knight Götz Lesch, who is depicted in its bottom register—the central
Notes to Pages 21–27
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stained-glass window of the choir can be dated around 1340–50. Schnurrer, “Stifter des mittleren Farbfensters,” 78–79; Ress, Stadt Rothenburg o.d.T., 133–41, esp. 141; Frenzel, “Die mittelalterlichen Glasgemälde,” 139. Stained glass was often produced during the construction of a church, not only after its completion. Balcon-Berry, “Stained Glass,” 102. 38. Schnurrer, “Heinrich Toppler,” 114. 39. The letter was issued by Duke Stephan III of Bavaria, probably in response to a request from Toppler. Ibid., 105, 112. 40. Ibid., 108–9; Borchardt, Die geistlichen Institutionen, 1:15. For monetary values at the time, see Borchardt, “Münz- und Geldgeschichte.” 41. “Anno D[omi]ni M CCC LXX III Inceptv[m] e[st] hoc op[us] i[n] ho[no]re D[omi]ni n[ost] ri Ijesu X [Christi] et b[eate] Marie V[irginis] AC B[eati] Jacobi Ap[ostoli] Maioris Pat[ro]n[i H[uius] Ecc[les]ie.” Schnurrer, “Baubeginn des Langhauses,” 42. 42. Ress, Stadt Rothenburg o.d.T., 78–79, 98–100. 43. Ibid., 78. 44. Borchardt, Die geistlichen Institutionen, 1:60–62. 45. Schnurrer, Urkunden, 2:823–25, entry 2097. 46. The detail of Toppler’s donation exceeds that of most others recorded in Rothenburg, though it is not unusual for the general practice of donations and endowments during the Middle Ages. For more on this practice, see Schleif, Donatio et Memoria; Bijsterveld, Do ut des; and Oexle, “Memoria Heinrichs des Löwen.” 47. Schnurrer, Urkunden, 2:825–26, entry 2099. 48. Ibid., 2:826–27, entry 2100. 49. Stadtarchiv Rothenburg, B 298, fols. 2r, 26v, 130v. For a complete list of known donations, see Borchardt, Die geistlichen Institutionen, 1:661–706. 50. The dress was donated in 1406 by Agnes Seiler. Her second-best dress went to the Franciscans in Rothenburg. Borchardt, Die geistlichen Institutionen, 1:693, entry 211; Staatsarchiv Nürnberg, RA 487g, fol. 201v. On the value of clothing and the practice of leaving articles of clothing to a church, see Vroom, Financing Cathedral Building, 412. 51. For more on the medieval practice of giving and memoria, see Bijsterveld, Do ut des; Oexle, “Memoria Heinrichs des Löwen”; and Schleif, Donatio et Memoria. 52. Schleif, Donatio et Memoria, 232–33.
53. In the original: “krieg, stoße, bruch, zuspruch, misshellung, widerwertickeit und zweyung.” “Aller Streit . . . wegen Totschlags.” Schnurrer, Urkunden, 2:1098, entry 2812; Staatsarchiv Nürnberg, Reichsstadt Rothenburg, MA U 850. 54. Schnurrer, Urkunden, 2:1098, entry 2812. It is worth noting that the money designations of account keeping were different from those of actual coinage. Vroom, Financing Cathedral Building, 483–84; Borchardt, “Münz- und Geldgeschichte.” 55. Schnurrer, Urkunden, 2:1098, entry 2812. 56. Municipal appointment of churchwardens to oversee the parish fabric was not unique to Rothenburg. Cities like Görlitz, Nördlingen, and Utrecht also established a similar administrative system. Speer, “Patronatsherrschaft”; Philipp, Pfarrkirchen, 22; Vroom, Financing Cathedral Building, 405–18. For more on the lay administration of churches, see Reitemeier, Pfarrkirchen in der Stadt, and Schröcker, Kirchenpflegschaft. 57. Schnurrer, Urkunden, 2:1098, entry 2812. 58. It is also related to the piers of the Church of St. Severus in Erfurt (1270s–1360s). 59. For more on the function of this and other ring bosses, see the discussions in chapters 2 and 4. 60. Ress, Stadt Rothenburg o.d.T., 116–18, 126–27. 61. I am grateful to Jérôme Zahn for sharing with me some of the exciting implications of his as-yet-unpublished data-rich research on mason’s marks. 62. Ress, Stadt Rothenburg o.d.T., 129. 63. Architecture could carry ideological meaning, but it did so flexibly, and expressions of attitude during the period did not take consistent stylistic or typological form. On the lack of consistent connections between typological form and function, see, for instance, Bürger, “Was für ein Typ?” On the hall church specifically, see Philipp, “Hallenkirche ‘reloaded’”; Schenkluhn, “Erfindung der Hallenkirche”; and Kunst, “Ideologie der deutschen Hallenkirchen.” 64. On the aesthetic and programmatic value of buttresses, see Hutterer, Framing the Church; Hutterer, “Lofty Sculpture”; Hutterer, “Broken Outlines”; and Guérin, “Meaningful Spectacles.” 65. On the construction and expense of high vaults and flying buttresses, see Murray, “Master Jehancon Garnache”; Wolfe and Mark, “Gothic Cathedral Buttressing”; Davis, “Splendor and Peril”; Bork,
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Mark, and Murray, “Openwork Flying Buttresses,” 486; and Branner, “Historical Aspects,” 32. The choir-flanking towers of the Church of St. Jakob were part of the early design concept, but their upper stories and openwork stone spires were only completed in the final stages of work on the nave. They harken back to a long tradition of Romanesque churches with choir-flanking towers and may have been intended as another mark of prestige. 66. Schnurrer, “Rothenburg im Schwäbischen Städtebund”; Ress, Stadt Rothenburg o.d.T., 10. 67. Ress, Stadt Rothenburg o.d.T., 394–95. The ease with which this administrative oversight was formally adopted has left little record in the archives; the city wielded the written word as an instrument useful during conflict, rather than as a tool of historical record evenly employed for noncontentious as well as contentious transactions. 68. Borchardt, Die geistlichen Institutionen, 1:15. 69. Borchardt, Die geistlichen Institutionen, 1:203. 70. Ibid., 202. For a complete list of all documented donations to churches in Rothenburg, see ibid., 661–706. 71. Schnurrer, “Soziale und bürgerliche Aufstände,” 13. 72. On the Schwäbische Städtebund, see Schnurrer, “Rothenburg im Schwäbischen Städtebund,” 25–26. 73. Schnurrer, “Soziale und bürgerliche Aufstände,” 14. 74. Ibid.; Borchardt, Die geistlichen Institutionen, 2:943n25; Staatsarchiv Nürnberg, RA 86, fol. 45r. 75. Schnurrer, Urkunden, 2:1041–42, entry 2668; Schnurrer, “Heinrich Toppler,” 104; Borchardt, Die geistlichen Institutionen, 1:72–76. 76. Ress, Stadt Rothenburg o.d.T., 452–54. 77. Schnurrer, Urkunden, 2:1078–79, entry 2759; Borchardt, Die geistlichen Institutionen, 1:130–31. 78. They were said to support the church “von gotlicher miltikeit mit iren guten und ander erbar lewt in ir stat” with “stewr und almusen.” Schnurrer, Urkunden, 2:942–43, entry 2424; Borchardt, Die geistlichen Institutionen, 1:129. 79. Schnurrer, Urkunden, 2:942–43, entry 2424; Borchardt, Die geistlichen Institutionen, 1:129. 80. Jews were subject to their own special tax without the benefit of citizen status. Already in 1241 the Jewish community in Rothenburg paid 10 marks Reichssteuer to the city’s 90 marks. Borchardt, Die
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geistlichen Institutionen, 1:11; Ress, Stadt Rothenburg o.d.T., 24. 81. On the proliferation of donors, see Schleif, Donatio et Memoria, 228. 82. Ress, Stadt Rothenburg o.d.T., 10–11; H. Schmidt, “Heinrich Toppler.”
Chapter 2 1. On gift giving and memoria, see Bijsterveld, Do ut des, esp. 17–39, 188–214. Contrary to Bijsterveld’s claim that “in late medieval times, the exchange of gifts did not operate to the same degree as a ‘social glue’” (ibid., 38), the case of Rothenburg demonstrates that it did indeed continue to shape communities. Fraternities, like the Fraternity of Shepherds (discussed in chapter 4), are just one example of how gift giving and memoria continued to be powerful agents of social identity during the fifteenth century. 2. Jung, Gothic Screen, 4. 3. For a history of the appearance of blood relics, see chapter 4 in Vincent, Holy Blood, 31–81. On the emergence of blood piety, see Bynum, Wonderful Blood, 1–5. 4. This is discussed at greater length in chapter 4. 5. Bynum, Wonderful Blood, 151, following Johannes Heuser, has suggested that the relic may be a conflation of a blood relic and a bloody corporal miracle. However, the mention of the corporal in sources seems to point to a Eucharistic relic. This is an argument also made by Joseph Leo Koerner. Heuser, “‘Heilig-Blut’ in Kult und Brauchtum,” 14–15; Koerner, Reformation of the Image, 345. 6. The consecration of the first Chapel of the Holy Blood in Rothenburg is dated by Johann von Ellringen to 1266 in his compendium of 1442, while a later chronicle places it exactly a decade later. I use the earlier date, since, as Borchardt suggests, the later chronicle most likely copied Ellringen’s manuscript incorrectly. Since we know that the original chapel was “within the walls” of the predecessor Church of St. Jakob, scholars generally suggest a location or at least configuration similar to the present one. Borchardt, Die geistlichen Institutionen,
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1:50; Schnurrer, “Kapelle und Wallfahrt,” 89; Ress, Stadt Rothenburg o.d.T., 76–77. 7. Schattenmann, “Reliquien und Wunder,” 42: “tres gutte sanguinis p(er)fuse sup(er) corp(er)ale et apparet vestig(iu)m.” Sources refer to the relic as either one or three drops of blood on a corporal cloth. Ress, Stadt Rothenburg o.d.T., 77; Johannes von Ellringen, compendium, Reichsstadt Rothenburg 1947, Staatsarchiv Nürnberg, fol. 4r. Similar origin stories were often recorded post factum for blood relics. An analogous stained corporal in the Spanish monastery of Maria del Zebrero, for instance, was said to have come from a chalice in which blood miraculously appeared, “and part of it flowed from the aforesaid chalice onto the linens which were on the altar, and this same blood remained visible and today is on view reserved as a relic.” Bynum, Wonderful Blood, 89, citing Cesare Baronius and Raynaldus Ordericus, Annales ecclesiastici 1198–1534, vol. 19 (Antwerp: Platiniana, 1663), no. 23, for 1487 [n.p.]. Another case comparable to Rothenburg’s, for which little is known of the origin of the relic, is the relic of Holy Blood in Košice. Juckes, “Košice Burghers”; Juckes, Parish and Pilgrimage Church. 8. On Dauerwunder, see Browe, Die eucharistischen Wunder, 117–28. 9. In the original Latin: “in honorem gloriosissimi corporis et sanguinis d.n. Jesu Christi.” Ellringen, compendium, fol. 7v; Borchardt, Die geistlichen Institutionen, 1:50; Ress, Stadt Rothenburg o.d.T., 76. 10. For instance, Caroline Walker Bynum titled the introduction to her book on blood piety “A Frenzy for Blood.” Bynum, Wonderful Blood, 1–5. 11. Book of Margery Kempe, 278–79. 12. Bynum, Wonderful Blood, 25–26. 13. Ibid., Wonderful Blood, 25–45; Merback, Pilgrimage and Pogrom, 77–79; Kühne and Ziesak, Wunder, Wallfahrt, Widersacher. 14. Bynum, Wonderful Blood, 29. 15. Cohausz, “Vier ehemalige Sakramentswallfahrten.” 16. On Walldürn, see Bynum, Wonderful Blood, 28, and Kolb, Vom heiligen Blut, 163–67. Other competitors nearby included Iphofen and Komburg. Ress, Stadt Rothenburg o.d.T., 77; Browe, “Die eucharistischen Verwandlungswunder,” 143. 17. As Mitchell Merback has pointed out, the development of relic veneration in Germany followed a
trajectory different from that of the rest of Europe, progressing from a focus on Christ’s body and blood to a late concentration on sites of Marian veneration between 1490 and 1520. Merback, Pilgrimage and Pogrom, 157–58. 18. The reference to three drops of blood comes from Ellringen’s compendium, discussed at length below. Ellringen, compendium, fol. 4r. 19. Schnurrer, “Wunderheilungen,” 14, 16. 20. Ellringen, compendium. Schattenmann published an article with the first thirty miracle accounts and a German translation of the Latin inventory of relics. Schnurrer has followed this lead with an article of his own that transcribes all of the miracle accounts. I have returned to the original but found Schnurrer’s transcription to be accurate. I therefore follow his interpretation of difficult-to-read passages. Schnurrer, “Wunderheilungen”; Schattenmann, “Reliquien und Wunder.” 21. Ellringen, compendium, fol. 3v; Schattenmann, “Reliquien und Wunder,” 44–49. 22. Ellringen, compendium, fols. 3v–4r. 23. I am grateful to Sonja Drimmer, Chris Fletcher, Lyle Dechant, and an anonymous reader for weighing in on the transcription of this line. 24. Ellringen, compendium, fol. 4r. Published in German translation in Schattenmann, “Reliquien und Wunder,” 48. 25. Ress, Stadt Rothenburg o.d.T., 184, stylistically dates the cross to about 1270, given its affinity to the Villinger Cross, dated 1268. 26. Ibid.: “kupferin cruz.” “Jakobsrechnungen,” vol. 2, R 363, Stadtarchiv Rothenburg, fol. 46r: “Item 4 lb 25 d fur dy berrill in das creuß,” and “Item 4 lb 5 d Wolffart goltschmid von der barril in das creuß.” 27. Weissbecker, Rothenburg ob der Tauber, 66: “Gutta sanguinis Christi / supra corporali / St. Andrea Apostoli / Sanctorum Petri et Pauli / De Lapide de quo Crux / Christi erecta fuit. / De cruce Sti Andreae / de corpore et cuti / et crinibus Stae Elizabeth / Sti Augustini / de spinea corona. / Anno Domini millesimo / quingentesimo secundo / crux ista iterum / deaurata est et tabla / ista nova erecta ante / corporis Christi.” Also given in Bier, Riemenschneider: Die reifen Werke, 174. On September 11, 1502, a goldsmith was paid 6 guilders for the gilding. “Jakobsrechnungen,” vol. 2, R 363,
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Stadtarchiv Rothenburg, fol. 228v; Ress, Stadt Rothenburg o.d.T., 184. On the collecting and labeling of relics as well as the potential slippage of relic identity, see Smith, “Portable Christianity.” 28. Bier, Riemenschneider: Die reifen Werke, 171; Ress, Stadt Rothenburg o.d.T., 179. 29. The accounts follow a heading in red ink at the top of page 7: “In the year 1266, which one counts after Christ’s birth, was consecrated the chapel in honor of the holy body of our Lord Jesus Christ and his Holy Blood” (Des Jars, do man zalte nach christi geburt MCC und LXVI Jar ward geweihet die capelle in der ere des heiligen lichnams unsers hern Jesu Christi und seines heligen blutes); then: “These are the signs that occurred in the Chapel of the Holy Blood in Rothenburg” (Diß synt dye czeychen, dye geschehen syn yn der cappeln des heyligen plut zu Rotenburg). Ellringen, compendium, fol. 7v. 30. Entries 19, 21, and 22 are dated 1300. Miracle 23 is dated to 1307. Miracle 27 occurred in 1319, and miracle 29 in 1317. The outlier from 1380 is number 30, the last entry in this hand. Ellringen, compendium, fol. 9r; Schnurrer, “Wunderheilungen,” 2. 31. Entry 40 may be dated as early as 1403, but since the date is written as “Millesimo quadringentesimo etc. tercio,” the decade is not certain. Otherwise entries 31 and 32 are dated 1441, entry 33 is dated 1443, and entry 41 is dated 1445. Entry 46 is again strange in its notation (“Anno etc. drigesimo quarto”) but seems to correspond to 1434, though this places it out of chronological sequence. Finally, entry 67 is dated “Millesimo quadragentesimo quadragesimo septimo,” so 1447. Ellringen, compendium, fols. 9r–10v, 14v–15r; Schnurrer, “Wunderheilungen,” 5–8, 13–15. 32. Schnurrer, “Wunderheilungen,” 2. 33. “Eyn frauwe hye auß der stat waz von siechthum worden zu eym stumen ein halp jar; dy tranck auß dem kilche vor dem altar und wart gesunt.” Ellringen, compendium, fol. 8r; Schnurrer, “Wunderheilungen,” 6; Schattenmann, “Reliquien und Wunder,” 50. 34. “Eyn magt was gar frolichin an sandt Mertins abend, und do sye ob dem eßen saß, do verloße sye ir gesprechde dry tag; dy tranck auß dem kilche yn der selben cappellen und wart reden.” Ellringen, compendium, fol. 8v; Schnurrer,
“Wunderheilungen,” 7; Schattenmann, “Reliquien und Wunder,” 50. 35. Unconsecrated wine permitted the laity to partake symbolically in the second species without risking problematic spillage of sacred blood. Rubin, Corpus Christi, 48; Merback, Pilgrimage and Pogrom, 159–62. 36. “Zwe frauwen wurden erloßt, und der wart eyne erloßt von dem nagel der uff der cappeln ist yn dem crucz.” I am following Schnurrer’s reading of “Zwe frauwen” rather than Schattenmann’s transcription “Vier frauen.” Ellringen, compendium, fol. 8r; Schnurrer, “Wunderheilungen,” 7; Schattenmann, “Reliquien und Wunder,” 50. 37. The list of relics contained within the cross does not include a nail, nor does a nail appear anywhere in the extensive inventory of relics in Ellringen’s own compendium. Three caveats are worth mentioning: a few of the entries in Ellringen’s compendium are now so faded that they are impossible to read; also, at the end of several of the lists of relics grouped by reliquary, Ellringen claims there are several pieces without names; finally, it is possible that the “nail” refers to the thorn from Christ’s cross contained within the cruciform reliquary. Ellringen, compendium, fols. 2r–7r, 16r–v; Schattenmann, “Reliquien und Wunder,” 49. 38. The mention of the altar occurs primarily early on in the list (entries 2, 3, 4, 6, 7, 8, 10, 19, 21). After entry 10, the formulation “zu dieser cappellen” or “yn diese cappellen” dominates (entries 12, 15, 16, 18, 20–30). Ellringen, compendium, fols. 7v–8v; Schattenmann, “Reliquien und Wunder,” 43. The miraculously healed are said to pray (“gelobt sich”) to the Holy Blood in entries 31, 40, 41, 44, 45, 46, 67–71, 73, 74. The chapel is named in entries 42, 47, 56: “yn dy cappellen zum heyligen plut.” Ellringen, compendium, fols. 9r–10r, 14v–15r; Schnurrer, “Wunderheilungen,” 13–15. 39. The named man in group one is referred to as “Graff Hans” or “Earl Hans,” and he features in the final entry of group one, which is dated 1380. In the many cases of miracles involving children, the parents are usually identified by name. In the first group, entries 6, 10, 15, 17, 22, and 25 involve children but usually do not name their parents. Of the entries mentioning a child in the second group
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(entries 33, 35, 36, 39, 41, 42 [refers to a daughter of unknown age], 43–45, 47, 54 [refers to a young girl, “meydlein”], 55, 58, 60, 66, 67 [refers to a boy, “knaben”], 68–70), only five do not identify the parents by name. Ellringen, compendium, fols. 7v–10v, 14v–15r; Schnurrer, “Wunderheilungen,” 6–7, 13–15. 40. The shorthand entries include 48 through 65, which in large part appear on folio 10v. In its entirety, entry 52 reads, “Item Lemmermenen,” and entry 65, “Neglin.” Ellringen, compendium, fol. 10v; Schnurrer, “Wunderheilungen,” 14–15. 41. Examples include entries 31 and 33, and 61 through 64 respectively. Ellringen, compendium, fols. 9r, 10v. 42. In the original: “kamen und brochten ire kerczen; uff der selben stat wurden sye gesunt.” Ellringen, compendium, fol. 7v; Schnurrer, “Wunderheilungen,” 6. 43. Entries 31, 36, 37–39, 43, 56. Ellringen, compendium, fols. 9r–10v; Schnurrer, “Wunderheilungen,” 13–14. 44. “Item ein kint von Marckolshein das was ungehornde. Sein vater und sein muter gelobten es zu diser cappelen und machten es zynshaftig zu dem altar der selben capellen und wart gehorend.” Ellringen, compendium, fol. 9r; Schnurrer, “Wunderheilungen,” 13. 45. “Item eyn fraw genant Morynn Gastenfelden, die hat die frawen kranckheit langes czeitt gehabt. Sie gelobt sich zu diser cappelln und macht sich zyns hafftig mit eynem halben pfundt waschs und war von stund an gesunt.” Ellringen, compendium, fol. 9r; Schnurrer, “Wunderheilungen,” 13. 46. Van der Velden, Donor’s Image, 247–78; Conrad, “Meanings of Duccio’s Maestà,” 181–82; Giorgi and Moscadelli, Costruire una cattedrale, 328–29. 47. “Item ein fraw hy in der stat, ein arme, der was ir gesicht ab gangen, das sy nicht gesach, dy gelopt 2 pfunt wachs und 1 schleyr dy wart gesehen.” “Item Peter Zelter von Großen aurach, dem starb ein weyp und ein tochter, dor umb bekumert sich dy ander tochter, das sy vil in ein kranckheyt, das sy lag 14 tag ungeret; do ward er geweist zu eynem weisen artzt gen Feuchtwang; as sy do hin kam, do kom yn fur, er solt sy geloben zum heylgen plut myt 30 pfunt wachs, und solt ale erczeney loßen; und do er heim kom, do fant er sy sitzen bey dem gesind, und sy war gesund.” Ellringen, compendium, fols. 14v–15r; Schnurrer, “Wunderheilungen,” 15.
48. Borchardt, Die geistlichen Institutionen, 1:55–56. 49. Ellringen, compendium, fols. 11r–14r, 15r–v; Schattenmann, “Reliquien und Wunder,” 51. 50. Ellringen, compendium, fols. 15r–v. 51. Schleif, Donatio et Memoria. 52. See, for instance, Vincent, Holy Blood, 14, 154–85; Bynum, Wonderful Blood, 7–8, 244, 250; Brown, Civic Ceremony, 40; Cohausz, “Vier ehemalige Sakramentswallfahrten,” 278. 53. Borchardt, Die geistlichen Institutionen, 1:723, entry 755. 54. Ibid., 1:724, entry 756. 55. This was a common practice in the Middle Ages. On the funding of church construction projects, see Vroom, Financing Cathedral Building, and Kraus, Gold was the Mortar. 56. It is now clear that it was the elevated chapel that was dedicated to the Holy Blood. Early scholarship mistakenly considered the Heiltumskammer, in the lower story of the west end, to be the relic chapel. Heinrich Weissbecker, for instance, who calls the east end of St. Jakob the “white choir” and the west end the “black choir,” clearly describes the Heiltumskammer instead of the upper chapel in his discussion of the “Chapel of the Holy Blood.” Weissbecker, Rothenburg ob der Tauber, 56, 68; Ress, Stadt Rothenburg o.d.T., 79, 86, 91. 57. Traces of the regularizing painting program were found on the exterior of St. Jakob during the recent restoration of the church. I am grateful to Jérôme Zahn for sharing this information with me and for showing me traces of the paint on site. 58. Hahn draws heavily on the work of Mary Carruthers in developing this idea. Hahn, Reliquary Effect, 99; Carruthers, Craft of Thought, 232–33. 59. Borchardt, Die geistlichen Institutionen, 1:48; Schnurrer, “Fronleichnamsfest,” 51–52. 60. Borchardt, Die geistlichen Institutionen, 1:48, 52, 65–66, 723–24. 61. A similar festive procession carried the host from the east choir to the west choir of the Church of St. Sebald in Nuremberg on certain feast days. Weilandt, Sebalduskirche in Nürnberg, 220. 62. In the original: “unden in sarch neben dem sacramentsgehäwße.” The Grimm dictionary defines Sarg as “Kasten, Schrein, in welchem ein Götzenbild sich befindet, zusammt dem Bild, dann wohl auch das
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bild allein” (box, shrine, in which an idol is located, together with a picture, then also the picture alone). Baxandall, Limewood Sculptors, 174, 176; Bier, Riemenschneider: Die reifen Werke, 171. 63. Bynum, Wonderful Blood, 10, 76–77, 87; Caspers, “Western Church”; Biernoff, Sight and Embodiment, 133–64; Dumoutet, Désir de voir; Timmermann, Real Presence, 3–7. 64. Cohausz, “Vier ehemalige Sakramentswallfahrten,” 279–80. 65. Borchardt, Die geistlichen Institutionen, 1:48. 66. Bynum, Wonderful Blood, 92. 67. Anheben (here anhebt) literally means to lift something, though here it probably refers to breaking ground or beginning the construction project. Borchardt, Die geistlichen Institutionen, 1:676, entry 105. 68. The provisional west terminus of the nave is visible in Friedrich Herlin’s 1462 view of the Church of St. Jakob in his altarpiece painted for the high altar in Nördlingen. The original roof of St. Jakob includes several changes in construction technique that correspond to different construction campaigns on the church. The roof construction over the westernmost nave bay is different from that of the rest of the nave, demonstrating inconsistencies in the dimensions of the beams as well as in the construction system. Mägele et al., “Kirche St. Jakob,” 73, 88, 92. 69. From the chronicle by Rösch, written between 1620 and 1638 using earlier, now lost, sources. Staatsarchiv Nürnberg, Akt. 72–73; Ress, Stadt Rothenburg o.d.T., 79. 70. “Jakobsrechnungen,” vol. 1, R 362, Stadtarchiv Rothenburg, fol. 9r. 71. R 362, Stadtarchiv Rothenburg, fols. 35v–36v; Mägele et al., “Kirche St. Jakob,” 93, 107. 72. July 14, 1471: “von dem kreutz bogen zu hawen und ist bezalt.” The term hawen, or “hewing,” seems to suggest the arch in question was not a rib vault but rather the arch that was temporarily filled between the nave and the west end. “Jakobsrechnungen,” vol. 1, R 362, Stadtarchiv Rothenburg, fol. 48v. 73. “St. Jacobskirchen mit der Corporis Christi Capellen unter ein gewölb und tach.” A 1424, Stadtarchiv Rothenburg, fol. 45r; Ress, Stadt Rothenburg o.d.T., 82; Schnurrer, “Hans Müllner,” 52–53.
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74. “Item 4 lb als das gewelb zu geschlossen, zu vertrincken den gesweln.” “Jakobsrechnungen,” vol. 1, R 362, Stadtarchiv Rothenburg, fol. 50r. 75. In the original: “der erbar maister Niclaus Eseler der steinmez von Alczheim.” Pelizaeus, Eseler von Alzey, 6. 76. Helmberger, Architektur und Baugeschichte, 123. 77. Ress, Stadt Rothenburg o.d.T., 82. 78. The receipt was signed “Niclaus Eseler werckmaister des Hohen Stifts zu meincz.” Helmberger, Architektur und Baugeschichte, 127–38. 79. Specifically, “meister Nyclas” and “sein sun” in 1468, “meister Nyclasen” and “sein sun” in 1469, and “meister Niclasen” in 1470. The last of these presumably refers to the younger Niclaus Eseler, the “son” in the earlier entries, who took over for his father in Rothenburg, probably in 1469, and stayed on in the region for another three decades. “Jakobsrechnungen,” vol. 1, R 362, Stadtarchiv Rothenburg, fols. 10v, 23r, 23v. In 1488 “mainster Nicklas von Dinckelspuhl,” Niclaus Eseler Jr., appears in the Rothenburg financial ledgers as the recipient of a payment of 1 fl. Three years later he is thanked again with a payment of 1 guilder for work on a now-lost baptismal font. This last entry, dated November 20, 1491, is the final mention of an Eseler in Rothenburg, though the records show that Niclaus Eseler Jr. continued to work in the nearby town of Dinkelsbühl after this date. Ress, Stadt Rothenburg o.d.T., 82. “Item 1 gulden mainster Niclas Eßler geschencht vom visir vom dauff stein.” “Jakobsrechnungen,” vol. 2, R 363, Stadtarchiv Rothenburg, fol. 49v. 80. Helmberger, Architektur und Baugeschichte, 108–11. 81. Ress, for instance, describes the west end from top down and notes its spatial relationship to the nave but does not directly connect his discussion of the composition with the functions of the spaces. Ress, Stadt Rothenburg o.d.T., 100, 129–30. 82. The spatial arrangement has distant antecedents in the architecture of westworks (Westwerke), crypts, and western galleries. Many of the Gothic churches of Nuremberg, for instance, included elevated western spaces. These have sometimes been interpreted as imperial signifiers, though this does not seem a strong symbolism of the Rothenburg west end, despite the city’s status as an imperial city (Reichsstadt) and evidence of several imperial
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visits to Rothenburg. A more likely connection may lie in the practice of exhibiting holy relics in the west end of a church. Weilandt, Sebalduskirche in Nürnberg, 219–21; Eichhorn, “Sebalder Engelschor.” On the meaning of western structures, see Lobbedey, “Westwerke und Westchöre”; Lehmann, “Westbauten der Stiftskirchen”; Möbius, Westwerkstudien; and Bandmann, Mittelalterliche Architektur. 83. At least since the mid-twentieth century, scholars have claimed that the Heiltumskammer served “to safeguard the relic treasure” of the Church of St. Jakob. Ress, Stadt Rothenburg o.d.T., 79; Götz, Zentralbau und Zentralbautendenz, 246. The two surviving inventories of the church, however, do not mention the Heiltumskammer, although the inventory of 1543 specifies that numerous items were kept “in the sacristy,” some others “in the sexton’s office” (in the possession of the priest), and a handful of others in the sacrament house. Schnurrer, “Zwei Inventare,” 29, 30, 31. It seems more likely that the Heiltumskammer, considering also its street-level location, served as a space for periodic, ritualized display rather than for permanent storage. See also Merback, Pilgrimage and Pogrom, 237. 84. It is worth noting that the vaulting of the Heiltumskammer (as well as that of the neighboring passageway) seems never to have been completed. This raises the question whether there was a difference between the intended function of the space and its actual postconstruction use. 85. I have made initial suggestions elsewhere toward distinguishing several types: Boivin, “Chancel Passageways,” 307–9. 86. Tilmann Breuer and Georg Dehio briefly mention Schwibbogen and Kavaten in their volume on Franconia, for example. The only scholar to treat the subject of passageways beneath medieval churches more thoroughly has been Friedrich Möbius in his 1996 volume on St. Michael in Jena. Breuer, Dehio, and Gall, Franken; Möbius, Stadtkirche St. Michael zu Jena: Symbolik. See also Boivin, “Chancel Passageways.” 87. Mader, Kunstdenkmäler von Unterfranken, 165–79; Herzig, “Deutschordenskommende Würzburg,” 34– 65; Trenschel, Deutschhauskirche Würzburg; Codex M. ch. F., 176b, Universitäts Bibliothek Würzburg.
88. “Das man dar unter hyn gereiten, gefaren und gegen moge.” Herzig, “Deutschordenskommende Würzburg,” 64. 89. Vauchez and Bornstein, Laity in the Middle Ages, 141–52. On the concept of the “find-spot,” see Merback, Pilgrimage and Pogrom. 90. Sebald, Stadt Oberwesel, 1:689; Vauchez and Bornstein, Laity in the Middle Ages, 147. 91. Sebald, Stadt Oberwesel, 1:689. 92. The so-called Werner relief—a sculpted narrative of the gruesome story made in 1727 that until 1969 was mounted on the exterior of the axial east wall of the chapel—tells in an inscription of Werner who was killed “within the vault beside this church by the Jews” (von den Juden bey dieser Kirch im Gewölb). Ibid. 93. Documents from 1426 and 1578 show that pilgrims visited the Wernersäule, a column connected to the legend, which was exhibited in the apse of the chapel. Ibid. 94. Paczkowski, Evangelische Stiftskirche. Today the path through the buttresses in Oberwesel provides access to the chapel through a door in the south side. Metal fastenings confirm that, at one point, this path could be closed off—most likely by trelliswork gates—to control access, a feature also found in Wertheim. 95. Today the passageways of both sites also accommodate automotive traffic. 96. Oberwesel lies at a distance of about fifty kilometers from Alzey and about forty kilometers from Mainz. 97. Merback, Pilgrimage and Pogrom, 236–37, also 124, 243. 98. Norbert Nussbaum has remarked on the relationship between the vaulting of the Church of the Holy Savior in Passau and that of the Augustinian cloister church in Nuremberg, designed by Heinrich Kugler from Nördlingen. Nussbaum, German Gothic Church Architecture, 185, 209. I am grateful to Jérôme Zahn for pointing out differences in the quality of vaulting: the earlier gallery vaults are executed with much higher precision and skill than those of the central chapel space. On the so-called Wandpfeilerkirchen of Austria and Bavaria, which similarly include galleries that encircle the church, see Büchner, Spätgotische Wandpfeilerkirche, esp. 59–60, and Dambeck, Spätgotische Kirchenbauten in
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Ostbayern, 37. On the Church of the Holy Savior in Passau, see also Viertlböck, “St. Salvator in Passau.” 99. Merback, Pilgrimage and Pogrom, 232. 100. These relics were an altar stone upon which the hosts had allegedly been stabbed, the knife with which this act was supposedly carried out, and one of the bleeding hosts. Ibid., 126–28. 101. Ibid., 125, 243. 102. Schnurrer, “Rothenburg als Wallfahrtsstadt” (2005), 82–83; Borchardt, Die geistlichen Institutionen, 1:76; Ress, Stadt Rothenburg o.d.T., 529; Schnurrer, “Wallfahrt zur Reinen Maria.” 103. Merback, Pilgrimage and Pogrom, 249. 104. For a transcription of the primary sources on Harschner’s contribution, see Bier, Riemenschneider: Die reifen Werke, 170, 172–75. For the surviving contract between Riemenschneider and the city council of Rothenburg, see ibid., 171, and Baxandall, Limewood Sculptors, 174–76. 105. Baxandall, Limewood Sculptors, 188–90. See also Trepesch, Studien zur Dunkelgestaltung, 286–96. 106. John 13:26. Welzel, “Tilman Riemenschneider,” 206, has pointed out the emphasis here on Judas’s false Communion. Communicants were to confess their sins before receiving Communion, so that they would be pure receptacles for the holy substance. Rubin, Corpus Christi, 148. On the Man of Sorrows as a representation of God’s mercy, see Weilandt, Sebalduskirche in Nürnberg, 99. 107. Bier, Riemenschneider: Die reifen Werke, 171. 108. Luke 22:44. 109. Trepesch, Studien zur Dunkelgestaltung, 83, 280. 110. Koerner, Reformation of the Image, 346, has argued that scenes of the Last Supper in pre-Reformation altarpieces are rare precisely because they were meant to emphasize the particular local cult rather than the general sacrament. 111. Bryda, “Tree, Vine, and Herb,” 8. 112. Ibid., 1–2, 15. 113. Trepesch, Studien zur Dunkelgestaltung, 267–68. 114. Greub, “Standort, Judas und Reliquienkreuz.” 115. Many thanks to Tim Juckes for reminding me of this example. Weilandt, Sebalduskirche in Nürnberg, 616. 116. Examples include the Liebfrauenkirche in Oberwesel and St. Sebald in Nuremberg. In St. Jakob in Rothenburg, another Himmelloch opens
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through the vaults before the original location of the lay altar (explored further in chapter 4). On such “heaven holes,” see Krause, “‘Imago ascensionis.’” 117. Saint Jodocus is also called Jost or Jos in the sources. Borchardt, Die geistlichen Institutionen, 1:52, 67. 118. Two entries in the financial accounts from 1504 record payments to “Erhart, carpenter for the balustrade to the Holy Blood by St. Jos altar” (Erhart schreiner für das glen zu dem heyligen pluet bey sant Jos altar) and to “the metalworker [or locksmith] for work on the balustrade to St. Jobst altar” (dem schloßer für arbeyt an dem glen zu sant Jobst altar). “Jakobsrechnungen,” vol. 2, R 363, Stadtarchiv Rothenburg, fol. 264r–v; Ress, Stadt Rothenburg o.d.T., 84. 119. Borchardt locates this altar beneath the western gallery. Borchardt, Die geistlichen Institutionen, 1:52. Ress correctly places the altar on the gallery. Ress, Stadt Rothenburg o.d.T., 84. 120. Today a copy replaces the original, which is kept in the RothenburgMuseum. 121. “Jakobsrechnungen,” vol. 1, R 362, Stadtarchiv Rothenburg, fol. 59r. The earliest explication of the Mass in German, which is from Nuremberg and dates to around 1480, instructs the congregation to sit during all lessons except those from the Gospels. Kroesen and Steensma, Interior of the Medieval Village Church, 263–83, esp. 272–73. During the fifteenth century the west choir of St. Sebald in Nuremberg also had a set of stalls, though these were added at a time when the primary functions of the west choir had been moved to the new hall-type east choir. Weilandt, Sebalduskirche in Nürnberg, 219–21. 122. Kalden-Rosenfeld, Tilman Riemenschneider: Werkstattleiter, 52. 123. From a technical perspective, the frame of the north doorway is executed in greater depth and with a more challenging overlap of elements than the south doorway. I am grateful to Jérôme Zahn for pointing this out to me. 124. Tripps, Das handelnde Bildwerk, 186–215. Such openings also had a practical function, as they allowed for large or heavy objects—such as loads of shingles for repairing the roof—to be hoisted up into the space beneath the roof.
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125. This was practiced throughout Europe since at least the eleventh century. Ibid., 209–11. 126. Borchardt, Die geistlichen Institutionen, 1:52, 66–67; Tripps, Das handelnde Bildwerk, 126, 207–8, 215. 127. For a related exploration of the dynamic role of an altarpiece within its particular local context, see Merback, “Fount of Mercy.” 128. Bynum, Wonderful Blood, 5, 34; Rubin, Corpus Christi, 35, 72; Timmermann, “‘Mercklich köstlich und wercklich sacrament gehews,’” 207–10; Haquin, Fête-Dieu, vol. 1.
Chapter 3 1. Smriti Srinivas, for instance, defines the “urban performative complex” as “a multicentered network of sites of locational sacrality and the sacrality of urban sprawl that links spatial arenas, social constituencies, and civic history on a number of axes through the performance and mediation of sacred power.” Srinivas, Landscapes of Urban Memory, 67; Weaver, Urban Complex. On the Huangshi Complex, see https://www.archdaily.com/899602 /huangshi-urban-complex-aube. 2. On references in connection with the Middle Ages, see Ayers, “Understanding the Urban Environment,” 68, and Abel, “Water,” 10. 3. The income of the parish fabrica from the ringing of bells to mark the funerals of wealthy citizens had increased steeply from 15 lb in 1482/83 to 63 lb in 1483/84. Schnurrer also cites the increase in income listed for the sale of goods donated to the church upon the death of parishioners (from 32 lb in 1482/83 to 438 lb in 1483/84) as evidence of this pestilence. Schnurrer, “Pest in Rothenburg,” 22–23. 4. “Jakobsrechnungen,” vol. 1, R 362, Stadtarchiv Rothenburg, fols. 79v, 224r, 226r, 243r. 5. A payment in the accounts of the St. Jakob fabrica records 30 lb spent to feed these guests. The bishop was paid, or “gifted,” 4 fl, and his personal attendant also received a small sum. “Jakobsrechnungen,” vol. 1, R 362, Stadtarchiv Rothenburg, fol. 243r. 6. The windows of the church were particularly vulnerable and had to be mended on several occasions. See, for example, “Jakobsrechnungen,” vol. 1, R 362,
Stadtarchiv Rothenburg, fols. 222r, 255v, 278r; vol. 2, R 363, fols. 49v, 67r, 135v. 7. From a close inspection of the rib springers of the vaults of the passageway and neighboring Heiltumskammer, it seems unlikely that the vaults of either space were ever completed during the medieval period. I am grateful to Jérôme Zahn for on-site conversations during the most recent restoration efforts confirming this fact. 8. On the Eheportal, see Ress, Stadt Rothenburg o.d.T., 82, 112. 9. “Jakobsrechnungen,” vol. 1, R 362, Stadtarchiv Rothenburg, fol. 243r. 10. Ragon, Space of Death, 143–44. 11. Bynum, “Bodily Miracles”; Bynum, Resurrection of the Body; Westerhof, Death and the Noble Body. 12. Finch, “Reformation of Meaning,” 440. 13. Gordon and Marshall, “Placing the Dead,” 4. 14. Schnurrer, Urkunden, 1:415, entry 1015. 15. For the following details, see Schnurrer’s transcription of the expenses listed in relation to Ottnat’s funeral. Schnurrer, “Tod und Begräbnis.” 16. Ibid., 85. 17. Binski, Medieval Death, esp. 70. 18. See the discussion of the city’s role as executor in chapter 1. 19. At the usual interest rate of 5 percent, this required a capital of 20 lb h or 20 fl rh. Borchardt, Die geistlichen Institutionen, 1:657. On commemorative services, see Binski, Medieval Death; Bassett, Death in Towns; Finch, “Reformation of Meaning”; Heck, “Eigene Seele retten”; Kowzan, “Memorare Novissima Tua”; Schell, “Death and Disruption”; and Schnurrer, “Tod und Begräbnis.” 20. Borchardt, Die geistlichen Institutionen, 1:658–59. 21. A surviving source describing a similar practice in the Spital cemetery makes this a likely practice also for the parish cemetery and the Charnel House of St. Michael. Schnurrer, Urkunden, 1:392–93, entry 958. 22. Borchardt, Die geistlichen Institutionen, 1:669, entry 57. 23. Ibid., 1:660. 24. Bynum, Resurrection of the Body, 203–4. 25. Schweizer, Kirchhof und Friedhof, 60. 26. Möbius, Stadtkirche St. Michael zu Jena: Symbolik, 43; W. Schneider, “Zu Hilf und zu Trost,” 13. The
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bones in the charnel house of Iphofen were buried in a cemetery, only to be returned to the charnel house during its 2005 restoration. Wieser, St. Michael in Iphofen. In Gerolzhofen the bones were removed in 1816. I am grateful to Klaus Vogt, director of the Museum “Kunst und Geist der Gotik” in Gerolzhofen, for sharing with me his unpublished research on the Gerolzhofen Charnel House of St. John. 27. Schnurrer, Urkunden, 1:101, entry 230; Staatsarchiv Nürnberg, Akt. 72–73. This document is the first of those surviving to mention the cemetery beside the Parish Church of St. Jakob. Since there were already graves to be dug up and confirmed, a smaller cemetery must have existed beside the predecessor church. 28. Schnurrer, Urkunden, 1:101, entry 230; Staatsarchiv Nürnberg, Akt. 72–73. 29. Weissbecker, Rothenburg ob der Tauber, 78: “die zierlichste gotische Bauwerke Rothenburgs.” 30. Faber, Kirchen der Pfarrei Haßfurt; Paczkowski, Evangelische Stiftskirche; W. Schneider, “Zu Hilf und zu Trost”; Wieser, St. Michael in Iphofen; Zilkens, Karner-Kapellen; Zürcher, Sebastianuskapelle Tauberbischofsheim. A short guide to the city of Zeil am Main claims that the charnel-house chapel dedicated to St. Anne was consecrated in 1412, though it gives no source for this date and I have not been able to verify it. Leisentritt, Spaziergang durch Zeil, 20. 31. Borchardt, Die geistlichen Institutionen, 1:82; Ress, Stadt Rothenburg o.d.T., 525. 32. Bier, Riemenschneider: Die späten Werke in Holz, 18; W. Schneider, “Zu Hilf und zu Trost,” 11. 33. The bell turret, or thurnlein, of the charnel-house chapel in Haßfurt is documented in a surviving record of 1527, as it was dismantled in that year. My thanks go to archivist Thomas Schindler for drawing my attention to this source. Haßfurt accounts, Stadtarchiv Haßfurt, fol. 20v. 34. Frequently the division was also underscored by the inclusion of a dividing string course, as it was in the examples at Ochsenfurt and Tauberbischofsheim. Friedrich Möbius has argued, for the related Church of St. Michael in Jena, that the division was meant as a demarcation of two realms. Möbius, Stadtkirche St. Michael zu Jena: Eine Einführung in die Baugeschichte, 61.
35. Zilkens, Karner-Kapellen, 57–70, 90–103. 36. Krautheimer, “Introduction to an ‘Iconography.’” 37. Wels, “Pfarrkirche zu Kiedrich,” 73–101. Note that the dates given by Zilkens vary somewhat: Zilkens, Karner-Kapellen, 94–95. 38. Wels, “Pfarrkirche zu Kiedrich,” esp. 122–23, 144. 39. The “library,” or “Bibliothec,” is St. Michael itself, repurposed to this use. Schäffer, “Compendium,” Stadtarchiv Rothenburg, B 668, B669, fig. 20. 40. Jakob Nolt donated a bell for St. Michael in 1479. In 1493, 1fl 9.5 lb was paid for the casting of a bell that was said to weigh “1/2 centners 6 pounds.” The same day, the ledger records “1 lb 20 d for the bay to the bell on the charnel house,” probably in reference to work on the bell turret. By 1502 the bell seems to have been ready, for an additional 10 lb was paid to make up for the difference between the amount prepaid and the actual cost of the bell, and 2 lb was spent to purchase rope. “Item 1 fl 9 1/2 lb glocklein zw giessen dem kernther, wigt 1/2 centner 6 pf.” “Item 1 lb 20 d vom joch zu der glocken uff dem kernther.” “Jakobsrechnungen,” vol. 2, R 363, Stadtarchiv Rothenburg, fol. 79v. “Item 10 lb dem Kesler, hot sein glocken mer die er auf den kernther geben hatt.” “Item 2 lb 4 d umb siler zu der glocken zum kernther.” Ibid., fol. 228r–v. In today’s measure, “1/2 centner 6 pf ” works out to be roughly 25.5 kg, so the bell was rather modest in size. Ress, Stadt Rothenburg o.d.T., 525; Weissbecker, Rothenburg ob der Tauber, 44. 41. Traces of paint on the standing wall of the chapel indicate that it was once painted, like the Church of St. Jakob, with false stone coursings to regularize its appearance. 42. This is also a feature originally found in other two-story charnel-house chapels such as those in Kiedrich, Wertheim, and Ochsenfurt. 43. In Kiedrich the division between charnel storage space and processional space is made clear by the arrangement of doors and the vaulting structure (two parallel barrel vaults). See Zilkens, KarnerKapellen, 45. 44. Unfortunately, the original source that Borchardt and Ress cite for the establishment of the chantry has been lost. Although included in the table of contents, the page with the donation for the chaplaincy and chantry in St. Michael has been cut out of
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the sourcebook and cannot be located. Nuremberg Sourcebook, Staatsarchiv Nürnberg, RAR 543, fols. 4r–v, 31v; Borchardt, Die geistlichen Institutionen, 1:82; Ress, Stadt Rothenburg o.d.T., 525; A 1424, Stadtarchiv Rothenburg, fols. 64v–65r. The priest charged with oversight of the Charnel-House Chapel of St. Michael in Kiedrich similarly performed three required weekly Masses, after each of which he was to descend to the lower-story ossuary and read the psalm Miserere mei, Deus and the collect Deus, cuius misericordiae non est numerus. Fischer, Spätgotische Kirchenbaukunst, 74. 45. Schnurrer, “Zwei Inventare,” 31. 46. The surviving two-story charnel-house chapel in Gerolzhofen also originally had two altars in the upper story, with one located in the east and the second, dedicated to Saint Anne, set in a niche in the north wall. Two altars are also attested to for the octagonal ossuary chapel in Oberhofen by Göppingen in 1506. W. Schneider, “Zu Hilf und zu Trost,” 13; Zilkens, Karner-Kapellen, 82. 47. A 1424, Stadtarchiv Rothenburg, fols. 64v–65r; Borchardt, Die geistlichen Institutionen, 1:82, 679. 48. Ress, Stadt Rothenburg o.d.T., 526. 49. Schnurrer, “Fronleichnamsfest,” 42, 50–52. 50. Zilkens, Karner-Kapellen, 62. The term “pulpit” was used early by Weissbecker to describe the balcony on the west facade of St. Michael in Rothenburg: “Aussenkanzel” or “freie Kanzel.” Weissbecker, Rothenburg ob der Tauber, 78. 51. Fischer, Spätgotische Kirchenbaukunst, 81. On the use of two-story charnel-house chapels as reliquary chapels more widely, see Zilkens, Karner-Kapellen, 134–44. 52. Kiedrich acquired a head relic of Saint Valentine in 1360 and received a second gift in the middle of the fifteenth century. Wels, “Pfarrkirche zu Kiedrich,” 71, dates this second gift to 1454, whereas Zilkens, Karner-Kapellen, 94–95, claims it was made in 1456. 53. Ress, Stadt Rothenburg o.d.T., 77, points to the existence of an altar in the sacristy abutting the north side of St. Jakob’s choir and proposes that this space may have functioned as a temporary storage site for the relic. However, it seems unlikely that this small space could have accommodated the steady flow of lay pilgrims in the 1430s and 1440s to which Ellringen’s miracle accounts attest, nor would it
explain the apparent gap in pilgrimage to the relic between the 1380s and 1430s. 54. The financial accounts survive beginning in 1468. In the records that do survive, occasional mention is made of St. Michael as der kernther, by which not just the charnel house but the entire Chapel of St. Michael is meant. The sums are generally small, most commonly between 2 lb and 10 lb, and seem to relate to individual projects on the chapel rather than to a concerted, large-scale construction campaign. A noticeable concentration of these entries leads up to the celebratory consecration of the parochial complex in 1485. “Jakobsrechnungen,” vol. 1, R 362, Stadtarchiv Rothenburg; Schnurrer, Urkunden, xxx. While the spelling in kernther is most common, the word also appears as kernter, kerntter, cerntter, kernthern, and kerneter. 55. The charnel house was dedicated to Saints Michael, Eucharius, and Maternus and consecrated by Auxiliary Bishop Nikolaus von Sebastopol, representing Bishop Johann I of Würzburg. “Capella sanctorum Michaelis, Ekarii et Materni annexa ecclesia parrochiali sancti Jakobi maioris necnon et muris eiusdem circumclusa.” Borchardt, Die geistlichen Institutionen, 1:723; Staatsarchiv Nürnberg, RU 1872. 56. The document is dated July 14, 1435, and includes services for her husbands Siegfried Häuptlein and the knight Hans von Rosenberg. Borchardt, Die geistlichen Institutionen, 1:679. 57. The consecration took place on April 27, 1449. On May 13, 1449, the Teutonic Order approved the chantry, and on May 31, 1449, Bishop Gottfried IV of Würzburg issued the confirmation document. Borchardt, Die geistlichen Institutionen, 1:82; A 1424, Stadtarchiv Rothenburg, fols. 64v–65r. 58. Lutz, Inschriften der Stadt Rothenburg, 30–31; Borchardt, Die geistlichen Institutionen, 1:82, 724; Ress, Stadt Rothenburg o.d.T., 525. 59. A similar chronology characterizes the construction of the Parish Church of St. Valentin in Kiedrich and its neighboring Chapel of St. Michael. In Kiedrich, the main church was begun around 1400 and interrupted around 1430, St. Michael was built from 1434 to 1445, and work continued on St. Valentin from ca. 1456 to ca. 1480. Zilkens, Karner-Kapellen, 94–95.
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60. “Item 2 flor 3 lb 5 d von schewben ein zu setzen in der pfar, auf dem kernter und in unser frawen capeln, die das wetter und der hagel zerschlahen hat.” “Jakobsrechnungen,” vol. 1, R 362, Stadtarchiv Rothenburg, fol. 308v. 61. For instance, repeated reference to the kernther is made in the accounts in March and April of 1481, recording payments for stone and for wood and to a brickmaker for work “on the vaulting stone.” By July of the same year, the ledger records a payment for work on the roof (zw decken). These expenses, for additional projects on the largely complete chapel and alongside payments like that of 9 lb for a new door in 1484, led up to or followed close after the final consecration of the urban complex. “Jakobsrechnungen,” vol. 1, R 362, Stadtarchiv Rothenburg, fols. 224r, 226r, 243r; vol. 2, R 363, fol. 79v; Reitemeier, Pfarrkirchen in der Stadt, 200. 62. Anton Weber first attributed the altarpiece to Riemenschneider in 1884. Vetter, “Zur Herkunft,” 83; Vetter, “Geschichte, Ikonographie und Deutung,” 45; Weber, Leben und Werke, 27. 63. Oellermann and Oellermann, “Detwanger Retabel,” 23, 29. By way of comparison, Riemenschneider’s Altarpiece of the Holy Blood is 35 ft. 6 3/8 in. (10.83 m) high and 13 ft. 8 1/4 in. (4.17 m) wide. Trepesch, Studien zur Dunkelgestaltung, 265. 64. There are no clear known references to the altarpiece in the surviving financial accounts of the parish fabrica or in the records of the city’s other religious institutions, unless one follows Edwald Vetter’s suggestion, discussed below, that it is the retable made for the Corpus Christi altar of the Dominican convent church. Vetter, “Geschichte, Ikonographie und Deutung,” 80–82; Bier, Riemenschneider: Die reifen Werke, 88. 65. Oellermann and Oellermann, “Detwanger Retabel”; Borchardt, Die geistlichen Institutionen, 1:83. 66. Whether the altarpiece came directly to Detwang from its original location or by way of a second repository cannot be determined. 67. Because of its demolition in the early nineteenth century and its known altar dedicated to the Holy Cross, the Chapel of St. Michael has generally been assumed to be the original location for the altarpiece. Recently this reasoning has been called into question by Ewald Vetter, who instead has proposed
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an original position on the Corpus Christi altar beneath the west gallery of the Dominican convent church of Rothenburg. See the following note. The sources describe the Corpus Christi altar as having its own chapel (“mit sein Cappell,” Staatsarchiv Nürnberg, der Capplan Gultbuch, RAR 512, fol. 4r, or “korlein,” RAR 516, fol. 240v), built by Katharina von Seinsheim (1339–1361), which Konrad Gans paid to vault sometime between 1502 and 1516. Vetter, “Geschichte, Ikonographie und Deutung,” 47; Vetter, “Zur Herkunft,” 96. 68. Based on a payment recorded in the accounts of the fabrica ecclesiae of St. Jakob for the dismantling of an altar in St. Michael in 1555, Ewald Vetter has suggested that the altarpiece, moved to Detwang almost a century later, stood on the Corpus Christi altar beneath the west gallery of the Dominican convent church in Rothenburg. However, the entry in the financial records names Haßen Kliebern as the man hired for the removal of the altar, and Kliebern was a stonemason, not a woodworker. The record, therefore, likely refers to the removal of a stone altar mensa, and the Rothenburg charnel-house chapel had two altars in its upper-story space by 1479. In any case, this entry does not preclude the possibility that a wooden altarpiece was stored beyond this date, either in the building itself or in another location. Vetter, “Zur Herkunft,” 85–86; Vetter, “Geschichte, Ikonographie und Deutung,” 46–47n17; Ress, Stadt Rothenburg o.d.T., 525. 69. Borchardt, Die geistlichen Institutionen, 1:82, 2:860; Ress, Stadt Rothenburg o.d.T., 525. 70. When Johann Georg Bezold recorded an inscription in the upper-story chapel of St. Michael in 1747, he described the plaque as located “in the northern wall at the height of the altar.” Lutz, Inschriften der Stadt Rothenburg, 30–31. 71. Vetter, “Zur Herkunft,” 97, argues that the Corpus Christi altar, on which he suggests the altarpiece stood, was in the west of the church. He claims that the large altarpiece would have fit there. An extant door originally provided direct access from the adjoining convent building to the west gallery of the church. Standing about 5 m (16 ½ ft.) above the ground, the door indicates that the floor level of the west gallery was approximately at this height.
Notes to Pages 105–110
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Images of the Dominican convent church before its demolition show the church’s clerestory windows stretching quite far down. This seems to support the idea that the western gallery was not particularly high. By way of comparison, the vaults of the west gallery of St. Jakob rise 4.66 m (15 ft. 3 ½ in.) from the church floor. In “Architecture and Devotion,” 175–84, 406–21, I demonstrate that the upper-story chapel of St. Michael rose to a height between 6.29 m (20 ft. 7 5/8 in.) and 9.12 m (29 ft. 11 in.). These probable dimensions correspond well to those of the contemporary standing charnel-house chapel in Kiedrich mentioned earlier, where the interior vaults of the upper chapel reach a height of 8.21 m (26 ft. 9 1/4 in.). 72. The altarpiece, which originally measured about 5.10 m in height, undoubtedly stood on an altar table in its original location and therefore presumably required a space at least 6 m (19 ft. 8 in.) high. 73. Oellermann and Oellermann, “Detwanger Retabel,” 23, 31. 74. Adam’s skull, often included in representations of the Crucifixion, makes reference to Golgotha and the medieval legend that Jesus was crucified on the site of Adam’s burial. Merback, Thief, the Cross, and the Wheel, 59, 84. It is possible that the missing figure of Mary Magdalene, who once knelt beside the cross in the Holy Cross Altarpiece now in Detwang, also included a carved scull of Adam (fig. 51). 75. Claudia Lichte, among others, has remarked on the striking degree of repetition in Riemenschneider’s oeuvre. Fold patterns, facial types, etc. appear in numerous figures, so that Lichte has posited workshop practices whereby drawn schemata were transferred to the surface of wooden blocks in layers. Lichte, “Meister der Wiederholung,” 86–92. 76. For one example of the tendency to divide by artistic medium related to Rothenburg, see Ress, Stadt Rothenburg o.d.T. 77. Mayr, “Drei großen Restaurierungen,” 45; Ress, Stadt Rothenburg o.d.T., 91. 78. Mayr, “Drei großen Restaurierungen,” 46. 79. The 1266 Chapel of the Body and Blood of Christ is one of the earliest known examples of this dedication. The question remains open whether the Rothenburg chapel was founded in connection with the nascent Feast of Corpus Christi. By 1278,
certainly, an indulgence offered a commutation of forty days to those who visited the chapel on the anniversary of the consecration of the church or “on the day on which the Mass of the all holy body and blood of Christ is celebrated and on its octave.” Schnurrer, Urkunden, 1:45, entry 92. 80. On the theory of concomitance, see Bynum, Christian Materiality, 208–16, and Bynum, Wonderful Blood, 92–96. On bleeding hosts and other miraculous blood, see also the classic study Browe, Die eucharistischen Wunder. 81. The niche was modeled after a similar one in the Church of St. Sebald in Nuremberg. For the most extensive study of the Rothenburg sacrament niche, see Hutt, “Gotische Sakramentsnische.” On sacrament houses more broadly, see Timmermann, Real Presence. 82. Detlef Knipping has attributed the south window to the Astaler workshop ca. 1390, pointing to close stylistic ties to windows in the choir of St. Sebald in Nuremberg (1379–86). The north window of the choir of St. Jakob in Rothenburg was glazed by the same workshop and focuses on the joys of Mary. The central window of the choir had been glazed about forty years earlier with scenes of Christ’s life and Passion. Knipping, “Eucharistie- und Blutreliquienverehrung,” 79. 83. Ibid., 84. 84. Merback, Pilgrimage and Pogrom, 279. 85. Merback points to the “implied phenomenology of salvific action” and describes how the “streams of blood trace the path of salvific effect” in this window. Ibid., 278–79. On the active role of blood more generally, see Bynum, Wonderful Blood, esp. 10–11, 153–72, 175–78. 86. Knipping, “Eucharistie- und Blutreliquienverehrung,” 87, recognizes this as a variation on a sentence from Gregory the Great’s fourth book of the Dialogues. It also serves as a reference to the Mass of Saint Gregory. Meier, Gregorsmesse; Gormans and Lentes, Bild der Erscheinung. 87. Ress’s stylistic dating of 1360–80 is based on a similar Man of Sorrows from Schwäbisch Gmünd made shortly after 1350, but the Rothenburg figure is also similar in type to a Man of Sorrows once outside the Church of St. Sebald in Nuremberg, now part of the
Notes to Pages 110–120
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collection of the Germanisches Nationalmuseum in Nuremberg. Ress, Stadt Rothenburg o.d.T., 204. 88. Tim Juckes makes a similar argument about the involvement of the church fabrica in the installation of a prominent gallery space in the south transept of St. Elisabeth in Košice. Like St. Jakob in Rothenburg, the Church of St. Elisabeth was the destination of a blood pilgrimage in the late Middle Ages. It too had an associated charnel-house chapel dedicated to Saint Michael, so the parallels are quite strong. Juckes, “Košice Burghers,” 200–201; Juckes, Parish and Pilgrimage Church, esp. 195–99. 89. Pieces of the stone setting are currently housed in the Heiltumskammer, which serves as a lapidarium, while the standing figure survives in the RothenburgMuseum. 90. The original of Christ at the whipping post survives, though in poor condition, exposed to the elements, and overgrown by vines, in a private courtyard at Burggasse 7. The Rienecker family kindly provided me access to the courtyard to see and photograph the figure. The two flanking figures of Saints Peter and Paul do not appear in any of the early views of the group and are likely modern inventions. 91. A similar positioning of sculpted apostles in the Sainte-Chapelle in Paris led Francis Salet to suggest the arrangement as symbolic of theological ideas. Salet, “Statues d’apôtres,” 135–36. 92. Of the several Man of Sorrows types categorized by Gert von der Osten in 1935, the Rothenburg figure belongs to the type that most emphasizes the side wound. Von der Osten, Schmerzensmann. 93. Previous scholarship on the image type generally termed it an Andachtsbild, meaning an image for contemplation. Weilandt instead calls it a bildgewordener Begriff, a “concept made image.” Weilandt, Sebalduskirche in Nürnberg, 99–100. 94. On memoria, see, for instance, Bijsterveld, Do ut des, and Schleif, Donatio et Memoria. 95. Ress, Stadt Rothenburg o.d.T., 209. The Mount of Olives was most recently studied in a thesis by Mariam Sonntag. It stands against the exterior of the south choir wall, now sheltered by an early twentieth-century structure. The current setting takes the place of the medieval one but dates to the restoration campaign under Häffner. The figures belong to two chronological groups, the first
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(including the sleeping apostles, Judas, the figures behind the fence, God the Father, and the angel) dates to around 1450–60. The second (including Christ and the man holding a lantern) dates to around 1505–7 and is attested to by surviving records in the financial accounts of the fabrica of St. Jakob. Sonntag, “Ölberg-Skulpturengruppe”; Ress, Stadt Rothenburg o.d.T., 92, 209. 96. Only the figure of Saint John the Evangelist survives today. Until 1907 it stood along with a figure of a lone Magus (end of the fourteenth century) in the so-called Eheportal (1479) of St. Jakob. The figure of Saint John is thought to have belonged to a Crucifixion group, possibly positioned in the cemetery. Ress, Stadt Rothenburg o.d.T., 206. 97. Such lanterns were a common feature of both medieval cemeteries and charnel houses. They served as a reminder to the living of the immortality of the soul and of the promise of resurrection. Plault, Lanternes des morts, 153–54; Höck, “Totenlaternen und Lichthäuschen,” 121. Höck points to texts attributed to the abbot Petrus Venerabilis of Cluny and another by an unknown author from 1187 for this interpretation. The first lanterns surviving in Germany that were directed toward the collected dead date to the thirteenth century. These include examples in Doberan, Schulpforta, and Magdeburg. Hula, Mittelalterliche Kultmale, 16; Hula, Totenleuchten und Bildstöcke. On the dating of the group, see Ress, Stadt Rothenburg o.d.T., 204–6. 98. The figure and console were probably moved during Heideloff ’s “purifying” campaign (1854–57) and later set in the current location. 99. The now-lost inscription read: “Anno Domini 1462, on Thursday before the first Sunday of Lent, died the respectable Michael Offner of Habolzhem, may God have mercy” (Nach Cristi gepurt 1462 am donerstag vor Invocavit starb der Erber Michel Ofner zu habolzhe(m) de(m) Got gnad). Lutz, Inschriften der Stadt Rothenburg, 36, entry 82. Only well-to-do burghers could afford monuments of this type to elicit prayers for their souls. Those of lesser means had to be satisfied with a collective intercessory prayer for the dead on Sundays, in the week after the Feast of St. Michael (September 29), and on All Saints Day (November 1).
Notes to Pages 120–123
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100. In 1437, for instance, the tombstone of Matthias in der Klingen was placed in the floor “on the way from the sacristy to the pulpit.” As recorded by Bezold: “auf dem Weg der Sacristey auf die Cantzel.” Marked with a metal coat of arms and an inscription, this monument was once one among many richly articulated individual commissions to which the sculpted figure of Saint Michael also responded. Bezold, “Zusammentrag,” 28, entry 59; Lutz, Inschriften der Stadt Rothenburg, 28. 101. Corine Schleif has demonstrated this in her work on Nuremberg as well. Schleif, Donatio et Memoria, 229–30. 102. It commemorated the passing of Walther Seehöfer and hung on the north wall of the choir. Lutz, Inschriften der Stadt Rothenburg, 16, entry 30. 103. Lutz, Inschriften der Stadt Rothenburg. Two examples also appear on a pier of the nave in an early painting of the interior of St. Jakob (fig. 73). 104. Many important parish churches incorporated rood screens. The image programs of rood screens generally addressed local lay communities, providing them an image wall, at the junction between the choir and the nave, that encouraged self-identification and could act as a unifier rather than simply as a hierarchical divider. Jung, Gothic Screen; Jung, “Beyond the Barrier”; Schmelzer, Der mittelalterliche Lettner.
Chapter 4 1. “Jakobsrechnungen,” vol. 1, R 362, Stadtarchiv Rothenburg, fol. 79r. 2. On the role of images in instigating visions, see Vikan, “Sacred Image, Sacred Power,” 141–42; Hamburger, Visual and the Visionary, esp. 111–48; and Freedberg, Power of Images, 283–316. 3. The references come from different sources. The mention of “signs” comes from an inscription included beside the west door of the new Chapel of St. Wolfgang, which reads: “Hie wirt S. Wolfgang geeret / sein lob mit zeichen gemeret / uff erfindung S. Steffans angefangen / 1475 jor ergangen.” Ress, Stadt Rothenburg o.d.T., 427; Lutz, Inschriften der Stadt Rothenburg, 41–42, cat. 93. Ottnat’s first entry in his accounts related to the finances of the
St. Wolfgang Chapel and pilgrimage notes that “er [Saint Wolfgang] kumen ist fur daz Klingen dor durch ein mit nomen Jorg Laterer.” Finally, a 1475 document issued by the bishop of Würzburg to confirm an indulgence mentions “locus ipse, quo iam beatus Wolffgangus miraculis et fidelium devotione.” The first narrative accounts of the chapel’s foundation date to the nineteenth century: one recorded in 1841 mentions a miraculous dream that directed a shepherd to the location of a treasure; a revised version of the story first published in 1872 associates the foundation with a planned Jewish attack on the city that was miraculously uncovered by a shepherd. Schnurrer, “St.-Wolfgangs-Kirche,” 439–41; Bensen, Alterthümer, Inschriften und Volkssagen, 90; Merz, Rothenburg in alter und neuer Zeit, 211. 4. The statues were likely erected before 1477, certainly before 1487. The chapel was largely finished by 1507. Schnurrer, “St.-Wolfgangs-Kirche,” 443, 447, 461. 5. Ibid., 440–43. 6. On ideas of the “local,” or “vernacular,” vs. the “translocal,” or “universal,” see Christian, Local Religion, esp. 4, 20–22, 147, 162, 175–80, and Zika, “Hosts, Processions, and Pilgrimages,” 60. 7. Merback, Pilgrimage and Pogrom, 224. See also Merback, “Fount of Mercy, City of Blood.” 8. Scholars are divided about how many altarpieces from Rothenburg can be ascribed to Riemenschneider’s workshop. For instance, Iris Kalden-Rosenfeld includes six in her catalog, while Karin and Eike Oellermann count nine. As I am interested not only in those works by the master’s own hand but more broadly in those executed in his workshop, I count eight from known fragments or textual sources plus a likely ninth in the Marian altarpiece of the Church of St. Jakob, discussed further below. Kalden-Rosenfeld, Riemenschneider: The Sculptor and His Workshop, 122–57; Oellermann, “Tilman Riemenschneider in Rothenburg.” 9. W. Schneider, “Altaria deren seind Drey,” 77–78; Diözesanarchiv Würzburg, Dek. Iphofen, Visitationsrelation 1614, fol. 5r. 10. One altarpiece by Riemenschneider originally stood on the high altar of Würzburg Cathedral. Figures from this altarpiece were destroyed in a fire in 1945. It is thought the altarpiece combined marble and wood carvings. Kalden-Rosenfeld, Riemenschneider:
Notes to Pages 123–132
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The Sculptor and His Workshop, 152, entry 67. Many of the figures now in the Museum für Franken once belonged to altarpieces, but of these the original locations of few are known. Lichte, Riemenschneider Collection. 11. Kalden-Rosenfeld, Riemenschneider: The Sculptor and His Workshop, 18. 12. “Jakobsrechnungen,” vol. 2, R 363, Stadtarchiv Rothenburg, fol. 117v; “Rechnungsmanuale,” vol. 1, R 360, Stadtarchiv Rothenburg, fol. 144r; Bier, Riemenschneider: Die reifen Werke, 7, 168. 13. The reference to the Marian altar is made twice in the accounts for March and April 1496. Stadtarchiv Rothenburg, R 363, fols. 117r–v; Bier, Riemenschneider: Die reifen Werke, 7. On the location of the lay altar, see Ress, Stadt Rothenburg o.d.T., 84; Borchardt, Die geistlichen Institutionen, 1:52; and Boivin, “Architecture and Devotion,” 51–52, 72, 77. 14. Borchardt, Die geistlichen Institutionen, 1:52. 15. “Jakobsrechnungen,” vol. 1, R 362, Stadtarchiv Rothenburg, fol. 193r. 16. Bier, Riemenschneider: Die reifen Werke, 7, 168. 17. The earliest mention of Riemenschneider in connection with Würzburg dates to before 1479, when he renounced a benefice at the Stift Haug. KaldenRosenfeld, Riemenschneider: The Sculptor and His Workshop, 17. 18. Ress, Stadt Rothenburg o.d.T., 84; “Jakobsrechnungen,” vol. 2, R 363, Stadtarchiv Rothenburg, fol. 117; Borchardt, Die geistlichen Institutionen, 1:52; Bier, Riemenschneider: Die reifen Werke, 7, 168. 19. Kalden-Rosenfeld, Riemenschneider: The Sculptor and His Workshop, 96. 20. For instance, the entire Altarpiece of St. Anne— including its armature and figures—cost 50 guilders. The All Saints Altarpiece, commissioned by the Dominican convent in Rothenburg, cost 50 guilders for the work of a joiner on the armature, but the amount paid Riemenschneider was lumped together in a total sum of 57 fl 33 lb, which covered several distinct commissions: Riemenschneider’s figures for the altarpiece, choir stalls, a lectern (Pultbrett), and a container for oil (Ölheuslein). Justus Bier used the documented payments to suggest the relative scale of Riemenschneider’s altarpieces, comparing them to the preserved Holy Blood Altarpiece.
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Bier, Riemenschneider: Die reifen Werke, 9, 44, 169, 175–76. 21. Kalden-Rosenfeld, Riemenschneider: The Sculptor and His Workshop, 46–47, 54; Bier, Riemenschneider: Die reifen Werke, 185–89; Buczynski, “Skulpturenschmuck Riemenschneiders.” 22. Tönnies, Leben und Werke, 142n1; Adelmann, Über Riemenschneider, 17; Adelmann, “Til Riemenschneider”; Simon, Creglinger Marienaltar. 23. Bier, Riemenschneider: Die reifen Werke, 8. 24. Kahsnitz, Carved Splendor, 238–53. 25. Simon, Creglinger Marienaltar, 173. 26. Ibid., 169. 27. I am grateful to Volker Schaible for sharing his conclusions, which he presented at the Riemenschneider in Situ Conference held in Rothenburg ob der Tauber and Würzburg, June 21–24, 2017. The restoration project was titled Forschungsprojekt kunsttechnologische Untersuchung des Marienretabels in der Herrgottskapelle in Creglingen and was conducted from 2007 to 2017 by the Institut für Konservierungswissenschaften an der Staatlichen Akademie der Bildenden Künste Stuttgart and the Landesamt für Denkmalpflege im Regierungspräsidium Stuttgart, Fachgebiet Restaurierung. Schaible, “Marienretabel von Tilman Riemenschneider.” See also Schaible, “Marian Retable.” 28. Schaible, “Marienretabel von Tilman Riemenschneider”; Schaible, “Marian Retable.” 29. The restoration team used various lighting techniques to see and document the many inscriptions on the altarpiece, including UV fluorescence and IR reflectography. Schaible, “Marienretabel von Tilman Riemenschneider.” 30. Another inscription reads: “Johann Bintz von Donauwerd dem bin ich feind O ge übel h[inweg], 1550.” Ibid. 31. Ibid. 32. In the original: “4 lb 12 d pro 3 ein 1/2 viertell schwartzer leinwantt zu 2 für hengen an unser frawen altar in der pfar” and “8 d von den gemelten fürhengen zu machen.” Schaible, “Marienretabel von Tilman Riemenschneider”; “Jakobsrechnungen,” vol. 4, R 365, Stadtarchiv Rothenburg, fol. 154r. Evidence from a painting depicting the interior of St. Jakob as well as from
Notes to Pages 132–135
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other sources indicates that the Marian altarpiece had been removed from its altar table and replaced by the relocated Altarpiece of the Holy Blood by 1575, making this proposal possible (fig. 73). If this were true, the Creglingen altarpiece, which Bier dates after the Holy Blood Altarpiece, would in fact be its precursor and a close follower of the likewise initially monochrome altarpiece made for the parish church of Münnerstadt from 1490 to 1492. It is important to note, however, that the entry in the financial ledgers does not indicate the position of the altarpiece for which the curtains were made, beyond saying it was in the parish church (“in der pfar”). On the altarpiece in Münnerstadt, see W. Schneider, Riemenschneideraltar in der Pfarrkirche, 8, and Weniger, Tilman Riemenschneider, 72–104. 33. It is possible, though not certain, that the Church of St. Jakob once had a rood screen dividing the choir from the nave. On rood screens, see Jung, Gothic Screen, and Schmelzer, Der mittelalterliche Lettner. 34. Merback, “Immanence and Intercession.” 35. It is worth noting a difference in opinion between restorers about the crest of the Marian altarpiece now in Creglingen. The Oellermanns are convinced that the armature of the altarpiece in Creglingen, like that of the Holy Blood Altarpiece in Rothenburg, was made by Harschner. Schaible, however, argues that the integration of the crest and figures in Creglingen is so intricate that both are likely by Riemenschneider’s workshop. More work is needed on the work of Erhart Harschner to help resolve this question. I am grateful to both the Oellermanns and to Volker Schaible for our conversations on this subject. 36. Tripps, Das handelnde Bildwerk, 186–202. 37. It is worth noting that not all scholars accept the proposal of an original location in the Franciscan church as conclusive. Weniger, Tilman Riemenschneider, 50–69. Rainer Kahsnitz, however, argues that the altarpiece as it can be reconstructed would have been too large to fit in the Dominican convent church. Kahsnitz, Tilman Riemenschneider: Zwei Figurengruppen, 21–34, esp. 26. The Franciscan church is also the location accepted by the Oellermanns and Hartmut Krohm. Oellermann and Oellermann, “Detwanger Retabel,” 43; Krohm, Rothenburger Passion, 88–89.
38. Krohm, Riemenschneider auf der Museumsinsel, 102–8. 39. For what is known of the provenance of the figural groups, see Kahsnitz, Tilman Riemenschneider: Zwei Figurengruppen, 21–26. 40. Weniger, Tilman Riemenschneider, 60–61. 41. Krohm, “Franziskus-Altar”; Oellermann, “Tilman Riemenschneider in Rothenburg ”; Oellermann, “Bedeutung des Malers Martinus Schwarz.” 42. Krohm, “Franziskus-Altar”; Kahsnitz, Tilman Riemenschneider: Zwei Figurengruppen, 27; Weissbecker, Geschichte des Franziskanerklosters, 12–29; Staatsarchiv Nürnberg, Akt. 72–73, fols. 62v–64v. 43. Krohm, “Ludwig-von-Toulouse-Altar”; Kahsnitz, Tilman Riemenschneider: Zwei Figurengruppen, 27; Weissbecker, Geschichte des Franziskanerklosters, 12–29; Staatsarchiv Nürnberg, Akt. 72–73, fols. 62v–64v. 44. Krohm, “Ludwig-von-Toulouse-Altar, 254”; Bier, “Tilmann Riemenschneider: His Life and Work,” 96. 45. Taubert, Polychrome Sculpture; Schürmann, “Gefasst oder holzsichtig?”; Marincola, “Surfaces of Riemenschneider”; Krohm and Oellermann, “Der ehemalige Münnerstädter Magdalenenaltar”; Oellermann, “Spätgotische Skulptur und ihre Bemalung.” 46. Habenicht, Das ungefasste Altarretabel, 12. 47. Ibid., 10. 48. Göbel, “Forschung zur ursprünglichen Farbgestaltung.” 49. The Assumption Altarpiece in Creglingen, for instance, seems never to have been stained or painted. Marincola and Serrota, “Riemenschneider’s Assumption Altarpiece.” 50. Bier, Riemenschneider: Die reifen Werke, 175–76. 51. Recent studies of layers of polychromy, such as that conducted for the sculpture of Regensburg Cathedral, have demonstrated how, even during the medieval period, sculpture was often freshened up and subtly changed by new coats of paint. Fuchs and Hubel, Farbige Kathedrale. 52. Bier, Riemenschneider: Die reifen Werke, 169. 53. H. Klein, Sacred Gifts and Worldly Treasures, 245. Unfortunately, as mentioned in the previous chapter, the Dominican convent church was torn down
Notes to Pages 136–151
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in 1812, so that little can be said about the architectural setting of this altarpiece. 54. W. Schneider, “Altaria deren seind Drey,” 80. 55. Ress, Stadt Rothenburg o.d.T., 529, 531; Borchardt, Die geistlichen Institutionen, 1:76. 56. Bier, Riemenschneider: Die reifen Werke, 175–76. 57. Weniger, Tilman Riemenschneider, 144–48; Bier, Riemenschneider: Die reifen Werke, 46–55. 58. Borchardt, Die geistlichen Institutionen, 1:79. 59. Schnurrer, “Rothenburg als Wallfahrtsstadt” (2010), 94; “Rechnungsmanuale,” vol. 1, R 360, Stadtarchiv Rothenburg, fol. 358r. 60. This is the most common arrangement of altars found in village churches. Kroesen and Steensma, Interior of the Medieval Village Church, 56–61. See also Kroesen, Seitenaltäre in mittelalterlichen Kirchen. 61. Schnurrer, “St.-Wolfgangs-Kirche,” 441; Borchardt, Die geistlichen Institutionen, 1:85. This argument relies largely on parallels drawn to a later pilgrimage in Rothenburg begun in 1520 and on the appointment of caretakers to oversee administration of income and expenses related to the pilgrimage. As noted above, however, the appointment of civic caretakers was a common practice by this time, both in the city and throughout Germany, and it served not to restrict but rather to control and direct activities and income from the church. 62. Ludwig Schnurrer has published material from these financial records: Schnurrer, “St.-WolfgangsKirche,” 455–65. The original document survives in the Rothenburg archive: Stadtarchiv Rothenburg, A 783, fols. 154r–185v. 63. Of course, the pilgrimage brought immediate financial benefits to certain individuals as well. Twelve cardinals and the bishop of Würzburg were paid to recognize the pilgrimage with official documents. The cardinals received 2½ guilders, and the bishop was paid 11 guilders 1 lb for an episcopal confirmation document. Schnurrer, “St.-Wolfgangs-Kirche,” 441–42, 450, 461; Stadtarchiv Rothenburg, A 783, fol. 154r; Staatsarchiv Nürnberg, Archivalien des Historischen Vereins für Mittelfranken Nr. 201. 64. Borchardt, Die geistlichen Institutionen, 1:86. 65. Ibid., 1:87. 66. Schnurrer, “St.-Wolfgangs-Kirche,” 437. 67. Ibid., 454; Oellermann, “Riemenschneider in Rothenburg”; Weniger, Tilman Riemenschneider, 61.
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68. The Chapel of the Pure Virgin Mary (Kapelle der reinen Maria) is often included in the list of chapels belonging to this building boom, though, because of its late date, I have chosen not to incorporate it in my discussion. Schnurrer, “Wallfahrt zur Reinen Maria.” 69. Ress, Stadt Rothenburg o.d.T., 39. 70. Schnurrer, “Kirche zu Kobolzell,” 139. 71. Schnurrer, “Rothenburg als Wallfahrtsstadt” (2010), 88; Schnurrer, “Kirche zu Kobolzell,” 129–33. 72. Schnurrer, “Kirche zu Kobolzell,” 138–39. The Pilgrimage Herrgottskirche in Creglingen, for instance, has three similarly positioned portals. See Merback, Pilgrimage and Pogrom, 236. 73. Tim Juckes has posited a similar pilgrimage function for the entwined spiral staircases of St. Elisabeth in Košice that led to a gallery in the south transept of the church. Juckes, “Košice Burghers,” 200–201; Juckes, Parish and Pilgrimage Church. 74. An inventory of the pieces damaged on the night of April 17, 1525, made in the course of the subsequent investigation, shows that candles were stolen and lamps, statues, panel paintings, and a large crucifix torn down. Vice, “Bildersturm in Rothenburg,” 76–77; Schnurrer, “Kirche zu Kobolzell,” 133–35, 140–42. 75. Schnurrer, “Kirche zu Kobolzell,” 139. 76. Ibid. 77. Ashley and Hüsken, Moving Subjects; Frost, Time, Space, and Order. Especially relevant for the following discussion is Boogaart, “Our Savior’s Blood.” 78. Zika, “Hosts, Processions, and Pilgrimages,” 39, 63. 79. Bell, Ritual Theory, Ritual Practice, 212. 80. For this and the following discussion, see Schnurrer, “Kaiser kommt nach Rothenburg.” 81. Ibid. 82. This was the practice at least during later imperial visits and probably during Frederick III’s visit in 1474, which set the standard. Ibid., 21–29. 83. Ibid., 29. 84. Ibid., 16: Da allen fürsichtigen Regimentsträgern, sowohl geistlicher wie weltlicher Würde, Wesens und Stands, wohl geziemt, die bei uns ergangenen Geschichten zu künftigem Nutzen und zur Handhabung ihres Regiments in ihr Gedächtnis zu bringen; da diese aber gelegentlich aus Blödigkeit oder Überfleiß aus dem menschlichen
Notes to Pages 151–167
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Wissen weichen, aber dennoch durch schriftliche Abfassung dem Menschen vorgestellt und ihren Nachkommen überliefert werden können, so sind die nachfolgenden Geschichten, Ordnungen und geübten Handlungen, zu langem Gedächtnis, besonders zu Lob und Ehre dieser kaiserlichen Stadt Rothenburg auf der Tauber, in dieses kurze Verzeichnis gebracht und einverleibt worden. 85. Schnurrer, “Zwei Inventare”; Staatsarchiv Nürnberg, Reichsstadt Rothenburg, Akten 2082/1, fol. 33r–v; Akten 2082/2, fols. 486r–489v. 86. “Item drey roth samat khormenthel mit aller zu gehord und etlichen steinen und knupffen, die praucht man zu allen hochzeitlichen festen”; “Item 4 weis clein knaben khormenttel, die praucht nan zu den hochzeitlichen vesten”; “Item mer vier gemusirt chormentel, so die jungen zu den festen tragen.” Schnurrer, “Zwei Inventare,” 30–31. 87. “Item ein silbere monstrantz, die Hans Newenstat gezeugt hot, do man unsers herren leichnam inn tregt” and “Item zwu monstrantzen, do man unsers herren leichnam inn tregt in der stat, der ist ains silberein und die ander gulden.” Schnurrer, “Zwei Inventare,” 28–29. 88. Schnurrer, “St.-Wolfgangs-Kirche,” 436. 89. Rubin, Corpus Christi, 164–85. 90. Borchardt, Die geistlichen Institutionen, 1:50; Stolz, Rothenburger Fronleichnamskapelle, 236–40; Weissbecker, Rothenburg ob der Tauber. 91. Schnurrer, Urkunden, 45, entries 92, 100, 101. In 1278, too, the consecration day of the Chapel of the Holy Body and Blood was celebrated on Corpus Christi, and in 1309 the choir and altar of the church of the Franciscan monastery in Rothenburg were consecrated on the same liturgical feast day. Ress, Stadt Rothenburg o.d.T., 42. 92. “Indulgentiae de festo Corporis et per octavas,” and “Indulgentiae Cappellae corporis Christi.” Ellringen, compendium, fols. 15r–v; Schattenmann, “Reliquien und Wunder,” 51. 93. Boogaart, “Our Savior’s Blood,” esp. 80–86. 94. Schnurrer, “Fronleichnamsfest,” 51. 95. “Item ein grosse silbere monstrantzen, so man in die Corporis Christi praucht, mit irer zugehorung 1 silber kreutz, 2 clein silber mostrantzen, 2 silbere cleine meßkendlin und ein silbere rauchfaß; das alles praucht man zun hochzeitlichen festen.” For a full
transcription of the inventory, see Schnurrer, “Zwei Inventare,” 30–31. The fact that the Feast of Corpus Christi is mentioned by name in the inventory lists distinguishes it from all other high feast days. 96. This is confirmed by an entry in the financial accounts of the fabrica of St. Jakob from 1493 that records payment to a painter for restoring the relics carried in Corpus Christi processions. Schnurrer, “Fronleichnamsfest,” 50–51. 97. Schnurrer, “Kaiser kommt nach Rothenburg.” 98. Wainwright, “Mittelalterliches Fronleichnamsspiel,” 4. In this, Wainwright follows Schnizlein, who relates the handwriting specifically to another document in the archive dated 1403. Schnizlein, “Kirchliche Spiele,” 10; Schnurrer, “Fronleichnamsfest,” 53. 99. “Auch lieben herren als ir mir vorher zwei jar alle jar ein guldin schankt von meiner arbeit wegen, die ich hat mit dem spil, das man hat zu unsers herrn leichnamtag und der kirchwey, do von hot man mir hewr nihts geben.” Schnurrer, “Fronleichnamsfest,” 53; Schnizlein, “Kirchliche Spiele,” 10. 100. Originally in the collection of the collegiate church of Neustift by Brixen, it is now kept in the library of the University of Innsbruck, from which it takes its modern name. The following description of the sequence of the text draws from Wainwright, “Mittelalterliches Fronleichnamsspiel,” 3–4. 101. Ibid., 4. 102. “Ich sihe in dort in des pristers henden; / Ich wil mich im zu dinste wenden, / Ich hab mein opfer hie bereit.” Ibid., 2. 103. “Herre, nu tue uns deiner hilffe schein / Durch die bittern marter dein / Und durch dein tewres plut so rot! / Hilff uns, daß dein heiliger tot / An uns nymmer werde verlorn, / Wann du uns zetrost bist geborn!” Ibid. 104. Schnurrer, “Fronleichnamsfest,” 54. Johannes Tripps relates the mentioned dragon to the animated artworks used in feast-day enactments within the church. Tripps, Das handelnde Bildwerk, 95. 105. “Für allerley besserung zum spill” (for all sorts of improvements to the play). “Jakobsrechnungen,” vol. 1, R 362, Stadtarchiv Rothenburg, fol. 86r. The financial ledgers also record the sale of two prophet costumes in 1529 when new ideas of the Reformation caused the Corpus Christi
Notes to Pages 167–170
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play in Rothenburg to be criticized. Schnurrer, “Fronleichnamsfest,” 54. 106. “Jakobsrechnungen,” vol. 1, R 362, Stadtarchiv Rothenburg, fol. 253r; vol. 2, R 363, fol. 93v; Schnurrer, “Fronleichnamsfest,” 54. 107. The document names the day the Thursday after Pentecost, without referring to the Feast of Corpus Christi directly. Schnurrer, Urkunden, 53, entry 115; Schnurrer, “Fronleichnamsfest,” 54. 108. For this and the following accounting numbers, see Borchardt, Die geistlichen Institutionen, 1:55. 109. Zika, “Hosts, Processions, and Pilgrimages,” 34; Franz, Die kirchlichen Benediktionen, 2:111–13. Evidence of these practices often comes through the objections raised to them in the late Middle Ages.
Epilogue 1. Schnurrer, Urkunden, 1:xxx. 2. Rothenburg is also referred to as “Urbs Rotemburgum, candida, dives opum!” Schnizlein, “Rathausbrand.” 3. “Heu ruit alta domus, multos dominate per annos.” Ibid., 36. 4. “Litterulae pereunt, celebris librique senatus, Quos tenuere pii saecula multa patres.” Ibid. 5. K-H. Schneider, Renaissancetrakt, 327. 6. Ibid. 7. A baroque arcade was added to the east side of the Rathaus. Ibid., 120–32. 8. Guidebook quotes from online entries on Rothenburg in the Lonely Planet and Rough Guides (last accessed August 17, 2018). Cities that have claimed to be the “Rothenburg of the North” include Halberstadt, Hornburg, and Neubrandenburg. Towns boasting other variations on this theme include Pyritz, “the Pomeranian Rothenburg”; Landsberg am Lech, “the Bavarian Rothenburg”; Beilstein an der Mosel, “the Miniature Rothenburg”; Glurns, “the Rothenburg of South Tyrol”; and Tecklenburg and Westerholt, “the Westphalian
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Rothenburg.” Stegemann, “Rothenburg ob der Tauber.” In one recent measure of Rothenburg’s popularity, the city was voted fifth most popular site in Germany by more than thirty thousand tourists in a survey on the website www.germany.travel (http://www.germany.travel/en/towns-cities-cul ture/top-100/germany-travel-attractions.html#, last accessed August 14, 2018). 9. Kamp, “‘Das Deutsche Haus’ auf der Weltausstellung.” 10. On Rothenburg’s “rediscovery” and modern history, see Hagen, Preservation, here 223. 11. Hagen, Preservation. 12. Nagel and Wood, “Toward a New Model.” 13. Hagen, Preservation, 228. 14. K-H. Schneider, Renaissancetrakt. 15. Hagen, Preservation, 223. 16. Two of the 1466 panels by Friedrich Herlin were repainted in 1582. The original scenes were uncovered again during a restoration of the altarpiece in 1922. Bachmann, Oellermann, and Taubert, “Conservation and Technique,” 329–30. 17. Koerner, Reformation of the Image, 346. 18. Hagen, Preservation, esp. 230–31, 242–43. 19. Ibid., 229. 20. Rothenburg ob der Tauber, “Spende für die Stadtmauer,” https://www.rothenburg-tourismus.de /service/spende-fuer-die-stadtmauer/.
Notes to Pages 170–180
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Index
Italicized page references indicate illustrations. Endnotes are referenced with “n” followed by the endnote number. actor-network theory, 5 agency of assemblages, 5–6 Agony in the Garden. See Mount of Olives Akkon, Hermann von, 105 alms, 15, 57, 92–93 altars All Saints, 171, 186n36 Corpus Christi, 110, 198n64, 67, 68, 71 Holy Blood, 57, 59, 60 Holy Cross, 110 Marian, 29, 135–37, 171 Saint Catherine, 28, 171, 186n36 Saint Francis, 146 Saint James the Greater (Jakob), 132 Saint Jodocus, 81, 105, 164, 171 Saint John, 171 Saint Leonhard, 28, 171 Saint Ludwig of Toulouse, 147 Saint Michael, 109–10, 198n68 Saint Nicholas, 81–82, 171 Three Kings, 171 Twelve Apostles, 28 See also altarpieces altarpieces (general) for Chapel of St. Wolfgang, 158, 158–59 documentation of, 12 duality in identity of, 130 for Franciscan monastery, 1, 132, 146–48, 151–52 by Friedrich Herlin (see Herlin, Friedrich) functions of, 131, 165 as instruments of urban planning, 130–31, 153–54, 171–72 monochrome wood stain for, 2, 13, 79, 113, 149–51 polychrome finish for, 148–52 in processional networks, 171–72 in spatial environment, 173 for urban complex of Rothenburg, 132–33, 135–36, 137, 140–41 See also specific altarpieces Altarpiece (specific) All Saints, 151, 202n20 Crucifixion (see Crucifixion Altarpiece) Holy Blood (see Holy Blood Altarpiece) Holy Cross (see Holy Cross Altarpiece) Marian Assumption (see Creglingen altarpiece) St. Anne, 150, 152–53, 154, 202n20 St. Francis, 146–47, 147, 148 St. John (Basel), 150
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St. Ludwig of Toulouse, 147–48, 149 St. Wolfgang, 128, 129–30, 150, 154–55, 158–59, 160–61 anniversary day celebrations, 91–92 anti-Semitism in Rothenburg, 38, 40, 68–69 Antworter, Georg, 89 architecture communicative potential of, 63–64 Eseler workshop style of, 61, 62 “iconography” of, 26, 98–99 as instrument of control by city council, 18–21 localizing effect of, 69 local pride, civic responsibility, and, 45 movement and, 57 of Rothenburg, modern focus on, 179–81 Rothenburg as importer of art and, 7, 172 visual dialogue of principal churches and charnel houses, 95, 97–101, 102, 105 Arma Christi, 70, 79 artistic programming as artistic integration, 4 civic control of religious space in, 21 in civic self-construction, 43, 45, 131 as continuing process, 179 flexibility of, 173 in Gothic churches, 3–6 overview of, 126–27 polychroming of altarpieces in, 150–52 Rothenburg as case study of, 6–12 of urban complex, 115–26 See also multimedia program ashlar masonry 36, 59, 80, 102 assemblages, agency of, 5–6 Augsburg Cathedral, 35 city of, 9, 10 indulgence issued from, 168 banners (flags), 166, 167, 168 basilican churches, 35 Beauvais, 20 bells, 24, 29, 41, 88, 102, 166, 175, 195n3, 196n40 Beuschel, Johannes, 175 Bezold, Johann Georg, 110, 125 Blomberg, 57 blood, Christ’s, 48, 50, 115, 117, 170 See also blood relics blood relics anti-Semitic violence and, 69 catalog of miracles related to, 52–53 Charnel-House Chapel of St. Michael and, 104
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blood relics (continued) consecrated wine as transformed into, 47, 48 cross reliquary for, 46, 49–50 functions of, 45 indulgences granted and, 53 localization of, 79–80 ocular Communion and, 57, 59 pilgrimage sites for, 48 promotion of, 43, 49–54 rise in importance of, 116–17 as sacramental, 47 second-order miracles of, 48–49 See also Dauerwunder relics; Holy Blood Altarpiece burghers (citizens), 22 Bruges, 7, 53–54 Büren, 48 burials, 90–93 See also funerals buttresses, 100 as evidence of break in construction, 65 inscription on, 28 figures on, 133 of St. Jakob, 36 of St. Michael, 101, 102 ornament of, 97, 98, 100 passageways through, 67, 68, 193n94 candles, 24, 29, 30, 52, 53, 91, 92, 204n74 Capua, Raimond von, 19 castle, 8, 40, 183n25 cemeteries, 90–93, 100 chalice, 51, 52, 88, 118, 129, 189n7 Chapel of Our Lady (Kobolzell), 162–65, 163, 164 of St. Blasius, 39, 40 of St. Nicholas, 30–31 of St. Wolfgang (see St. Wolfgang, Chapel of) of the Pure Virgin Mary, 12, 31, 204n68 of the Virgin Mary (Milchmarkt chapel), 69, 152–54, 155 See also charnel-house chapels; Oberwesel, Wernerkapelle chaplaincy, 28, 40, 57, 81, 92–93 caretakers, 21, 24, 38, 40, 49, 88, 105 See also churchwardens Charles IV, 19 charnel-house chapels of St. Kilian (Wertheim), 67, 96, 97, 97 of St. Michael (Kiedrich), 94, 99, 99–100, 102, 103, 104 of St. Michael (Ochsenfurt), 96, 98, 98, 99 of St. Michael (Rothenburg) (see St. Michael, Chapel of [Rothenburg]) charnel houses, 90, 93, 94, 94, 96–97 See also charnel-house chapels choir stalls, 82, 125
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Church of Our Lord (Herrgottskirche, Creglingen), 133, 135 Church of the Holy Savior (Passau), 67–68, 68, 69 church space. See religious institutions; spatial environments; urban complex churchwardens, 29, 30, 31 See also caretakers citizens. See burghers city-as-patron (verus fundator), 21, 29, 31, 41 city council of Rothenburg church architecture as instrument of control by, 18–21 citizens eligible for election to, 22 disputes between regional nobility and, 10 funerals and, 91 as patrons, 4, 15–16, 29–30 Protestant reformers and, 11–12 public displays and, 165–72 religious institution oversight by, 18–21, 22, 24, 30–31, 37–41 city hall. See Rathaus of Rothenburg civic caretakers, 21, 22, 24, 38, 49, 105, 204n61 civic community, ideals of, 16 coherence of design, 4–5, 6, 126–27 commemoration, 90–92, 115 Communion, visual or ocular, 57, 59 concomitance, theory of, 116–17 conflicts between power structures and material fabric, 19–21 between regional nobility and city council, 10 between Teutonic Order and city council, 22, 24 Conrad III, 8 Coronation of the Virgin, 139, 140 Corpus Christi altar of, 110 Chapel of, 53, 54, 61 Feast of, 167–71 indulgences related to, 53 liturgical play, 169, 170 Council of Cologne, 57 Council of Mainz, 57 Creglingen altarpiece (Marian Assumption Altarpiece) central shrine of, 138 commission for, 132–33 design of, 136–37, 139–41 finishing of, 150 original location of, 135–36 Rankenwerk and crest of, 137, 139, 139, 140 views of, 134, 136 Creglingen, Church of Our Lord (Herrgottskirche), 133, 135 Crucifixion Altarpiece, 141, 141–46, 142, 144, 145, 147 cult of Saint Anne, 154 of Saint Wolfgang, 129, 155, 157
Index
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Dauerwunder relics, 47, 79, 169 dead communities, relationship between living and, 90 death shields, 125 decorum, sense of, 4–5 dendrochronology, 27, 30, 60, 135, 186n37 design decorum or coherence in, 4–5, 6, 126–27 relationship of patrons and artists in process of, 13 repetition in, 3, 113, 172–73 Detwang Altarpiece (see Holy Cross Altarpiece) Sts. Peter and Paul, Church of, 106, 107, 108–9 Deutschhauskirche (Würzburg), 24–26, 25, 63–65, 64 Diem, Margarethe, 92 Dinkelsbühl city of, 10 St. Georg in, 61 documents and civic identity, 28 Dominican convent (Rothenburg) All Saints Altarpiece of, 151, 202n20 church of, 109, 110, 112 oversight of, 18, 19–20 as political entity, 10–11 donations for anniversary Masses, 91 for eternal lights, 26, 186n36 to Chapel of Our Lady (Kobolzell), 165 to Holy Blood Chapel, 52–53 civic identity through, 181 compendium of, 52–53 Feast of Corpus Christi and, 170 of food, handed out in cemeteries, 92–93 to Church of St. Jakob, 26–27, 28–29 for preservation of city walls, 180 to religious institutions, 41–42 Ebern, 94 Ehetür portal, 89 Ellringen, Johann von, compendium of, 49, 51, 53, 54, 59, 104 emperors, visits to city by, 166–67 ensembles medieval cities as, 5–6 in Rothenburg, 88 See also urban complex Entry into Jerusalem, 77, 78 epidemic, 88 Erfurt, 48 Eseler, Niclaus, Jr., 61, 103 Eseler, Niclaus, Sr., 61, 67, 103 Eseler, Peter, 61 eternal lights, 24, 26, 186n36 Eucharist, species/dual materials of, 47, 51, 79, 116–17, 126–27, 169
fabrica ecclesiae construction of nave and, 36 control over, 22, 24, 26–27, 28 financial ledgers of, 88 funerals and, 91 postmedieval changes to, 178–80 See also religious institutions Feast of All Saints, 103 of All Souls, 103 of Church Consecration, 162, 170 of Corpus Christi, 53, 167–71, 199n79 of St. Bartholomew, 157 of St. Michael, 104 Marian, 154 feast days, liturgical (Hochzeiten), 84, 167–71 find-spot, 66–67 fire, 176, 185n1 Flagellation of Christ (Christ at the whipping post), 120–22, 200n90 flying buttresses, 36, 37 Franciscan monastery (Rothenburg) Altarpiece of St. Francis of, 146–47, 147, 148 Altarpiece of St. Ludwig of Toulouse of, 147–48, 149 altarpieces of, 1, 132, 148, 151–52 city council oversight of, 38, 40 consecration of choir and altar of church of, 205n91 Crucifixion Altarpiece of, 141, 141–46, 144, 145, 147 nave and rood screen of church of, 146 as political entity, 10–11 Franconia Duchy of, 7 Teutonic Order in, 11 tourists to, 12 Fraternity of Shepherds, 157, 158, 168, 188n1 Frederick III, 166 funerals, 90–91 furnishings, liturgical, 12, 30, 88–89, 103, 164, 169 See also chalice; choir stalls; monstrance; relics and reliquaries; vestments gallery, western, 20, 33, 55, 64, 67, 80–82, 110, 163–64 Gerolzhofen, charnel-house chapel in, 94, 96 Gesamtkunstwerk, 3, 4, 6 glass. See stained-glass Glück, Heinrich, 92 Gothic churches artistic programming in, 3–6 continuous moldings of, 34 flying buttresses of, 36 hall-type, 35–36 of Nuremberg, 192n82 See also specific churches Gottfried IV, 54, 105
Index
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Gottsbüren, 48 graves, 91–92, 93, 122, 123 Gymnasium, 95, 101, 176 hall churches, 35, 36 Harschner, Erhart, 2, 70, 75, 76, 79, 130, 172 Haßfurt 94, 96 Heideloff, Karl Alexander von, 80, 115 Heilsbronn, Abbot Ulrich of, 15–16 Heiltumskammer of St. Jakob, 54–55, 56, 62, 63, 67, 161 Heiltumskirchen (reliquary churches), 104 Herlin, Friedrich, 122, 151, 172, 176, 178, 179 Herrgottskirche (Church of Our Lord, Creglingen), 133, 135 Hillentrup, 57 Himmelloch openings, 80, 84 Hohenlohe, Ludwig and Gottfried von, 21–22 Holy Blood Altarpiece central shrine and wings of, 73, 74, 78, 114 commission for, 45, 70 context of, 85–86 contract for, 2 cost of, 133 creation and installation of, 2 Creglingen altarpiece compared to, 136, 137, 139–40 crest of, 71 cross reliquary with blood relic, 46 depth of field of, 75–76 design of, 70, 72, 74, 76–80, 82, 113, 115 Feast of Corpus Christi and, 168–69 location of, 80–81, 82 predella of, 72 Rankenwerk canopy of, 75, 76 themes of, 84, 115–16, 127, 140–41, 172 traffic through space of, 82–85 views of, 77, 83, 84 Holy Blood Chapel architecture of, 69 construction of, 54–55, 55, 57 cross reliquary and, 46, 49–50 donations to, 52–53 Feast of Corpus Christi and, 168 functions of, 57 indulgences associated with, 53–54 interior of, 83 links with Charnel-House Chapel, 103–4 miracles related to, 52 as pilgrimage site, 1–2, 54, 57, 69, 84–85 traffic through, 82–85 vaults of, 81 See also Holy Blood Altarpiece Holy Blood in Germany, 48, 116 See also blood relics Holy Cross Altarpiece central shrine of, 108, 109, 143
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composition of, 107–8 Crucifixion Altarpiece compared to, 142–46 design of, 113, 115 monochrome finish of, 151 original location of, 108–10, 113 reconstruction of, 106 theme of, 115–16, 140–41 wings of, 110, 111, 114 Holy Ghost Spital (Rothenburg), 38, 39, 66, 169, 171, 178, 195n21 holzsichtig (monochrome), 2, 13, 79, 113, 149–52 Hornburg, Elisabeth, 57 host, 28, 48, 57, 59, 67, 69, 79, 117, 167–68, 170 host-miracle shrines, 57, 68 iconoclasm, 164 identity, civic artistic programming in, 43, 45, 131 cemeteries in, 92 Church of St. Jakob in, 167 construction of, 16, 18, 38, 40, 172–73 material fabric and, 28 as “medieval,” 179–81 parish churches in, 18, 21 processions in, 165–66 unified, projection of, 41–42 urban complex as shaping, 126 written records as shaping, 28 imperial city, Rothenburg as, 8–10, 166–67 importer of art and architecture, Rothenburg as, 7, 172 income, 27, 30, 41, 53, 88, 129, 157, 170, 195n3 indulgences associated with Holy Blood Chapel, 53–54 associated with Charnel-House Chapel of St. Michael, 104, 105 associated with Feast of Corpus Christi, 168 for walking through cemetery, 90 Ingolstadt, 35 Innsbruck Corpus Christi play, 169, 170 Iphofen, 93, 94, 96, 151 Jerusalem, 7, 11, 113, 123 Jewish community in Rothenburg, 38, 40, 68–69, 153 Judengasse, 69 Kempe, Margery, 48 Kiedrich St. Michael in, 94, 99, 99–100, 102, 103, 104 St. Valentin in, 99–100 relic display and processions in, 104 urban complex in, 99, 99–100 Kirchenpolitik, 18–19 Klingengasse passageway, 44, 55, 56, 60, 62–63, 69 Knights Hospitaller, 18, 40–41
Index
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Kobolzell, Chapel of Our Lady, 162–65, 163, 164 Kolb, Konrad, 59 Kreglinger, Peter, 69 Langmantel, Selena, 92–93, 105 Last Supper, 72–75, 73, 74, 79, 120, 168, 178 Laterer, Georg, 129 library, 96, 100, 101, 175, 178 liturgy. See Feast, feast days, liturgical; furnishings, liturgical; Mass; plays, dramatic, on liturgical feast days living and dead, doctrine of, 90 Ludwig IV, 22 Ludwig the Bavarian, 38 Mainz, 7, 57, 61, 167 Mangold of Würzburg, 65 Man of Sorrows, 120–23, 121, 122, 170 Marian chapels. See Kobolzell, Chapel of Our Lady; Milchmarkt, Chapel of the Virgin Mary on marketplace, routes to, 28, 63, 69 Mass, 12, 28–30, 47, 54, 57, 79, 80, 81, 91, 96, 105, 117–20, 119, 132, 157, 167, 168, 186n36, 194n121, 197n44 material fabric civic identity and, 28 conflicts between power structures and, 19–21 power of city council and, 37 of Rathaus, 175 Maximilian I, 167 medieval churches. See Gothic churches; specific churches medieval cities as concept, 179 as ensembles, 5–6 modern, 176, 179–81 See also urban complex; urban planning memoria civic identity through, 181 donations for, 29 Man of Sorrows as motif of, 122 Mergentheim, 11 Milchmarkt, Chapel of the Virgin Mary on, 69, 152–54, 155 miracles catalog of, 51–53, 104 Dauerwunder, 47 host-miracle shrines, 57, 68 of Saint Wolfgang, 129, 155 monetary values, xv monstrance, 49, 50–51, 57, 70, 76, 139, 140, 168, 169 Mount of Olives (Agony in the Garden), 77–78, 90, 107–8, 113, 114, 115, 120, 123, 144, 144–47, 200n95 movement and architecture, 57 Mülholzer, Jakob, 147–48 Müllner, Hans, 61 multimedia program
objects as creating, 43, 45 of Church of St. Jakob, 87 of Rothenburg urban complex, 115 municipal government of Rothenburg. See city council of Rothenburg Münnerstadt, altarpiece in, 151, 203n32 networks of cult space, 130–31, 165, 173 processional, 165–72 nobility, 19–20, 40 Nolt, Jakob, 102 Nordenberg family, 19 Nordheim am Main, St. Laurentius in, 151 Nördlingen, 38, 61, 192n68 nuns, Dominican, 18, 19–20 Nuremburg Gothic churches of, 192n82 St. Lorenz in, 34–35 St. Sebald in, 34, 34, 35, 80, 121, 191n61, 194n121 oaths, 20, 22, 38, 40 Oberwesel, Wernerkapelle in, 65, 65–67, 66, 69 Ochsenfurt St. Andreas in, 35 St. Michael in, 96, 98, 98, 99 ocular Communion, 57, 59 offertory box, 24, 30, 129, 154, 157, 165, 170 Offner, Michael, 123 Oppenheim, 36, 93, 94, 96 Order of the Knights of St. John (Knights Hospitaller), 18, 40–41 Ordo Stellae, 84 ossuaries, 90, 93, 94, 96, 102–3, 103 Ottnat, Michael, 91, 155, 157 outdoor pulpit, 96, 100, 104 parish churches as civic spaces, 90, 131 communal or collective identity and, 18, 21 function of, in Middle Ages, 18 rood screens of, 201n104 See also specific churches passageways beneath medieval churches, 62–67, 64, 65, 66, 69 See also Klingengasse passageway Passau, Church of the Holy Savior in, 67–68, 68, 69 patricians, 7, 10, 11, 19, 22, 186n24 patronage structures, 27–31 patrons city council as, 4, 15–16, 29–30 color on altarpieces and, 149–50 in process of design, 13 pestilence, 88, 93 piers, 34, 125
Index
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pilgrimage images in establishing and sustaining, 130 promotion of, 53–54, 129, 155 pilgrimage sites attempt to create, 43, 45 Chapel of Our Lady as, 162–65 Chapel of St. Wolfgang as, 129, 130, 152, 155, 157 Chapel of the Virgin Mary as, 152 economic underpinnings of, 53 Holy Blood, 48 Holy Blood Chapel as, 1–2, 54, 57, 69, 84–85 Rothenburg as, 1–2 Walldürn as, 48, 54 Wernerkapelle as, 66–67 Wilsnack as, 48–49, 54 Pius II (pope), 57 plays, dramatic, on liturgical feast days, 84, 169–70 polychrome finish of altarpieces, 148–52 poor, provisions for, 92–93 pope, 48, 53, 57, 168, 169 population, 7, 41 portal, Ehetür, 89 power localization of, 18–21 rituals and, 166–67 Prague, 10, 40, 48, 183n23, 184n30 processional networks, 165–72 processions, 54, 57, 91–92, 103, 104, 162, 165–68, 169, 171 pulpit, 29, 91, 104, 123, 135, 201n100 See also outdoor pulpit Rathaus of Rothenburg, 175–76, 177 Reformation changes to urban complex after, 178–79 city council and, 11–12 Regensburg Cathedral, 35 Reichsalmosen, 92–93 Reichsstadt, 8–10, 166–67 Reichstag, 9 Reims, 20 relics and reliquaries catalog of miracles related to, 51–53 Dauerwunder relic, 47, 79, 169 Heiltumskirchen, 104 in host-miracle shrines, 68 inventory of, 49–51 in processions, 169 See also blood relics religious institutions city council oversight of, 18–21, 22, 24, 30–31, 37–41 donations to, 41–42 function of, in Middle Ages, 18 growth in number of, 165 as political entities, 10–11 See also fabrica ecclesiae; specific institutions
230
reliquary churches (Heiltumskirchen), 104 repetition, 113, 117, 122–23, 130, 145, 171, 173 restorations, 40, 80, 107, 179, 191n57 Resurrection, 108, 111, 113, 118, 120, 122–23, 144, 145 Riemenschneider, Tilman All Saints Altarpiece of, 151, 202n20 Altarpiece of St. Anne of, 150, 152–53, 154 Altarpiece of St. Francis of, 146–47, 147, 148 Altarpiece of St. Ludwig of Toulouse of, 147–48, 149 altarpieces of, 115–16, 130–32, 165, 171–72 commissions and payment for, 45, 70, 132–33 contract signed with, 1–2, 57, 78, 85 Mülholzer and, 148 oeuvre of, 12–13 payments to, 133 polychroming in oeuvre of, 148–52 St. Wolfgang Altarpiece of, 128, 129–30, 150, 154–55, 158–59, 160–61 Würzburg Cathedral altarpiece of, 201n10 See also Creglingen altarpiece; Holy Blood Altarpiece; Holy Cross Altarpiece; Würzburg workshop ring bosses, 140 rituals anniversary celebrations, 91–92 funerals, 90–91 power structures and, 166–67 processions, 165–72 See also Eucharist, species/dual materials of rock crystal, 50 Rome, 54 roof, 27, 30, 55, 59–60, 61, 186n37, 192n68, 194n124 rooted sanctity, 69 Rösch, Gottfried, 60 Rothenburg ob der Tauber as case study, 6–12 epidemic in, 88 as imperial city, 8–10, 166–67 Kirchplatz in, 95 map of, 8, 39 Marktplatz in, 180 pilgrimage environment of, 1–2 population of, 7, 41 postmedieval history of, 176, 178–81 Rathaus of, 175–76, 177 urban complex concept and, 87–88 view of, in 1615, 9 See also city council of Rothenburg; identity, civic; specific institutions and churches Rudolf I of Germany, 170 Rudolf of Hapsburg, 65 Rupert of Germany, 10 sacrament niche, 57, 116, 117, 121, 122 sacristan, 29, 30, 91 Saint Anne cult, 154 See also Altarpiece of St. Anne
Index
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Saint Wolfgang cult, 129, 155, 157 See also Chapel of St. Wolfgang Schäffer, Johann Ludwig, 100, 101, 102, 112, 154, 155 Scheu, Stephan, the Elder, 81 Schilingsfrist, 60 Schmidt, Johann Friedrich, 95, 101–2, 154 Schultheis, 40 Schwäbische Städtebund, 8–9, 37 Schwäbisch Gmünd, 35, 37 Schwäbisch Hall, 9, 10, 140 Schwarz, Martin Altarpiece of St. Francis and, 146, 147 as artistic counselor, 2 Crucifixion Altarpiece and, 141, 141, 142, 144 as guardian of monastery, 1, 151 as Rothenburg resident, 172 secular authority over religious institutions, 18–21, 22, 24, 30–31, 37–41 See also civic caretakers side aisles, 123–25 spatial environments altarpieces in, 173 concept of, 3–4, 43, 45 dialectic of, 6 establishment of, and local context, 172–73 as generative agents of artistic creation, 173–74 of installation, 86 postmedieval changes to, 176, 178–81 of west end of Parish Church of St. Jakob, 51, 82–85 spatial-thematic system, 4–5, 87–88 See also spatial environments; themes; urban complex Spital (Rothenburg), 38, 39, 66, 169, 171, 178, 195n21 stained-glass, 117–20, 117, 119 staircase, 57, 66, 81, 82–84, 84, 100, 112, 163–64 St. Andreas, Church of (Ochsenfurt), 35 St. Blasius, Chapel of (Rothenburg), 39, 40 St. Catherine, Church of (Oppenheim), 36 St. Georg, Church of (Dinkelsbühl), 61 St. Jakob, Church of (Rothenburg) acts of protest in, 12 altarpieces for, 151–52 Chapel of Our Lady compared to, 163, 164 choir construction in, 22, 24–26, 27, 31, 36 city council as patron of, 15–16 in civic identity, 18, 21, 167 consecration of, 88–90, 169 contracts for administrative oversight of, 21–27 donations to, 26–27, 29–30 east choir of, 23, 116, 117, 117–18, 119 exterior of, 37, 123, 124, 125 flying buttresses of, 36 fundraising for west end of, 49, 54 interior of, 32, 58, 137 inventories of treasures of, 167–68, 169 inventory of relics of, 49–51
longitudinal section of, 56 Man of Sorrows of, 120–22, 121, 122 Marian altar of, 29, 135–37 Marian altarpiece of, 132–33 monolithic window tracery of, 62 multimedia program of, 87 nave of, 28, 30, 31, 33, 34–37 in parochial complex, 89 plan of, 17, 82 roof construction of, 192n68 site of, 39 as Stadtkirche, 42 St. Jodocus altar of, 81–82 St. Nicholas altar of, 81–82 Toppler donations to, 28–29 vaults of, 25, 35 view of west end of, 44 west end construction in, 43, 54–55, 55, 57, 59–61, 103 west end design for, 61–65 See also fabrica ecclesiae; Holy Blood Altarpiece; Holy Blood Chapel St. Laurentius, Church of (Nordheim am Main), 151 St. Lorenz, Church of (Nuremberg), 34–35 St. Michael, Chapel of (Kiedrich), 94, 99, 99–100, 102, 103, 104 St. Michael, Chapel of (Rothenburg) Holy Cross Altarpiece and, 108–10, 113 Holy Blood Chapel and, 103–4 consecration of, 88–90, 104, 105 construction of, 93–94, 104–5 design of, 100–102, 101 functions of, 94, 96, 113 ossuary of, 90, 102–3 in parochial complex, 89 processions to and through, 103 surviving wall of, 112 St. Nicholas, Chapel of (Rothenburg), 30–31 St. Sebald, Church of (Nuremberg), 34, 34, 35, 80, 121, 191n61, 194n121 St. Valentin, Church of (Kiedrich), 99–100 St. Wolfgang, Chapel of altarpieces of, 128, 129–30, 150, 154–55, 158–59, 160–61 Chapel of Our Lady compared to, 163 exterior of, 156 interior of, 157–58, 158 location of, 157 paired portals of, 159, 161, 162 as pilgrimage site, 129, 130, 152, 155, 157 plan of, 156 Sts. Peter and Paul, Church of (Detwang), 106, 107, 108–9 Strasbourg city council history in, 185n8 Minster, 35 Tauberbischofsheim, 96 Tauber River, 7, 8, 9
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taxes, 10, 27 testaments, 29, 91, 92 Teutonic Order, 10–11, 16, 18, 22, 24–26, 25, 30–31 themes of Holy Blood Altarpiece, 84, 127, 140–41, 172 of altarpieces of Riemenschneider, 115–16, 130 as cohesive, 126–27 dual materials of Eucharist, 47, 51, 116–17, 126–27 Last Supper, 72, 75, 77, 79, 113, 115 Man of Sorrows, 120–23 Mount of Olives, 77–78, 107–8, 113, 115, 144, 147 of stained glass windows, 117–18, 120 St. Michael slaying dragon, 123, 126 tombstones, 42, 91, 92, 125 Toppler, Barbara, 28, 29 Toppler, Hans, 29 Toppler, Heinrich, 10, 27–29, 30, 42, 49 Toppler, Kathrin, 29 tourism, 12, 176, 178, 179 towers, 34–35, 64, 175, 188n65 tracery, 34–35, 61, 62, 98, 121 trade routes, international, 8–9 Trüb, Katharina, 20 Ulm Minster, 35 Ulrich (abbot), 15–16 Urban IV (pope), 168 urban complex artistic program of, 115–26 cemeteries in, 100 charnel-house chapels in, 96 components of, 88–94, 89 in Kiedrich, 99, 99–100 monuments in, 123, 125 overview of, 87–88, 126–27 plan of, 17 repetition in, 172–73 in Rothenburg, 100–105 See also Holy Cross Altarpiece urban planning as aggregated and structured process, 127 altarpieces as instruments of, 153–54, 171–72 chapels as instruments of, 152, 153 for churches, 59–60 overview of, 3 urban complex as tool of, 96
Walldürn pilgrimage, 48, 54 walls, defensive (fortifications), 38, 157, 180 wax, 30, 52 See also candles Wenceslaus IV (Wenzel), 10, 40, 42, 68 Wernerkapelle (Oberwesel), 65, 65–67, 66, 69 Wertheim, St. Kilian in, 67, 96, 97, 97 Wilsnack pilgrimage, 48–49, 54 Windsheim, 10, 133, 148 wine consecrated, as transformed into blood relic, 47, 48 production of, 7, 9, 79–80 restrictions on consumption of, 19 taxes on, 10 Wolfahrt, Kaethe, 179 wood stain for altarpieces, monochrome (holzsichtig), 2, 13, 79, 113, 149–52 Wormrath, Werner von, 66 Würzburg Deutschhauskirche in, 24–26, 25, 63–65, 64 Diocese of, 11, 151 Cathedral, altarpiece of, 201n10 Würzburg workshop altarpieces by, 2–3, 130 repetition of compositions by, 113 style of, 154, 165 Zeil am Main, 96 Zenner, Heinricus and Irmgard, 22, 93 Ziegler, Wilhelm, 128, 130, 159, 172
vaults, 25, 34, 57, 75, 80, 81, 84, 157–58, 195n7, 199n71 vestments, 103, 129, 167–68 visual aesthetic, 13 See also artistic programming visual dialogue of principal churches and charnel houses, 95, 97–101, 102, 105 Volckmar, Christine, 92
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