By Sarah Blick, Rita Tekippe
This assortment contains essays at the visible adventure and fabric tradition at medieval pilgrimage shrines of northern Europe and the British Isles, rather the paintings and structure created to accentuate non secular adventure for viewers. those reviews specialize in local pilgrimage facilities which flourished from the 12th-16th centuries, addressing numerous facets of visible imagery and architectural house which impressed devotees to worth cults of enshrined saints and to venerate them in reminiscence from afar. matters contain pilgrim costume, jeweled and painted reliquaries, labyrinths, complex processions, published texts of the saint's existence, shrines, sculpture and different architectural ornament, and pilgrim souvenirs. Profusely illustrated with 350 images, this paintings will curiosity students and scholars of paintings historical past, background, spiritual experiences, and pop culture. members comprise: Ilana Abend-David, Virginia Blanton, Sarah Blick, Katja Boertjes, James Bugslag, Lisa Victoria Ciresi, Daniel ok. Connolly, M. Cecilia Gaposchkin, Laura D. Gelfand, Anja Grebe, Anne F. Harris, Kelly M. Holbert, Vida J. Hull, Jos Koldeweij, Marike de Kroon, Claire Labrecque, Stephen Lamia, Nora Laos, Jennifer M. Lee, Albert Lemeunier, Mitchell B. Merback, Scott B. Montgomery, Jeanne Nuechterlein, Rita Tekippe, William J. Travis, Kristen Van Ausdall, Benoit Van den Bossche.
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This assortment comprises essays at the visible event and fabric tradition at medieval pilgrimage shrines of northern Europe and the British Isles, rather the paintings and structure created to accentuate non secular event for viewers. those reports specialize in nearby pilgrimage facilities which flourished from the 12th-16th centuries, addressing a variety of points of visible imagery and architectural house which impressed devotees to price cults of enshrined saints and to venerate them in reminiscence from afar.
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Additional resources for Art And Architecture Of Late Medieval Pilgrimage In Northern Europe And The British Isles Texts (Studies in Medieval and Reformation Traditions)
The mention of the “dress of Arab style” is of the utmost interest. The pilgrims—at least the wealthy ones like Stephen Praun— apparently did not wear their own European clothes, but put on local costumes wherever they traveled. The decision to undertake this kind of clothing assimilation was inﬂuenced not only by diﬀerent climatic conditions, but was adopted for safety reasons. ” The pilgrims did not want to be immediately recognized as foreigners, so they took oﬀ their European coats and robes that would have functioned like moving advertisements inviting robbers and swindlers.
49 Köster, “Mittelalterliche Pilgerzeichen,” pp. 206–7. Ester Cohen, “In haec signa: Pilgrim-Badge Trade in Southern France”, Journal of Medieval History 2 (1976): 193–214. 50 It is important to note that these shrines adapted the scallop shell to their own iconography by adding a picture or an inscription with the name of the local saint. For examples from Canterbury see Brian Spencer, Pilgrim Souvenirs and Secular Badges 24 anja grebe appearance of scallop shells in late-medieval paintings, especially in decorative arrangements, is bound to reality or at least partly to the artist’s imagination.
Of course, it is still diﬃcult to draw any general conclusions about medieval pilgrims’ garments from just these few extant examples. Among them, only the coat of Jakob Trapp was actually worn during a journey, whereas Stephen Praun’s well-preserved garments seem to have been used only on ceremonial occasions. Undertaking his journey on horseback, Praun certainly never used his pilgrim’s staﬀ for walking long distances, and while his richly decorated coat and hat would have been striking, they were not very practical for a long and strenuous journey on horseback.
Art And Architecture Of Late Medieval Pilgrimage In Northern Europe And The British Isles Texts (Studies in Medieval and Reformation Traditions) by Sarah Blick, Rita Tekippe