Klosterneuburg

The only signed work by Nicolas of Verdun, the metalwork which adorned the former ambo in the Stift of Klosterneuburg, was integrated into a foldable altarpiece around 1330. Besides being reframed and fitted to a new wooden support it formed a new medium that combined the metalwork with monumental and modern paintings on the rear side of the triptych. It was not only handled differently and defined spatially in completely different terms, but the precious enamel- and metalwork could be hidden from sight by closing the wings. The added plates of metalwork at the center of the middle panel break up the hieratical  and eucharistic program of the original work to turn it into a program focussed on devotional affects inside and outside the actual work . Specifially, the negative exemplum of the Betrayal of Christ  and the positive exemplum of the Lamentation on either side of the central Cruxifixion demand a response from the beholder in terms of compassion and imitatio. The metalwork and the paintings form a sophisticated iconic reference system in which the provost Stephan of Sierndorf, who ordered the reframing, inserted himself in image and word. His painted figure, kneeling before the crucified Christ, reveals itself not only as the image of the donor, but as the ideal beholder of the work or a further exemplum of perfect piety.

Mediaevalis, 156.] Tirrnhout, Brepols 7998.233 S." 4 Thfeln. Von dem Paveser Diakon und späteren Bischof v. Cremona Liudprand (920-972), der für die Byzantinistik ein Kronzeuge für die Entstehung und tadierung des abendländischen Konstantinopel-Bildes seit dem frühen Nlittelalter ist, kennen wir neben dem wichtigsten Werk, der Antapodosis (A.), die sog. Historia Ottonis (I{O.), die sog. Relatio de legatione Constantinopolitana (R.) und eine erst 1984 von Bernhard Bischoff veröffentlichte Homilie (H.) zurn Osterfest (Anecdota novissima [Stuttgart 1984) 20-34). Nachdem schon Georg Heinrich Pertz (Ernst Dümmler) und Joseph Becker 1839 (1877) und 1915 eine Gesanrtausgabe der darnals bekannten Werke Liudprands im Rahmen der Monumenta Germaniae Historica vorgelegt hatten, ist nun nach diversen Studien zu Autor und Werk und nach der Veröffentlichung Liutprando di Cremona e il codice di Frisinga clm 6388 (Tirrnhout 1994) zur autornahen Freisinger Hs. der A. aus der Feder des italienischen Mediävisten Paolo Chiesa eine Neuausgabe sämtlicher Werke erschienen. Nach einem Forschungsbericht (S. X-XVII) und der Präsentation der nach ihrem Alter angeordneten Hss. und Editionen (S. XVIII-XLI) erstellt Chiesa die Recensio des lbxtes (S. XLII-LI). Im Mittelpunkt seiner Forschungsergebnisse (S. LII-LVIII) steht die A. (Die unabhängige A.-Überlieferung, S. LIX-LXVII; Die Textgeschichte zuLebzeiterr des Autors, S. LXVIII-LXXXII). Es folgen S. LXXXIII-XC die Überlieferungs-? Textund Editionsgeschichte der H. und der R. sowie S. XCI-C die allgemeinen Editionsgrundsätze. Vor der sich anschließenden Textausgabe, die irn Cegensatz zu Beckers Edition keine Namen-, Wortund Sachregister bietet, sind vier Thfeln mit Chiesas Stemma der A.und HO.-Hss., eine Siglenkonkordanz zu diesen, eine Textsvnopse zu den A.-Hss. und J. Beckers Überlieferungsstammbaum der A.und HO.-Hss. eingefügt worden. Leider sind die tlberschriften zrt den beiden

Three panel paintings in Klosterneuburg:
An example of a provincial succession of
the Viennese Albrechtsmeister
This article examines three medieval panel paintings
–
The Annunciation to Virgin Mary
,
The Death of the Virgin
,
and
Christ on the Mount of Olives
– which are currently
held in the depositary of the monastery museum in Klos
-
terneuburg near Vienna. Previous research attributed
these works to the Master of Winzendorf, the author
of
The Death of the Virgin
panel painting in the parish
church in Winzendorf. Based on an extensive analysis
of the painting styles of these four works, however,
this paper argues against this connection. Instead, a
different provenance is suggested and the three panels
are identified as the work of the direct successor of the
Albrechtsmeister in the Vienna region. Furthermore,
this article seeks to shed light on the chronology of
the three panels, emphasising the parallels with the
Great Albrechtsaltar in Klosterneuburg and proposing a
dating around 1440. Finally, attention is drawn to the
striking resemblance in the punched decoration with
two other panel paintings in the monastery museum in
Klosterneuburg. In addition to the punched decorations,
these five panels exhibit further extensive overlaps in
style. Therefore, even though the panels were probably
made for different altars, this paper argues that they
can be safely attributed to the identical workshop.

https://pure.mpg.de/rest/items/item_3039807_7/component/file_3058064/content

In this paper, the importance of the cosmographical activities of the Vienna astronomical “school” for the reception of the Tractatus de Sphaera is analyzed. First, the biographies of two main representatives of the Vienna mathematical/astronomical circle are presented: the Austrian astronomers, mathematicians, and instrument makers Georg von Peuerbach (1423–1461) and his student Johannes Müller von Königsberg (Regiomontanus, 1436–1476). Their studies influenced the cosmographical teaching at the University of Vienna enormously for the next century and are relevant to understanding what followed; therefore, the prosopographical introductions of these Vienna scholars have been included here, even if neither can be considered a real author of the Sphaera. Moreover, taking the examples of an impressive sixteenth-century miscellany (Austrian National Library, Cod. ser. nov. 4265, including the recently rediscovered cosmography by Sebastian Binderlius, compiled around 1518), the diversity of different cosmographical studies in the capital of the Habsburg Empire at the turning point between the Middle Ages and the early modern period is demonstrated. Handwritten comments in the Vienna edition of De sphaera (1518) also show how big the influence of Sacrobosco’s work remained as a didactical tool at the universities in the first decades of the sixteenth century—and how cosmographical knowledge was transformed and structured in early modern Europe by the editors and readers of the Sphaera.

The article focuses on cross references between the pictorial and scriptural systems of the Klosterneuburg enamel work by Nicolaus of Verdun. The way in which the dedicational inscription characterizes the typological program of its images is termed „rhyming“ (consona). In the inscription, the pictorial narratives of the Old and New Testament are described as sacra consona that are carved, or „trenched“ (peraratum), thus referring to the enamel technique of the Champlevé. Former research on the typological program of the enamelwork that ornamented the ambo in the church of the monastery Klosterneuburg has neglected the original layout of the dedication. A virtual reconstruction rendered by the author, however, shows that originally the verses were positioned in absolute order: each of the four inscription lines on the panels concluded with the last word of a verse. The two smaller panels thus contained four verses, the middle panel eight verses. In 1331 the enamelwork was inserted into a wooden triptych with foldable wings. The enamel work of the middle panel had to be enlarged, making it in turn necessary to alter the layout of the inscription. Since then, the verses cover the inscription line without cohesion between the space of the panel’s lines and the order of the verses. Verses, even words had to be cut to be divided between the end of one panel and the beginning of the next line on another panel. Not only were the verses much easier to read in the original layout, but the whole rhyming structure participated in the typological „rhyming“ system of the images. Additionally, the reconstructed layout reveals that the rhyming word pairs are very often key words to the whole work’s semantics, including cross references not only to the images but also to further inscriptions such as the image tituli. In this work, pictorial and scriptural systems are not designed to fulfill different and distinct tasks; instead, they form a hybrid medium in which meaning and impact results from linked pictorial and scriptural processes. To better describe these processes the author proposes the terminus „Konmedialität“ (conmediality) instead of „Intermedialität“ (intermediality).

The article can be downloaded as pdf under the indicated link.

Graz, University Library, MS 807 and Vienna, Austrian National Library, latin 13314 have been studied intensively for more than a century, yet unsolved problems remain. Following a brief
discussion of the sources and relevant scholarship, I examine the antiphons for the Rogationtide processions in the gradual portions of both manuscripts, along with a supplementary set of Rogationtide antiphons added to the Vienna codex. I then take a closer look at the expanded descriptions for the rites for Holy Thursday, Good Friday and Holy Saturday in the Vienna manuscript’s sacramentary. From this evidence, I reaffirm the association of the liturgies in Vienna 13314 and Graz 807 with the canons and canonesses of Klosterneuburg respectively, and argue that the twelfth-century additions to Vienna 13314 suggest that the two manuscripts were kept together already in the twelfth century, most likely at the Augustinian monastery at Seckau. I conclude with further observations on the much-discussed odd placement of the Dedication of the Church in the Sanctorale of Graz 807 and on the occasion that would
have brought the two manuscripts to Seckau.