The book discusses human-animal interactions and the depiction of animals in medieval Livonia. The chapters are: 1. Animals and law, 2. Horses of the Teutonic Order, 3. Animals as gifts and inheritance, 4. Animals as food, 6. Animals in... more
The book discusses human-animal interactions and the depiction of animals in medieval Livonia. The chapters are: 1. Animals and law, 2. Horses of the Teutonic Order, 3. Animals as gifts and inheritance, 4. Animals as food, 6. Animals in art.
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The region called Livonia (corresponding to modern Estonia and Latvia) emerged out of the rapid transformation caused by the conquest, Christianisation and colonisation on the north-east shore of the Baltic Sea in the late twelfth and the... more
The region called Livonia (corresponding to modern Estonia and Latvia) emerged out of the rapid transformation caused by the conquest, Christianisation and colonisation on the north-east shore of the Baltic Sea in the late twelfth and the early thirteenth centuries. These radical changes have received increasing scholarly notice over the last few decades. However, less attention has been devoted to the interplay between the new and the old structures and actors in a longer perspective.
This volume aims to study these interplays and explores the history of Livonia by concentrating on various actors and networks from the late twelfth to the seventeenth century. But, on a deeper level, the goal is more ambitious: to investigate the foundation of an increasingly complex and heterogeneous society on the medieval and early modern Baltic frontier – ‘the making of Livonia’.
This volume aims to study these interplays and explores the history of Livonia by concentrating on various actors and networks from the late twelfth to the seventeenth century. But, on a deeper level, the goal is more ambitious: to investigate the foundation of an increasingly complex and heterogeneous society on the medieval and early modern Baltic frontier – ‘the making of Livonia’.
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The book discusses 101 silver objects in Estonian museums, churches and private collections. The artefacts originate from the 13th to the 20th century and include guild silver, church silver and table silver.
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This interdisciplinary volume examines the relationship between medieval cults of saints and regional and national identity formation in Europe during, and also beyond, the Middle Ages. It studies how collective identities have been... more
This interdisciplinary volume examines the relationship between medieval cults of saints and regional and national identity formation in Europe during, and also beyond, the Middle Ages. It studies how collective identities have been expressed through saints’ cults and their appropriations in texts, visual representations, and music. Attention is further given to various aspects of the role of medieval saints’ cults in European identity formation, as saints were used in the service of both religious and political agendas. Focusing on a range of European regions, the volume uses cults of medieval saints and their religious, cultural and political appropriations over time as a vehicle for studying changing cultural and social values. The present collection of articles reports research carried out under the European Science Foundation’s collaborative EuroCORECODE project: Symbols that Bind and Break Communities: Saints’ Cults as Stimuli and Expressions of Local, Regional, National and Universalist Identities (2010–2013/14), an international, interdisciplinary research venture funded by the National Research Councils of five countries: Austria, Denmark, Estonia, Hungary, and Norway.
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This book examines the altars and altarpieces in medieval Livonia (a historical region which approximately corresponds to present-day Estonia and Latvia). Although the altar is the most important sacred object in the church and the focal... more
This book examines the altars and altarpieces in medieval Livonia (a historical region which approximately corresponds to present-day Estonia and Latvia). Although the altar is the most important sacred object in the church and the focal point of Christian liturgy, it has thus far received little attention from Estonian and Latvian scholars. The reasons for this are that these territories became Lutheran after the Reformation, and that only a few medieval altars or their fragments have been preserved. Medieval altarpieces, in contrast, have been a focus of local and international research for more than a century, in particular those which were produced in great art centres of the time, such as Lübeck and the cities in the southern Netherlands. In this book, the altars and altarpieces are considered from the perspective of social history and art history, combining the information gained from archive materials, the analysis of extant objects and church archaeology. The book includes a comprehensive and richly illustrated catalogue.
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Includes translated and commented documents from the 13th to the early 20th century
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This multidisciplinary collection of essays explores the functions, meanings and use of images and objects in various late Medieval and Early Modern social practices, which were linked by their ritual character. The book approaches... more
This multidisciplinary collection of essays explores the functions, meanings and use of images and objects in various late Medieval and Early Modern social practices, which were linked by their ritual character. The book approaches ‘ritual’ as an action which is discussed under the general umbrella term “performative practice”, and is characterised by a synthesis between the repetitive and the extraordinary that carries an intense symbolic meaning and is emotionally charged.
Images, spaces and rituals were closely interconnected in both the religious and the secular spheres, and played a relevant role in the symbolic communication of the time. The essays in this volume are devoted to a complex study of these phenomena in Northern and Central Europe, including regions which, due to linguistic or cultural barriers, have thus far received comparatively little attention in Anglo-American scholarship, including Scandinavia, Poland and the Baltic states.
Images, spaces and rituals were closely interconnected in both the religious and the secular spheres, and played a relevant role in the symbolic communication of the time. The essays in this volume are devoted to a complex study of these phenomena in Northern and Central Europe, including regions which, due to linguistic or cultural barriers, have thus far received comparatively little attention in Anglo-American scholarship, including Scandinavia, Poland and the Baltic states.
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This interdisciplinary collection of articles offers new perspectives on the study of the visual culture of the Baltic Sea region in the 15th and the early 16th centuries. The artistic production of Bernt Notke and other artists of that... more
This interdisciplinary collection of articles offers new perspectives on the study of the visual culture of the Baltic Sea region in the 15th and the early 16th centuries. The artistic production of Bernt Notke and other artists of that period is set in a broad historical, social, spatial and liturgical context. Special attention is paid to the various functions of images, the (self-)representation of patrons, and the interrelation between images and saints’ cults.
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This is a significant new study of the festival culture of northern Europe in the later Middle Ages: more specifically of the German-speaking communities of the great cities of the eastern Baltic littoral in what was then called Livonia.... more
This is a significant new study of the festival culture of northern Europe in the later Middle Ages: more specifically of the German-speaking communities of the great cities of the eastern Baltic littoral in what was then called Livonia. The major part of the book is devoted to the main annual festivals of the merchants' guilds: Christmas, Carnival, the popinjay shoot and the May Count celebrations. There follows an analysis of specific aspects of the festivals: spatial contexts, finances, food and drink, entertainment (dances, jousts, games), customs and rituals.
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Presents the history of an elite association - the Great Guild of the merchants - from the Middle Ages until 1920, and discusses the arhcitectural history of the guild hall
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Discusses the festive culture in medieval cities of Livonia (mainly Riga, Tallinn, and Tartu)
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Introduces the life and production of a Baltic German goldsmith Joseph Kopf (1867-1930)
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Introduces the former silver collections of Tallinn guilds and the Brotherhood of the Black Heads as well as church silver from the 15th c. until c. 1940.
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In recent decades, increasing scholarly attention has been paid to the economic and social connections between medieval Finland and Estonia, including the migration from south coast Finland to the Hanse town of Tallinn. However, the ways... more
In recent decades, increasing scholarly attention has been paid to the economic and social connections between medieval Finland and Estonia, including the migration from south coast Finland to the Hanse town of Tallinn. However, the ways geographical closeness, family relations and trade networks influenced the practices of donating and commissioning religious objects have not merited much attention. The first part of this study, based on archival sources, explores instances where Finnish churches acquired artworks from Tallinn and Tallinn town-dwellers donated devotional objects to Finnish churches. The second part is a case study of a Tallinn bell founder, Tile Klotbrade, who in 1515 was commissioned to cast bells for Turku Cathedral. The paper argues that Tallinn was an important center for the production of religious objects that ultimately ended up in Finland.
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Although the history of hospitals and poor relief has become an increasingly popular subject of research in European scholarship during the past two decades1, little has been written about charitable institutions in medieval Livonia.... more
Although the history of hospitals and poor relief has become an increasingly popular subject of research in European scholarship during the past two decades1, little has been written about charitable institutions in medieval Livonia. Livonia, an area that roughly corresponds to present-day Estonia and Latvia, was one of the borderlands of medieval Europe, having been incorporated into the Roman Catholic world during the thirteenth-century German-Danish conquest. Livonia was a typical feudal conglomeration of states: from the end of the thirteenth century, it consisted of territories belonging to the Danish crown, to the Teutonic Order (i. e. its Livonian branch), to the archbishopric of Riga, and to the bishoprics of Dorpat (Tartu)2, Ösel-Wiek (Saare-Lääne), and Kurland. In 1346 the King of Denmark sold his Livonian possessions meaning the northern part of Estonia, including the city of Reval (Tallinn) to the Teutonic Order. The political structure of Livonia collapsed during the RussianLivonian war (1558-1583), when different parts of the country came under the rule of Sweden, Poland, and Denmark.
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Cats and dogs have lived alongside humans and inspired artists for thousands of years. This exhibition catalogue "Always by Our Side: Cats and Dogs in 16th-19th-century Art" gives an overview of the menaings of cats and dogs in art and... more
Cats and dogs have lived alongside humans and inspired artists for thousands of years. This exhibition catalogue "Always by Our Side: Cats and Dogs in 16th-19th-century Art" gives an overview of the menaings of cats and dogs in art and cultural history, and insight into how artists of past centuries reflected attitudes towards nature and animals, thereby shedding light on human nature as well.
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In the museums of Poznan (Poland), there are two significant works of art which originate from medieval Livonia: a sculpture if Saint Maurice (1431), which belonged to the corpus of the Black Heads' altarpiece in Riga, and a bronze... more
In the museums of Poznan (Poland), there are two significant works of art which originate from medieval Livonia: a sculpture if Saint Maurice (1431), which belonged to the corpus of the Black Heads' altarpiece in Riga, and a bronze aquamanile (1515), which was found in Adavere (Estonia). The sculpture of St Maurice, now in the Archdiocese Museum in Poznan, was taken out of Latvia during World War II. The article discusses the itineraries of these objects and their research history.
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A major influence to shape not only the political and economic, but also the social and cultural history of medieval Livonia were merchants engaged in long-distance maritime trade. Hanseatic merchants, their trade networks and their... more
A major influence to shape not only the political and economic, but also the social and cultural history of medieval Livonia were merchants engaged in long-distance maritime trade. Hanseatic merchants, their trade networks and their guilds played a crucial role in the emergence of Livonian towns, as well as in their development in later centuries. But the merchants’ role in urban life was anything but limited to economic activities: the mercantile elite, particularly town councillors, determined the politics of their towns, were linked to various institutions, participated actively in social and religious life, practiced piety and charity. The lifestyle, festivals, clothing, eating and consumer habits of the merchants influenced the town’s social and cultural life, as well as, on other social strata. Thus, by studying the activities of the merchants as actors and their networks enables us to get a better overview of nearly all the aspects of urban life.
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The number of surviving medieval seal matrices of corporate bodies in Europe is much smaller than that of individuals. There were far fewer institutions and corporations using a seal, and even fewer such ecclesiastical or secular... more
The number of surviving medieval seal matrices of corporate bodies in Europe is much smaller than that of individuals. There were far fewer institutions and corporations using a seal, and even fewer such ecclesiastical or secular institutions which continued to exist from medieval times until the nineteenth century. However, the institutional seals were more likely to be preserved through the centuries. The use of the seal of an individual was limited to his lifetime and, after his death, the object was destroyed (e.g. broken in half) or deformed (e.g. by removing the owner’s name or the entire legend).1 (There were some exceptions, for example when a son of the same name continued to use his father’s seal.2) The seals of towns, institutions and corporations, in contrast, stayed in use for a longer time, sometimes even for centuries. Naturally, a corporate body could acquire a new seal over the course of time,3 but there was not always a need or money to do so.
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In his benchmarking article of 1940 on Michel Sittow, historian Paul Johansen not only discussed the identity of the famous painter, but also surveyed his immediate family and kin, including Michel's maternal grandfather Olef Molner, who... more
In his benchmarking article of 1940 on Michel Sittow, historian Paul Johansen not only discussed the identity of the famous painter, but also surveyed his immediate family and kin, including Michel's maternal grandfather Olef Molner, who had probably arrived to Tallinn from Finland. The authors of this article will take a fresh look at Finnish and Tallinn late medieval sources in order to conduct an in-depth study of Olef Molner's life and activities and assess if Johansen's arguments were solid. The article will also shed new light on how close the socioeconomic connections between Finland and Tallinn were in the Middle Ages and how the newcomers became part of various transgenerational networks.
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Into a letter of Bishop Georg von Tiesenhausen to the Tallinn town council, dated to 9 August 1527, a ten years earlier document has been copied – the probate inventory of a woman called Kerstine Kruse. Except for Tallinn, where hundreds... more
Into a letter of Bishop Georg von Tiesenhausen to the Tallinn town council, dated to 9 August 1527, a ten years earlier document has been
copied – the probate inventory of a woman called Kerstine Kruse. Except
for Tallinn, where hundreds of probate inventories have been preserved
from the first half of the 16th century, such documents are extremely rare in the territory of medieval Livonia. Even in Tallinn, most of the probate inventories reflect the material world of the upper and middle class men; those belonging to women are in the minority. This article attempts to find out the identity of Kerstine Kruse, discusses in detail the content of her probate inventory, and presents a transcription of the Bishop’s letter.
copied – the probate inventory of a woman called Kerstine Kruse. Except
for Tallinn, where hundreds of probate inventories have been preserved
from the first half of the 16th century, such documents are extremely rare in the territory of medieval Livonia. Even in Tallinn, most of the probate inventories reflect the material world of the upper and middle class men; those belonging to women are in the minority. This article attempts to find out the identity of Kerstine Kruse, discusses in detail the content of her probate inventory, and presents a transcription of the Bishop’s letter.
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The Teutonic Order was one of the most powerful political agents in medieval Livonia. This paper focuses on the grave slabs and commemorations of high-ranking Teutonic knights. Based on the written evidence, where the masters and high... more
The Teutonic Order was one of the most powerful political agents in medieval Livonia. This paper focuses on the grave slabs and commemorations of high-ranking Teutonic knights. Based on the written evidence, where the masters and high officials were buried and the spatial and liturgical context of their graves are studied. Then the grave slabs which have either survived or are known from historical drawings or photos are examined. There is information on only seven slabs: three of them belonged to Livonian masters, two to marshals and two to commanders. The visual and textual messages of the slabs are analysed: what motifs and symbols were used, how the deceased were represented, and what the language and content of inscriptions were. Finally, the topic of how the location and appearance of the slabs have changed since the 19th century is addressed as well.
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The late medieval and early modern urban space was filled with all kinds of images and inscriptions. The representative and communicative power of buildings became widely acknowledged in the late 15th and even more so in the 16th century,... more
The late medieval and early modern urban space was filled with all kinds of images and inscriptions. The representative and communicative power of buildings became widely acknowledged in the late 15th and even more so in the 16th century, when wealthy burghers increasingly began to decorate not only the interior but also the exterior of their homes. A house, especially its facade, served as a reflection of its owner, his social standing, and religious, ethical and moral beliefs. Indeed, the facade can be regarded as the owner’s public calling card.
This paper studies the use of images and inscriptions on late medieval dwellings in three large Livonian Hanse towns: Tallinn (Reval), Riga, and Tartu (Dorpat). I will discuss what kinds of motifs, symbols and inscriptions were used, their function and what kinds of messages they conveyed. I will briefly outline the changes in pictorial motifs and inscriptions after the Reformation.
This paper studies the use of images and inscriptions on late medieval dwellings in three large Livonian Hanse towns: Tallinn (Reval), Riga, and Tartu (Dorpat). I will discuss what kinds of motifs, symbols and inscriptions were used, their function and what kinds of messages they conveyed. I will briefly outline the changes in pictorial motifs and inscriptions after the Reformation.
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In medieval Livonia—a historical region corresponding approximately to present-day Estonia and Latvia—no local saints emerged. This cannot merely be explained by the peripheral location at the border of Catholic Europe.... more
In medieval Livonia—a historical region corresponding approximately to
present-day Estonia and Latvia—no local saints emerged. This cannot merely be explained by the peripheral location at the border of Catholic Europe.
http://www.cambridgescholars.com/symbolic-identity-and-the-cultural-memory-of-saints
present-day Estonia and Latvia—no local saints emerged. This cannot merely be explained by the peripheral location at the border of Catholic Europe.
http://www.cambridgescholars.com/symbolic-identity-and-the-cultural-memory-of-saints
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A dozen limestone reliefs with the coats of arms of a bishop and a bishopric have survived from the churches and castles of late medieval Livonia (a historical region roughly corresponding to present-day Estonia and Latvia). This article... more
A dozen limestone reliefs with the coats of arms of a bishop and a bishopric have survived from the churches and castles of late medieval Livonia (a historical region roughly corresponding to present-day Estonia and Latvia). This article discusses a selection of those reliefs in western Estonia, in the two centers-Haapsalu and Kuressaare-of the former Saare-Lääne (Ger. Ösel-Wiek) Bishopric. In earlier scholarship, these reliefs have been studied from the perspective of architectural history and connected with the construction or reconstruction of the buildings. The article will offer a different perspective and investigate the role of the reliefs in the context of symbolic communication , rituals of power, and visual commemoration. In the chapel of the Kuressaare castle, there is also a relief with the coat of arms of Pope Leo x, which raises the questions of who commissioned it, when, and why.
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This chapter discusses how the city of Reval (present-day Tallinn) was integrated into the Hanse network, what kind of role it played in the trade relations between the East and the West, who were its main trade partners, and how the... more
This chapter discusses how the city of Reval (present-day Tallinn) was integrated into the Hanse network, what kind of role it played in the trade relations between the East and the West, who were its main trade partners, and how the social and business connections benefitted from the membership in guilds.
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Studies on Michel Sittow (ca. 1469–1525), a painter who was born and died in Tallinn (Reval), have predominantly focussed on his artistic activity. This essay, however, will take a different, a socio-historical and biographical approach,... more
Studies on Michel Sittow (ca. 1469–1525), a painter who was born and died in Tallinn (Reval), have predominantly focussed on his artistic activity. This essay, however, will take a different, a socio-historical and biographical approach, and survey Michel’s social ties in his home town. The essay concentrates on various individuals and institutions, who influenced Sittow’s private and public life: his parents and relations, marriage and his wife’s family, customers, that is, people and organisations who commissioned art from his (art is understood here in a very broad sense), and finally, his career in St. Canute’s guild of the artisans. It is evident that the social network of Sittow was not limited to the aforementioned people, but due to the limited scope of the article, a selection had to be made among his relatives and certain omissions were necessary (e.g., his neighbours, activity as a witness or a guardian, and the long-lasting court case between him and his stepfather). The analysis of social ties of Sittow enables us to ascertain, who belonged to the closest circle of the painter, what kind of tasks he fulfilled in public life, and to what extent his private life and professional career can be considered typical or atypical of an artisan in late medieval Tallinn. From a wider perspective, this kind of survey broadens our knowledge of the social and cultural history of Tallinn in the last quarter of the 15th and the first quarter of the 16th century.
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This essay explores the spread and development of the cults of Scandinavian saints in the historical region of Livonia (corresponding approximately to present-day Estonia and Latvia). The discussion focuses on the veneration and visual... more
This essay explores the spread and development of the cults of Scandinavian saints in the historical region of Livonia (corresponding approximately to present-day Estonia and Latvia). The discussion focuses on the veneration and visual representations of St Olaf, St Knud (Canute), St Birgitta of Vadstena, St Henry of Finland, and others. The probable conflation of the cult of two different Knuds will be pointed out. Attention will be given to the main centres and promoters of these cults, such as St Canute’s guild, St Olaf’s guild and St Olaf’s church in Tallinn and St Olaf’s guild in Riga. The article points out how some of these saints became identity markers for particular social and ethnic groups or for the representatives of certain occupations. The visual representation of these saints is investigated, as well as the question of how they shaped the local urban environment.
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This essay focuses on the devotional, charitable, and ritual practices of late-medieval confraternities in the Hanseatic city of Tallinn. More specifically, I examine a type of organization known as a Table Guild, named for the table from... more
This essay focuses on the devotional, charitable, and ritual practices of late-medieval confraternities in the Hanseatic city of Tallinn. More specifically, I examine a type of organization known as a Table Guild, named for the table from which members of these groups would distribute food to the poor. The study of the spatial context of the various activities of these Table Guilds demonstrates how guilds and confraternities made use of and at the same time shaped the urban public space. First, the charitable activities, which revolved around the hospital church of the Holy Spirit and were directed primarily toward the house-poor, is discussed. Then the essay proceeds to devotional and ritual practices, including prayer, attendance at mass, funerals, and the commemoration of the dead. Finally, the Corpus Christi procession and the annual festive assembly of the Table Guild is studied. While a strict borderline cannot be drawn between different ‘spaces’, I argue that a closer examination of various practices and their spatial environments helps to reveal other facets of the manifold roles that guilds and confraternities played in their late-medieval urban communities.
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The article discusses the meaning of the image of a cat in two late medieval altarpieces in Tallinn, originating from the workshops of Bernt Notke (1483) and Hermen Rode (1481) in Lübeck.
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Summary in German / Zusammenfassung: Apprehendite disciplinam... Über eine lateinische Inschrift in der Kirche zu Nõo (Nüggen)
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English summary: Traces of Medieval Livonian Bishops in the Visual Culture of Europe (14th-16th c).
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The aim of this essay is to shed some more light on women’s practices of perpetuating the memory of themselves, their family and ancestors, which, in turn, modified and enriched the interior and liturgy of the churches. I have chosen... more
The aim of this essay is to shed some more light on women’s practices of perpetuating the memory of themselves, their family and ancestors, which, in turn, modified and enriched the interior and liturgy of the churches. I have chosen three case studies from late medieval Lübeck and Tallinn, i.e. from towns, which were closely connected in political, economic, legal and cultural terms, to demonstrate the possibilities and strategies of women from different social layers to establish their memoria.
Published in: Hansische Identitäten, Hg. K. Petermann, A. Rasche, G. Weilandt. Petersberg: Imhof Verlag, 2018
Published in: Hansische Identitäten, Hg. K. Petermann, A. Rasche, G. Weilandt. Petersberg: Imhof Verlag, 2018
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English Summary: The State of Art of Research on Medieval Visual Culture in Estonia and Latvia. The introductory paper gives an overview of the historiography and research projects in the two Baltic countries. The authors point out that,... more
English Summary: The State of Art of Research on Medieval Visual Culture in Estonia and Latvia. The introductory paper gives an overview of the historiography and research projects in the two Baltic countries. The authors point out that, since the emrhence of their nation-states in 1918, Estonian and latvian scholars have often chosen to study medieval buildings and works of art in their own country instead of analysing the entire region of historical Livonia. Another problem which makes it difficult to share their research results is the language barrier. The extent of scholarly contacts has grown recently, mainly through international networks and due to the growing number of publications in English or German.
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The aim of the article is to analyse the medieval altars and chantries in three cathedrals – Haapsalu, Tartu and Tallinn. On the basis of written sources, it is possible to examine how many side altars are recorded, who their founders and... more
The aim of the article is to analyse the medieval altars and chantries in three cathedrals – Haapsalu, Tartu and Tallinn. On the basis of written sources, it is possible to examine how many side altars are recorded, who their founders and later supporters were, to which saints they were dedicated, and what kind of liturgy was celebrated there. The locations of the side altars reflects not only the religious needs of the time but also social hierarhies. All three cathedrals were different from one another in size and spatial structure and thus offered different possibilities for the foundation of new altars. It will also be discussed how long the side altars continued to exist in the cathedrals after the Reformation, because, unlike the parish churches, the cathedrals remained Catholic for several decades after the introduction of the evangelical faith. The article first surveys the information from the documentary sources and thereafter analyses the surviving mensas and works of art connected to the former altars.
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The article discusses the significance of animals in late medieval gift-giving and diplomatic culture. It demonstrates that animals as presents were needed, desired and publicly displayed. Some animals were widely recognized as markers of... more
The article discusses the significance of animals in late medieval gift-giving and diplomatic culture. It demonstrates that animals as presents were needed, desired and publicly displayed. Some animals were widely recognized as markers of status. In the case of some other animals, it was their symbolic value that mattered the most. Sources from the medieval Livonian cities indicate the use of the following local and exotic animals and birds as a gift: horse, deer, beaver and turkey. The gifts could also include animal products, such as pelts and garments, or food.
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The article discusse the medieval grave slabs found in the sacristy of the Tallinn Cathedral.
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The focus of this article is on churches and chapels in two main centres of the Ösel-Wiek Bishopric - Hapsal (Est. Haapsalu) and Arensburg (Kuressaare). In addition to the function and possible location of the houses of worship concerned,... more
The focus of this article is on churches and chapels in two main centres of the Ösel-Wiek Bishopric - Hapsal (Est. Haapsalu) and Arensburg (Kuressaare). In addition to the function and possible location of the houses of worship concerned, the article also mentions information available on their side altars and the liturgical practice.
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The article discusses five late medieval reliefs in the former chapel of the Kuressaare (Ger. Arensburg) castle, depicting the insignia and coats of arms of high ecclesiastics. Three of them belong together, depicting from left to right:... more
The article discusses five late medieval reliefs in the former chapel of the Kuressaare (Ger. Arensburg) castle, depicting the insignia and coats of arms of high ecclesiastics. Three of them belong together, depicting from left to right: a) episcopal insignia and the coat of arms of Bishop Johannes IV Kievel (r. 1515–1527), b) the eagle of St John the Evangelist – the symbol of the Saare-Lääne (Ger. Ösel-Wiek) Bishopric, and c) episcopal insignia and the coat of arms of Bishop Johannes III Orgas (r. 1492–1515). The reliefs are made of local Kaarma limestone and they were most likely commissioned by Bishop Johannes Kievel, whose coat of arms is situated heraldically on the right side of the composition, i.e. in the most significant place. the relief in the North-East wall does not depict episcopal but papal insignia: the tiara and the crossed keys. Thus far, the coat of arms below these had not been identified. However, the charges on the field – five balls, in chief a larger one with three fleurs-de lis – point to the famous Medici family. The shape of the shield is characteristic of the first decades of the sixteenth century. Thus, the coat of arms belongs to the first pope from the Medici family – Leo X (r. 1513–1521). The relief is also made of Kaarma limestone and most probably commissioned by Bishop Kievel. There could be various reasons for including the Pope’s coat of arms in the spatial programme of the chapel: first, Kievel, who had been in Rome in 1513, could have had personal relations to the curia; second, the emblem of the Pope could help to legitimate the power of the local bishop, added social prestige and expressed loyalty to the Holy See.
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The medieval furnishings of St Olaf’s Church in Tallinn have not been preserved, with the exception of a 15th-century silver seal and some fragmentary tombstones. In this article, the interior of the church is mainly reconstructed and... more
The medieval furnishings of St Olaf’s Church in Tallinn have not been preserved, with the exception of a 15th-century silver seal and some fragmentary tombstones. In this article, the interior of the church is mainly reconstructed and analysed on the basis of documentary evidence. The following objects are discussed: side altars, statues of saints, pews, liturgical vessels and vestments, the organ, stained glass windows and tombstones. The information on the side altars is reviewed in a chronological order, from the 14th century, when the first references to the side altars are available, to the Reformation in 1524/25. Whenever possible, the founders of the altars and chantries, the subsequent holders of the right of patronage, and the later supporters are ascertained.
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The article discusses three late medieval grave slabs in Estonia, which are decorated with full figures and represent ecclesiastics of different ranks. By examining their visual appearance, including the inscriptions and coats of arms,... more
The article discusses three late medieval grave slabs in Estonia, which are decorated with full figures and represent ecclesiastics of different ranks. By examining their visual appearance, including the inscriptions and coats of arms, some of the general trends in the production and decoration of local tombstones can be outlined and a contribution made to the discussion of the role of such monuments in the late medieval culture of commemoration.
One of the slabs, actually a fragment, came to light during the archaeological excavations of the Tartu Cathedral in 2008. Its inscription added a completely new name to the list of clerics known from medieval Tartu. The monument belonged to the vicar Stephanus de Velde, who died in 1428 or 1438. The others two grave slabs are located in the Cathedral of Tallinn. One of them, belonging to an unidentified bishop, can be dated to the first third of the 16th century. The other marks the grave of Georgius (Jurgen) Bardin, a canon in the Tallinn and Saare-Lääne (Ösel-Wiek) dioceses, who died in May 1525.
An important function of these monuments was to be a witness to status. The identity of the deceased was perpetuated through the proper attire and symbols, but also through the family coat of arms and the name and occupation stated in the inscription. The large and elaborately decorated grave slabs were prestigious objects, which were meant not only to mark the tomb but also to visually commemorate the deceased, to invite the viewers to contemplate on death, salvation and resurrection, and to evoke intercessory prayers.
One of the slabs, actually a fragment, came to light during the archaeological excavations of the Tartu Cathedral in 2008. Its inscription added a completely new name to the list of clerics known from medieval Tartu. The monument belonged to the vicar Stephanus de Velde, who died in 1428 or 1438. The others two grave slabs are located in the Cathedral of Tallinn. One of them, belonging to an unidentified bishop, can be dated to the first third of the 16th century. The other marks the grave of Georgius (Jurgen) Bardin, a canon in the Tallinn and Saare-Lääne (Ösel-Wiek) dioceses, who died in May 1525.
An important function of these monuments was to be a witness to status. The identity of the deceased was perpetuated through the proper attire and symbols, but also through the family coat of arms and the name and occupation stated in the inscription. The large and elaborately decorated grave slabs were prestigious objects, which were meant not only to mark the tomb but also to visually commemorate the deceased, to invite the viewers to contemplate on death, salvation and resurrection, and to evoke intercessory prayers.
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This article discusses the cult and visual representation of St Maurice in late medieval Livonia (i.e. present day Estonia and Latvia), set in the broader context of the Baltic Sea region. The main, but not the only, promoters of his cult... more
This article discusses the cult and visual representation of St Maurice in late medieval Livonia (i.e. present day Estonia and Latvia), set in the broader context of the Baltic Sea region. The main, but not the only, promoters of his cult were the confraternities of the Black Heads –
associations of journeyman merchants, existing in the three largest Livonian Hanse towns from the early fifteenth century onwards. The aim of the article is to offer explanations about why these associations chose warrior saints as their identity markers and why St Maurice figured so prominently among them.
associations of journeyman merchants, existing in the three largest Livonian Hanse towns from the early fifteenth century onwards. The aim of the article is to offer explanations about why these associations chose warrior saints as their identity markers and why St Maurice figured so prominently among them.
Research Interests:
"The article reviews the studies of Mai Lumiste (1932-1985) of the Netherlandish Passion Altarpiece (c. 1510-1515), attributed to Adriaen Isenbrant or Albert Cornelis, and exhibited in the Niguliste Museum in Tallinn. Then the social and... more
"The article reviews the studies of Mai Lumiste (1932-1985) of the Netherlandish Passion Altarpiece (c. 1510-1515), attributed to Adriaen Isenbrant or Albert Cornelis, and exhibited in the Niguliste Museum in Tallinn. Then the social and liturgical context of the altarpiece is discussed, with a special focus on the commissioners of later overpaintings. The questions to be addressed are: Would the original iconographic programme with four Franciscan saints have suited the context of late medieval Tallinn? Which altar in Tallinn was
the overpainted altarpiece meant for? Who were Euert van der Lippe and Johan van Grest, and what was the connection between them? How did the altarpiece become a possession of
the mintmaster Urban Dene? What was the connection between Dene and Heinrich Bock? When and why were their mid-sixteenth century figures overpainted? What can recent technical studies reveal about the coats of arms and donors found beneath the visible ones? All this is relevant for an understanding of the role of family ties and personal networks in the commissioning of art in the late medieval and the early modern eras, as well as for a better understanding of the nature of changes made to this altarpiece over the centuries."
the overpainted altarpiece meant for? Who were Euert van der Lippe and Johan van Grest, and what was the connection between them? How did the altarpiece become a possession of
the mintmaster Urban Dene? What was the connection between Dene and Heinrich Bock? When and why were their mid-sixteenth century figures overpainted? What can recent technical studies reveal about the coats of arms and donors found beneath the visible ones? All this is relevant for an understanding of the role of family ties and personal networks in the commissioning of art in the late medieval and the early modern eras, as well as for a better understanding of the nature of changes made to this altarpiece over the centuries."
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Holy Places Called Jerusalem in Late Medieval and Early Modern Livonia
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Conference: Indifferent Things? Material and Ceremonial Church Practices in the 16th and 17th Centuries in the Baltic Sea Region 14.09.17–16.09.17 Rahvusvaheline konverents: Vahepealsed asjad? Materiaalsed ja rituaalsed praktikad... more
Conference: Indifferent Things? Material and Ceremonial Church Practices in the 16th and 17th Centuries in the Baltic Sea Region
14.09.17–16.09.17
Rahvusvaheline konverents: Vahepealsed asjad? Materiaalsed ja rituaalsed praktikad Läänemere regiooni 16. ja 17. sajandi luteriusu kirikutes
14.09.17–16.09.17
In co-operation with the:
Art Museum of Estonia – Niguliste Museum
Böckler-Mare-Balticum-Stiftung
Estonian Academy of Arts – Institute of Art History and Visual Culture
Tallinn University – Institute of History, Archaeology and Art History
Conference Programme Committee:
Professor Krista Kodres, Estonian Academy of Arts
Dr. Anu Mänd, Tallinn University
Merike Kurisoo, Art Museum of Estonia
Professor Gerhard Weilandt, Universität Greifswald
Dr. Janis Kreslins, National Library of Sweden
Conference Organisers:
Krista Kodres, Estonian Academy of Arts
Merike Kurisoo, Art Museum of Estonia
Anu Mänd, Tallinn University
14.09.17–16.09.17
Rahvusvaheline konverents: Vahepealsed asjad? Materiaalsed ja rituaalsed praktikad Läänemere regiooni 16. ja 17. sajandi luteriusu kirikutes
14.09.17–16.09.17
In co-operation with the:
Art Museum of Estonia – Niguliste Museum
Böckler-Mare-Balticum-Stiftung
Estonian Academy of Arts – Institute of Art History and Visual Culture
Tallinn University – Institute of History, Archaeology and Art History
Conference Programme Committee:
Professor Krista Kodres, Estonian Academy of Arts
Dr. Anu Mänd, Tallinn University
Merike Kurisoo, Art Museum of Estonia
Professor Gerhard Weilandt, Universität Greifswald
Dr. Janis Kreslins, National Library of Sweden
Conference Organisers:
Krista Kodres, Estonian Academy of Arts
Merike Kurisoo, Art Museum of Estonia
Anu Mänd, Tallinn University