Bamberg rider

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Frontal view
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Attempt to reconstruct the former color effect

The Bamberg rider or "stone rider" is a stone equestrian statue in Bamberg Cathedral from the first half of the 13th century and is one of the major sculptural works of the late Staufer period. It is one of the most famous landmarks of the city of Bamberg .

Location, description and history

The sculpture, whose creator is unknown, was carved from several blocks of sandstone reed and was probably erected before the new cathedral was consecrated in 1237. It is located on a console on the north pillar of the George Choir in Bamberg Cathedral. According to research from 2004, the statue has retained its location since its original installation in the 13th century. It is therefore assumed that the current spatial reference to the double grave of the imperial couple Heinrich II and Kunigunde and to the prince's portal is part of the original complex and thus to be included in the interpretation: According to the spatial arrangement, the stone king rode in through this portal imaginarily and holds the facing the earlier grave of the imperial couple in homage.

Location in Bamberg Cathedral

The rider was originally painted with strong colors and therefore more conspicuous than today. The base was green, the horse white with brown spots, the dress and the cloak red with silver and gold stars, the boots brown, the crown, the spurs and the belt gold-plated, the hair dark. The statue's horse is shod, one of the very first depictions of horseshoes . It is possible that the depictions of a horse's head and a knight's head in two cadelles in the manuscript Msc.Lit.27 of the Bamberg State Library created around 1440 for the Bamberg Cathedral are early reflections on the Bamberg rider, whose earliest depiction known so far is based on a 1669 by Georg Adam Arnold painted interior view of the cathedral is located.

Suggestions for interpretation

The interpretation of the overall sculpture and in particular the possible historical identity of the rider remain questionable and the subject of art historical research. The cathedral rider is a unique sculpture in the church. Comparable equestrian statues of the era, the Magdeburg rider and the sculptures by Oldrado da Tressenos on a palazzo facade in Milan and on the portal of the cathedral of Lucca , are not located within a church. A religious representation of a rider in stone can be found in southern Iran ( Naqsch-e Rostam in Kazrun, Bischapur , Shapur I. ), where god Ahura Mazda and Bahram I. meet on horseback. The white coloring of the Bamberg rider is reminiscent of depictions of Christ riding on a white horse, such as in the crypt of the cathedral of Auxerre (around 1150).

  • Comparable representations

  • Magdeburg

  • Milan

  • Lucca

  • Southern Iran

  • Auxerre

Attempts to assign the representation to a historical person are based on a king - because the rider is crowned. In the Domreiter, among other things

Saint Stephen

Equestrian statue of Stephen I in Budapest

Since the figure is placed in a church and is not a grave figure, it should be a saint because of the canopy . Kings who have ties to Bamberg and were canonized at the same time are Henry II (canonized in 1146), who is buried in the cathedral, and Stephan I , who was related by marriage to Heinrich II, was canonized in 1083 and venerated in Bamberg Cathedral . Heinrich was not only the Roman-German King, but also Emperor of the Holy Roman Empire, and would have been depicted as Emperor. This is why Stephan is more likely, as the relatives of Bishop Ekbert von Andechs-Meranien , during whose term of office the sculpture was probably erected, speak to Hungary (→ Bamberg Cathedral). The rider is a form of thanks for the asylum that Ekbert enjoyed after the regicide in 1208 with Andreas II until his rehabilitation.

“There is evidence that Stephan of Hungary enjoyed extraordinary liturgical veneration in Bamberg very early on. This need come as no surprise: Bamberg had large estates in other parts of Europe in the 13th century, which drew the people's gaze far beyond the borders of Franconia. Hence the depiction of a Hungarian in Bamberg Cathedral seems credible. […] The creation of legends also supports the Stephen theory. In the legends of the 12th and 13th centuries, Stephen's tenderness is emphasized again and again. According to another legend, Stephan even galloped straight into the cathedral on his first visit to Bamberg - as Heide was not yet familiar with Christian customs -: This would explain the horse. The animal could also be seen as an ethnic symbol for the Hungarians, who were traditionally equated with the equestrian people of the Huns. "

The legend of Stephen I's entry is visible in the monumental drawing by Anton Kraus (1838–1872) from 1865. The interpretation as Stephan has been represented since 2008 by the research team around Achim Hubel (University of Bamberg) and Manfred Schuller (Technical University of Munich).

Philip of Swabia

Coin with the image of Philip of Swabia on horseback (1198)

The anti-Judaistic allegory of the synagogue is also covered by a canopy on the prince portal of Bamberg Cathedral ; therefore, the crowned figure need not necessarily be a saint. The right to burial and figurative representation in a church was also granted to purely secular rulers who gave their lives for the church, as the tomb of Rudolf von Rheinfelden from 1080 in Merseburg Cathedral shows.

Conrad III. with Louis the boy before Constantinople (1146/47)

Philipp von Schwaben , who was murdered unarmed in Bamberg in 1208, has an extremely dramatic connection to Bamberg . Philip was first buried in the cathedral, which was still under renovation. The grave was not far from the choir pillar on whose west side the Bamberg rider was later attached. Philip's nephew Friedrich II had his uncle reburied in the Speyer Cathedral on his first trip as the (repeatedly elected) Roman-German King over the Alps in 1213 . Since then there has been no visible memory of Philip and the first murder of a Roman-German king in Bamberg Cathedral - if not by the cathedral rider, who is enthroned on horseback unarmed. In a similarly peaceful manner, King Philip is also buried without any added weapons, as the only and youngest of the eight sons next to his mother, Beatrix of Burgundy , and the place provided for his father, Friedrich I. Barbarossa. The positioning of the rider between the portal and the imperial grave leads to further conclusions. In the prince's portal, which distinguishes the redeemed and the damned at the end of the world, and the rider, the so-called gate liturgy is arranged ( Ps 24  EU ), which had its original seat in the pilgrimage to Jerusalem, but in Christianity was settled at the beginning of the church year ( Advent ) :

Who can go up to the mountain of the Lord,
who can stand in his holy place?
The one who has pure hands and a pure heart ...
You gates, rise up, rise, you ancient gates;
for the King of glory is coming

The rider could therefore refer to Philip of Swabia as a virtuous king model. Various circumstances correspond to the extraordinary nature of the Bamberg rider: Philip's name (which means "horse friend" in Greek), his untimely death (the murder committed during a wedding caused a scandal at the Frankfurt Reichstag in 1208), his love of peace (he offered the In 1206, adversary Otto IV defeated his daughter Beatrix von Schwaben at the wedding) as well as those in Bamberg after Konrad III. repeating tragedy that an elected Hohenstaufen king was denied the imperial coronation due to untimely death. The rider can therefore be understood as a memorial for the Roman-German King Philip of Swabia, who - unlike Stephan I - with Heinrich and Kunigunde through the possession of the imperial regalia as well as with them and Konrad III. was connected by the place of the (first) burial place in Bamberg Cathedral.

A Staufer

Frederick II (left) negotiates with Sultan al-Kamil in 1228

If one follows the importance of Bamberg for the Hohenstaufen , the so-called Fifth Crusade , more precisely the crusade of Frederick II of the years 1228-29, resulted in numerous motifs for the creation of the figure of an unarmed cavalry king. The "rider" was suitable as a plastic symbol for a newly acquired, prestigious royal title. Frederick II. Fell in May 1228 through the death of his second wife, Isabella von Brienne , the title of "King of Jerusalem", whose crown he put on in the spring of 1229 in Jerusalem . In this context, the horse of the Bamberg rider could on the one hand be an allusion to Gottfried von Bouillon , the conqueror of Jerusalem and prototype of a crusader on horseback , and on the other hand to the claim of the Occident to rule over the Orient , as was the case with Mark Aurel , the conqueror of the Parthian . However, this reference point was not known in the Middle Ages, as the equestrian statue of Mark Aurel in Rome was incorrectly identified with the first emperor of Christendom, Constantine the Great . A connection between the two statues is possibly given by the identification of the two riders and places: Bamberg was Henry II's attempt to build a new Rome; there, at the place of expectation for a heavenly Jerusalem , Friedrich could have been presented as the last and legitimate end-time ruler (Rev 6,2 EU ; 19,11 EU ; 21,10 EU ).

However, it remains unclear who would have wanted to pursue such a political-aesthetic program. Friedrich II did not stay in Germany between 1213 and 1235; his son Heinrich represented him, but rivaled him and is therefore hardly conceivable as a client; Ekbert was certainly one of Frederick II's followers, but was often engaged outside his diocese. As Bamberg's bishop, he still had the greater advantage of the figure, as it upgraded the new cathedral and the diocese founded by an emperor, especially since the cathedral with papal and imperial graves gave a view of the two-sword theory , in which the End-time domreiter seamlessly inserts.

Frederick's armed pilgrimage was the only peaceful crusade , which connects him on the one hand with the peaceful demeanor of his uncle Philip of Swabia, in whose twentieth year of death the crusade fell, and on the other with Bishop Gunther von Bamberg († 1065), who in 1064 made the first armed trip to Jerusalem directed from German soil, as well as his commission to Ezzo to write a “beautiful song” for it; Gunther died on the way back in Hungary. Bamberg also played a role in Frederick II's marriage policy for a certain period of time: When Elisabeth of Thuringia left the Wartburg , she and her three children had to go to Bamberg with her uncle, Bishop Ekbert, in 1228; but she resisted the urgent wooing of the bishop on behalf of his emperor, according to which, as a twenty-year-old widow, she should have married Frederick II, also a widower for the second time. Elisabeth remained true to her vow of Good Friday 1228 to cancel her noble status. Frederick, although banned because he had not fulfilled his vow of 1219 to liberate Jerusalem, embarked for Acre until September 1228, albeit too late and illegally in church law , negotiated with Sultan al-Kamil and was taken by him recognized as King of Jerusalem. One of the successes achieved in the Orient can be seen in the lifting of the (repeated) ban 1230–31. The Bamberg rider would therefore not be a symbol of a single person, but of the Staufer dynasty and its claim to power par excellence - until the imperial title was canceled in 1245, which would enable a new understanding of the cathedral rider and could explain the numerous hypotheses and legends that have emerged since then.

The so-called first rider ( Rev 6,2  EU ) in the Bamberg Apocalypse (around 1000)

Symbol for the Messiah

The medieval historian Hannes Möhring , private lecturer at the University of Bayreuth , took the view in 2004 that the unarmed and crowned rider, clad in a tassel coat , represented the Messiah from the Revelation of John , who returned at the end of time , the king of kings ( Rev 19 : 11– 16  EU ). In the times of the Crusades, he was supposed to remind the believers that the enemies of Christianity, especially the Muslims, could only really be defeated by God's word. Otto Böcher , Professor of the New Testament , specialty: Interpretation of the Revelation of John, added Möhring's thesis: “Immediately under the vaulted ceiling, the ... Bamberg rider ... was placed, which does not mean any earthly king, but the Messiah, the unarmed riding out of heaven to the final battle ... "[]

Remnants of a sculpture of the three wise men

The latest theory understands the Bamberg rider as the remnant of the now lost rood screen of the Bamberg cathedral. The rider himself is the furthest of the three wise men from the Orient and part of a group of sculptures built into the rood screen with the theme of the Adoration of the Kings or the entire birth of Jesus, and since the rood screen was removed, the only remaining part. This is supported by the fact that the depicted person is depicted as a traveler on horseback, a saint covered with a canopy and as a king with a crown, but otherwise without identifying attributes, whose identity, however, would originally have been clearly explained by the other figures. The distant gaze would then be directed to the star of Bethlehem , the city depicted on the canopy would be Bethlehem or, as an indication of the visit to Herod , Jerusalem .

Universal symbol

A symbolic representation of the entire world is sometimes seen in the sculpture. The demon depicted as a sheet mask on the console to the right under the plinth represents the underworld; above that come the plant world, the animal world, then the human being and finally the canopy as a symbol for the heavenly Jerusalem .

reception

Head of the rider

In the 20th century, especially after the First World War, the rider was politically instrumentalized as a “key figure in nationalistic enthusiasm and hypertrophic fantasies of great power”. The academic art history of the first third of the 20th century brought the figure into the center of attention to such an extent that it was forced to have “an ahistorical as well as metaphysical interpretation” and this made “a popularly völkisch-racist evaluation” possible.

For the poet Stefan George , the Domreiter embodied an ideal in his " secret Germany ", which he praised in 1907 - when the statue was not yet generally known - in a "deliberately elitist gesture":

You stranger still break as a real scion
To the good return from your people's flank.
Does this dom not show you: down from the horse Arguable
and proud as a royal Franconian !
Then you are in person in the kemenat
Gemeisselt - no longer Waibling or Welfe -
only silent artist who did his best ·
Waiting pensively until heaven help.

During the First World War, the Uhlans of the 1st Royal Bavarian Uhlan Regiment stationed in Bamberg were referred to as "Bamberg Horsemen". The members of the 17th Cavalry Regiment of the Reichswehr were also called "Bamberg Horsemen". There is a memorial plaque in Bamberg Cathedral for five members of the regiment who died in the resistance against National Socialism, including Claus Schenk Graf von Stauffenberg.

100 mark note from 1920

The popularization of the figure began during the Weimar Republic ; The rider's head can be found on the 100-mark note from 1920. The photographer Walter Hege created photographs of the head at that time, which were widely used and were considered “ the icon of the political program of a German renovatio imperii ”. In the later George Circle , Ernst Kantorowicz used the rider's facial features in 1927 in his praising biography of the Staufer Emperor Friedrich II as evidence that both figures belonged to the "Mediterranean German type"; the Bamberg face reveals "that that beautiful and knightly noble type of person must have lived in Germany at that time". For him, in a radio lecture in 1935, Bamberg Cathedral became “the true national shrine of the Germans”. The later Hitler assassin Claus Schenk Graf von Stauffenberg was glorified in the George Circle, of which he had been a member since 1923, as the "Bamberg Rider"; the association went so far that an outward resemblance of Stauffenberg to the figure in the statue was asserted.

In the time of National Socialism , the Bamberg rider was used by the National Socialists as a "signature of Aryan culture" for propaganda purposes . Political scientist greeted Hans Freyer to Nazism in 1935 with the words: "The unknown people stands up and says a political Yes. From the old juices grows, once again, an era that makes sense. [...] The future lies above the today because it is a change from the eternal. The people believe, step out, look forward and between them rides, unseen, the rider from Bamberg. ” Hans FK Günther's Racial Studies of the German People put the rider's head on the cover picture, as did Paul Schultze-Naumburg's Die Kunst der Deutschen ; the art historian Alfred Stange declared the figure in 1935 to be a “monument to the eternal German”. In Nazi visual aesthetics, the head became Adolf Hitler's “aesthetic double” . A symphonic poem Der Bamberger Reiter by Friedrich Siebert was premiered in Bad Salzuflen in 1939.

Memorial plaque for Hitler's assassins in the cathedral
Postage stamp of the Deutsche Post 2003

After the Second World War, political appropriation declined in favor of popular cultural use. At the opening of the Stuttgart Staufer exhibition in 1977, Federal President Walter Scheel called the sculpture, along with literary figures, “a piece of ourselves” that the Staufer period produced as “our first classic” and “shaped our spiritual identity”. Every year the Bamberg Short Film Festival awards a “Bamberg Rider” made of chocolate to the winner of the audience vote, as well as a miniature version of the “Rider” as the prize of the youth jury. In 2003, the Deutsche Post paid tribute to the rider with an illustration on a stamp of the permanent series Sights . In his medieval novel Die Nacht des Steinernen Reiter (Berlin, 2005), Guido Dieckmann links the plot with the emergence of the rider. As part of the 1000th anniversary of the cathedral in 2012, the Bamberg Diocesan Museum had a Playmobil rider made, which is based on the medieval painting.

literature

  • Reports from the Historical Association of Bamberg. 143, 2007, ISBN 3-87735-192-1 , therein:
    • Heinz Gockel: The Bamberg rider: Stephan of Hungary or end-time emperor? Pp. 39-57.
    • Achim Hubel: The Bamberg rider. Description - evaluation of findings - iconography. Pp. 121-157.
    • Otto Spalte: The forgotten Christ or: again the Bamberg rider. Pp. 59-120.
  • Walter Hartleitner: On the polychromy of the Bamberg cathedral sculpture. University Library of the University of Bamberg, Bamberg 2011, ISBN 978-3-86309-014-2 , also dissertation, University of Bamberg, 2011 (full text at the University of Bamberg). Abstract: ders .: On the polychromy of the Bamberg cathedral sculpture. In: The Minster. Journal for Christian Art and Art History. 56 (2003), pp. 366-380 ( content ).
  • Berthold Hinz : The "Bamberg Rider". In: Martin Warnke (ed.): The artwork between science and worldview. Gütersloh 1970, pp. 26-44.
  • Achim Hubel: Emperor Heinrich II., The idea of ​​a Roma secunda and the competition between Regensburg and Bamberg in the 11th century. In: Christine and Klaus van Eickels (eds.): The Bamberg diocese in the world of the Middle Ages. Bamberg 2007, ISBN 978-3-923507-28-3 , pp. 103-140.
  • Hannes Möhring : King of Kings. The Bamberg rider in a new interpretation. Langewiesche Nachf. Köster, Königstein im Taunus 2004, ISBN 3-7845-2141-X .
  • Stefan Schweizer: "Giving our worldview a visible expression". National Socialist historical images in historical pageants for the "Day of German Art" 1933 to 1939. Wallstein, Göttingen 2007, ISBN 978-3-8353-0107-8 , excursus: The 'Bamberg Rider' as a symbol of German art ' , p. 91– 105.
  • Wolfgang Ullrich : The Bamberg rider and Uta von Naumburg. In: Etienne François , Hagen Schulze (ed.): German places of memory. Volume 1, Beck, Munich 2001, ISBN 3-406-59141-8 , pp. 322-334.
  • Otto Eberhardt: The Bamberg Rider as an eschatological emperor? Once again to a failed thesis. In: Reports of the Historical Association of Bamberg. 148, 2012, ISBN 978-3-87735-211-3 , pp. 73-85.

Web links

Commons : Bamberg Rider  - Collection of images, videos and audio files

Individual evidence

  1. ↑ Ernst Mack: From the Stone Age to the Staufer City. Frankfurt am Main 1994, ISBN 3-7820-0685-2 , p. 280.
  2. ^ Karl-Georg Pfändtner: Medieval Depictions of the Bamberg Horsemen in a Bamberg Cathedral Antiphonarium? In: Manuscripts on my Mind. Volume 13, 2014, p. 13.
  3. ↑ Rolf Toman (ed.): The art of the Romanesque. Cologne 1996, ISBN 3-89508-213-9 , p. 430.
  4. ↑ Quoted from: Fränkischer Tag , May 8, 1987. The status of Heide for the first Christian king of Hungary can only be understood as a disrespectful, moral note, since he was baptized at the age of five.
  5. ↑ Bamberg Guide: Who is the Bamberg Rider?
  6. ^ Bamberger Reiter was King of Hungary, WELT online from August 8, 2008 .
  7. ↑ For the function of the canopy cf. the portal of the Geiß-Nidda church (Vogelsberg), which was built around 1230. There the crucified, Bishop Nicholas, a donor figure and a female (?) Figure that is difficult to determine are roofed over together. The task of the canopy is, comparable to a halo or the pairs of wings of the evangelist symbols, to identify the representation underneath as a message of faith and thus to distinguish it from the profane.
  8. ↑ Johannes Lehmann: The Staufer. Munich 1978, p. 343, refers to the cult of ancestors and sees in the rider a noble knight, not a saint, but a sacred person.
  9. ↑ Toman: Romanesque. P. 313.
  10. ^ Jean Fouquet (1416–1480), the image is a mirror image of the original in the Bibliothèque nationale , Paris.
  11. ↑ Mack: Staufer. P. 249. The Roman-German Queen Irene-Maria of Byzantium also died of a premature birth soon after the murder of her husband, and shortly afterwards her child as well.
  12. ↑ Mack: Staufer. P. 247.
  13. ↑ Mack: Staufer. P. 260
  14. ↑ a b Mack: Staufer. P. 247.
  15. ↑ Pictures of the burial place in the Speyer Cathedral
  16. ↑ Hubel: Roma secunda. P. 117.
  17. ↑ Mack: Staufer. P. 220.
  18. ^ Dieter Kartschoke: History of German literature in the early Middle Ages. Munich 1990, ISBN 3-423-04551-5 , p. 271.
  19. ↑ Otto Böcher: Revelation of John and Church Presence . In: Pfälzisches Pfarrerblatt . tape 109 . Kaiserslautern 2020, p. 44-47 .
  20. ↑ Dorothee Diemer: The rider and childhood Christ scenes for the Ostlettner. New thoughts on sculpture in Bamberg Cathedral . In: Journal of the German Association for Art History . tape 68 . Berlin 2014, p. 79-156 .
  21. ^ City of Bamberg. The cathedral pen . In: Matthias Exner , Bavarian State Office for Monument Preservation (Ed.): The art monuments of Bavaria . tape 1 . Bayerische Verlagsanstalt, Bamberg 2015, ISBN 978-3-422-07197-1 .
  22. ↑ Tobias Runge: The image of the ruler in painting and graphics of National Socialism. An investigation into the iconography of leaders and functionaries in the Third Reich. LIT, Berlin 2010, ISBN 978-3-643-10856-2 , also dissertation, University of Tübingen, 2009, p. 134 f.
  23. ↑ a b Stefan Schweizer: "Giving our worldview visible expression". National Socialist historical images in historical pageants for the "Day of German Art" 1933 to 1939. Wallstein, Göttingen 2007, ISBN 978-3-8353-0107-8 , p. 91 .
  24. ^ A b Wolfgang Ullrich: The Bamberg rider and Uta von Naumburg. In: Etienne François, Hagen Schulze (ed.): German places of memory. Beck, Munich 2001, Volume 1, pp. 322-334, here p. 328 .
  25. ↑ Stefan George: Bamberg , quoted from: Works . Edition in two volumes, 2nd edition, Düsseldorf 1968, vol. 1, p. 336f.
  26. ↑ a b Uwe Hebekus: The will to form. Political aestheticism with Georg Simmel, Ernst H. Kantorowicz - and Alfred Rosenberg. In: ders., Ingo Stöckmann (Hrsg.): The sovereignty of literature. On the totalitarianism of Classical Modernism 1900–1933. Fink, Munich 2008, ISBN 978-3-7705-4104-1 , pp. 45–76, here p. 66 ( preprint ; PDF; 364 kB).
  27. ^ Ernst Kantorowicz: Friedrich the Second. Berlin 1927; quoted from Thomas Karlauf : "does word come before act comes act before word?" Reflections on Stauffenberg's mental disposition. In: Jakobus Kaffanke, Edwin Ernst Weber, Thomas Krause (eds.): Long live “Secret Germany”! Claus Schenk Graf von Stauffenberg. Person - Motivation - Reception. (= Adaptation - self-assertion - resistance. Volume 30) Lit, Berlin 2011, ISBN 978-3-643-10144-0 , pp. 93–106, here p. 103 .
  28. ↑ Ernst Kantorowicz: German Papacy. In: tumult. Publications on transport science. Quoted from: Ulrich Raulff : Ernst Kantorowicz - The two works of the historian. In: Hartmut Lehmann , Otto Gerhard Oexle (Hrsg.): National Socialism in the Cultural Studies. Key concepts - patterns of interpretation - paradigm struggles. Experiences and transformations in exile. Vandenhoeck & Ruprecht, Göttingen 2004, ISBN 3-525-35862-8 , pp. 451-470, here p. 467 .
  29. ^ Melissa S. Lane, Martin A. Ruehl: Introduction. In this. (Ed.): A Poet's Reich. Politics and Culture in the George Circle (= Studies in German Literature, Linguistics, and Culture ). Camden House, Rochester NY 2011, ISBN 978-1-57113-462-2 , pp. 1–24, here p. 18, note 32 .
  30. ^ Hans Freyer: Pallas Athene. Ethics of the political people. Leipzig 1935, p. 122.
  31. ↑ Stefan Schweizer: "Giving our worldview visible expression". National Socialist historical images in historical pageants on the "Day of German Art" 1933 to 1939. Wallstein, Göttingen 2007, p. 96 f.
  32. ^ Walter Scheel: National Identity in the Europe of Tomorrow. Speech at the opening of the exhibition "The Time of the Staufers" in Stuttgart (March 25, 1977). In: ders .: speeches and interviews. Volume 3, Cologne 1977, pp. 237-244, here p. 240.
  33. ↑ "The Bamberg Rider for the Children's Room" ( Memento of the original from August 14, 2014 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. , Munich church radio from July 14, 2012. @1@ 2Template: Webachiv / IABot / www.muenchner-kirchenradio.de

Coordinates: 49 ° 53 '27.1 "  N , 10 ° 52' 58"  E