The four evangelists of the Münnerstadt altar

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The Four Evangelists of the Münnerstadt Altarpiece (Tilman Riemenschneider)
The four evangelists of the Münnerstadt altar
Tilman Riemenschneider , 1490–1492

Limewood , 77.5-72.5 cm × 45-35 cm × 32-24 cm
Bode Museum; Berlin

The four evangelists of the Münnerstädter Altar are a group of figures and part of the Münnerstädter high altar by Tilman Riemenschneider . This is also the first work of his that can be clearly assigned to his workshop and the years 1490 to 1492 through the receipt of the documents and the order . These are figures of the four evangelists (Matthew, Mark, Luke and John) made of limewood , which are between 72.5 cm (Matthew) and 77.5 cm (Luke) tall. Today they are part of the Sculpture Collection and Museum for Byzantine Art of the State Museums in Berlin and part of the permanent exhibition in the Bode Museum in Berlin. Copies of the figures were made by Lothar Bühner and have been at the original location in the church of St. Maria Magdalena in Münnerstadt since 1981 .

description

The figures are made of linden wood, the material that Riemenschneider used most frequently. They are all about 75 cm tall and shown seated. The depiction of the evangelists is based on the ancient depiction of authors, the so-called author image. The clothes and the posture of the author's image are also adopted for the authors of the four Gospels . The seated author is the most common type. It is usually shown reading or writing. He often sits at a lectern. In the Middle Ages , this author's image is particularly present in book illumination . In contrast to the evangelists, the author has an assistant to whom he dictates his text. In order to clearly identify evangelists, as well as with a representation of all evangelists, an attempt is made to design them individually in order to be able to separate them precisely from one another. The attribute or symbol also plays an important role here (see iconography below).

The figures are not designed as full figures, but designed for a specific position in relation to the viewer. The back of the figures is not designed.

In the Middle Ages it was believed that the evangelists Matthew and John were also the apostles of the same name . That is why Riemenschneider depicted them in antique garments. Matthew and John are mostly depicted as old people with long, white beards to characterize them as apostles. Luke and Mark, on the other hand, are depicted as younger and thus depicted as apostles of Peter and Paul. The four evangelists "... [are] considered to be apostles or apostle students and thus as special guarantors for the events described in the New Testament ." This assignment confirms the truth of the New Testament.

Matthew

Matthew

Matthew is the only one who has a beard and, like all evangelists, curly hair, a typical feature of Riemenschneider figures. His gaze goes to the top right. It is also turned to the right in three-quarter profile . With his left hand he is holding a spread scroll lying on his lap. The right arm is almost at right angles and the scroll suggests that it was probably once holding a quill in this damaged right hand. The hand is only partially completed. A look upwards suggests that Matthew is just thinking about the exact wording, or is listening to his lost symbol, the winged person he is looking at. He is dressed in an antique robe that identifies him as an apostle and contemporary witness of Jesus. Matthew is completely surrounded by his robe, like in a shell from which he seems to be looking out. One of his two shoes is completely covered by the robe, of the other one can only see the tip peeking out from under a large fold, which shows that he is not barefoot like Johannes. He sits on a stone structure that is reminiscent of a pedestal . Like all four figures, this one also has a base that is supposed to represent a grassy area through regular notches.

Markus

Markus

Mark the Evangelist wears a cap and a medieval robe. This portrays him as a scholar. His short, curly hair protrudes from the cap. Although he is depicted beardless, he appears the oldest of all the characters. He has a round face with some wrinkles, which is inclined slightly to the left in the direction of Matthew. This inclination follows the general iconography of the evangelists:

"The evangelists are represented ... with their heads slightly inclined in relation to the inspiration conveyed by hearing."

Markus' mouth is slightly open so that a few teeth can be seen. Markus is sitting in a wooden chair with a backrest, also turned to the right. He's either reading his book or just looking up after reading it. He's probably just checking the effects of his gospel. The lack of a quill and, in general, the medium of the book, instead of a scroll as in Matthew, suggests that the text is finished and no longer needs correction. His hands that hold the book are very large, especially when compared to his short arms. With the fingers of the right hand, it becomes clear that these have been supplemented and, because of this overproportionation, deliberately made shorter. This is indicated by prints on the spine of the book, where the longer, original fingers once ended. Markus' robe is also wrinkled in strong, irregular folds, but these allow a view of the tip of one of his shoes. His symbol animal, the lion, is lying on the lawn to his right . He has bent his right front paw while the left is stretched out. He has wavy, curly hair and neither looks at Markus nor interacts with him.

Luke

Luke

Lukas seems to have finished writing his text too, presumably he has just finished and is now thinking about what has been written. Another possibility would be that he has read his text again and this reading has brought him into his melancholy state. Even though Lukas seems to be resting after reading for a long time, it can be seen that he is still restless. MacGregor says that Luke is like all of us. Even if he plays a very important role in Christianity, he is a simple person who also shows weakness and thus humanity. He wears clothes similar to Markus, but they differ in details. He has a cap and a robe with a worked fur collar and a cloak that rests on his left shoulder and from there falls to the ground over his lap and left thigh like a waterfall. His head is tilted to the right in the direction of the bull next to him and thus parallel to the falling coat. His symbol animal is related to him, as he looks compassionately in his direction and is patted on the neck by his left hand. Lukas' right hand rests gently on a corner of his coat, which in turn lies on the closed book. The book has a richly decorated cover and is held closed by two leather buckles. Lukas' gaze goes to the ground and his face is partially in shadow, as the light at the original location came mainly from the top right and was thus covered by his curls and cap. Again, the folds of the robes stand out, creating contrasts of light and shadow. He also wears pointy shoes that peek out from under his robe.

John

John

John the Evangelist wears long, curly hair that reaches down to his shoulders. He looks the youngest of all evangelists. Unlike the other three figures, his face is not wrinkled and is also beardless. This is not uncommon as he is dressed in an ancient robe like Matthew, which shows that he was equated with the apostle John , who was the youngest apostle. For a while there was a tendency in western Europe to portray all evangelists as youthful and beardless. Sometimes only Johannes was shown bearded. In the late Middle Ages, i.e. in Riemenschneider's lifetime, Johannes was only depicted as a youth. He is sitting on a wooden bench that is at right angles to a lectern. There is an open book on the desk that he is reading or reading from. While his left hand is on the left edge of the book, the right is raised slightly above the book. The thumb, index finger and middle finger of the right hand are spread apart and form a universal symbol: the gesture of speech. The three raised fingers have been added. This position of the hand offers the opportunity to interpret him as a teacher of his gospel. Another argument also speaks in favor of the fact that he is shown here as a teacher: if he really only concentrated on reading, he would have turned entirely to his book. So it is conceivable that John both reads and turns to one or more students. One can well imagine he would have turned to his students, in whose place we stand as viewers, or in the sacred context as visitors of the Holy Mass , and explained something. Now he turns back to the book and reads his gospel before turning back to his students. Another explanation for the sitting position is the theory of the eagle's presumably lost attribute . His eagle could have been placed just above the desk and would then have been looked at directly by Johannes. What is striking about Johannes is not only his youth, but also that he is the only one who does not wear shoes. The Evangelist John appears again in the high altar (at the top right, as a standing figure). Even if there are strong similarities, it can be seen that the head shape as well as the main hair are slightly different. This suggests that the two figures were not made by the same artist.

Special features of the presentation

The evangelists hardly differ in many representations or only differ in their attributes. Not so in Riemenschneider's version: Here the individual character of the figures is visible. The evangelists are represented in moments of enlightenment through God's Word.

"As much as each evangelist is different from the others, they are firmly connected."

Riemenschneider does not depict this with the evangelists, but rather "the experience of the divine word," although evangelists are seldom portrayed at the moment of inspiration in depictions of the evangelists. Instead of depicting the evangelists all seated at a desk, reading or writing, as usual, Riemenschneider does not adhere to the specification (busts with desk). It deviates from the standard of the author's image and varies. Matthew is depicted in the moment of inspiration. He doesn't write, but due to his attributes (scroll and quill) he will probably do so shortly after this snapshot. Mark is reading his Gospel or has just read it and is presented the moment he looks up. Luke, on the other hand, is represented thoughtfully. His expression is very melancholy; maybe he just read the passage about Jesus' sacrificial death . It is no coincidence that this event in the life of Jesus has been associated with his symbolic animal, the bull, since the 11th century. He also interacts with this, which brings a dynamic into his character. Johannes is also not shown in the typical author image, as one might believe at first glance. He, too, is exactly between two actions: teaching and reading. This dynamic, which is individual for each figure, brings the figures to life instead of forcing them into the rigid pattern of the author's image, which he should actually take from the commission.

It should also be emphasized that the proportions, as with Markus' hands, are not very precise. The hands of all evangelists are very big and the fingers are very long. At the same time, the arms (both upper and lower arms) are very short. This is not a rarity in the Middle Ages. Basically, not much emphasis was placed on anatomical correctness. Rather, German art in the late Gothic period was shaped by slowly clearer, more realistic tendencies. But the proportions are only noticeable after a long look, because the detailed carving conveys liveliness. Nor are the evangelists sublime or monumental, but portrayed as simple people of the time. Riemenschneider's sculptures are not very ostentatious. He does not focus on expensive materials, but on the detailed representation. Riemenschneider will use the four different traits represented by the Evangelists again and again in his work in a modified form. There are no clearly proven works by Riemenschneider that were created in front of the Münnerstädter Altar, i.e. between 1485 and 1490, his first years as a master in Würzburg or from his traveling years as a journeyman. It is precisely for this reason that the quality of what is presumably the first large altar from the Riemenschneider workshop is surprising.

All of Riemenschneider's characters have something dreamily melancholy about them, which manifests itself above all in their facial expressions. His sculptures share a wistful, silent expression. Particularities at Riemenschneider are the precise carving and the "moving expression" of the faces of his sculptures. Only the lack of color allows such delicacy and expressiveness of the faces and the individual figures and would have been lost with the usual chalk background and coloring.

Color version of the figures and light situation

Riemenschneider's altar is the first known linden wood altar without a classic setting or gilding . Instead, he used a brown, oily glue coating on the Münnerstadt altar. The good surface treatment creates materiality and, in interaction with the light, makes individual materials such as fabric, hair, skin distinguishable from one another, even without color. The advantage is that several layers of paint and the chalk base do not cover the fine indentations (e.g. fingernails, hair, wrinkles). Instead, the glaze only offers one layer that is much thinner than the usual frames, as it is partially drawn into the wood and therefore hardly forms a layer.

Until then, painters worked with the carvers. They first covered the sculptures with a chalk base and then applied the layers of paint and, in some cases, gilding. Since carvers like Riemenschneider took this into account, there was no reason for them to work out fine details. They knew that these would no longer have been visible under the layers. So it wasn't the sculptor's job, but the painter's job to separate the surfaces and fabrics suggested by the sculptor using color and to indicate details with color contrasts.

With the Evangelists, surfaces are not separated by different colors, but by deep and less deep indentations or by smooth wooden surfaces next to less smooth surfaces. As long as sculptures were painted or gilded, Riemenschneider was forced to work with painters. Both groups (painters and sculptors) were in strong competition, even within a guild . It can therefore be assumed that Riemenschneider's decision to dispense with a version from 1490 onwards also resulted from a purely practical interest in escaping the painters from the St. Lukas Guild and working as freely as possible on the high altar with their own journeymen from the workshop. Sculptures were often repainted several times after the paint gradually peeled off or the style of the time changed. One can hardly imagine what the evangelists might have looked like with layers of paint. You could hardly see the details carefully worked out by Riemenschneider.

Some older books on the subject claim that Riemenschneider completely dispensed with color and that the figures are therefore wood-sighted. That this cannot be true is shown not only by analyzes of the figures, but also by the linden wood itself, which is significantly lighter and therefore would not have allowed nearly as strong contrasts as the evangelists have today. So the Münnerstadt altar was not unpainted. The single-colored figures (only oil-based, brown glue coating) allow a better interaction with the light than polychrome figures do. The monochrome version of the figures gives them liveliness. This is mainly achieved through the changed lighting situations in the church during the day. The monochrome and the carving style of Riemenschneider ensure good shadows and light effects, which change in a church during the different times of the day and are in constant change, especially with the flickering candlelight in the church. So you have to imagine the figures at the original location even more vividly than they could ever be in the museum. Since the main light fell on the altar from the side and from the top right, and the figures were in the predella , it can be assumed that the evangelists received very little light and that this only fell on the front part of the figure. This not only ensured a great contrast between light and dark, but also explains why the rear part of each figure was hollowed out or neglected. Light also shone on the altar from the top left, albeit much weaker.

All figures are designed for the main light from the top right. Lukas face has to stay in the shadows to best convey the melancholy. Johannes needs the light from the top right so that it shines exactly on his book. Matthew and Mark also need it. Matthew looks closely into the light, i.e. to God, and is thus inspired by him. Markus, on the other hand, faces the light in such a way that his face creates an interplay of exposed and unexposed areas. So the light brings him a very animated face. The good condition of the figures also shows another advantage compared to composed figures. The evangelists, although made of wood over 500 years old, are hardly cracked or attacked by insects. To prevent possible cracks, limewood sculptures, as here, were often hollowed out.

In the order of the church there is nothing of monochrome or colored painting. This does not clearly exclude or imply that the altar should or should not be painted, as picture carvers were not allowed to set their work themselves. The low price paid by the Riemenschneider Church, however, suggests that an unpainted altar was probably requested, as the price for paint was usually included.

From the perspective of the time, however, Riemenschneider's altar was considered “not completed” when he completed it. This probably also led to the fact that the altar was painted and gilded by Veit Stoss ten years after it was completed. It also shows that Riemenschneider was one step ahead of the carvers of his time. These did not generally introduce monochromatic altars until around 20 years later.

Order of the Evangelists

The original list of the evangelists is controversial because it is not specified in the commission, nor do the few descriptions from the time before 1649 provide any information. In general, the evangelists are hardly mentioned and, compared to the reliefs and other figures on the altar, are only viewed as incidental. Even if the contract and order from the 15th century have survived to this day, the sights (i.e. a sketch) required in the Riemenschneider contract no longer exist; therefore it is not possible to reconstruct the order in which the evangelists were originally set up.

It seems clear that Matthew and John must have stood on the outer fringes in order to close the groups within themselves. Both older and current research agree on this. Now, however, there are two ways of setting up the middle figures, Markus and Lukas. There are possible explanations for both variants:

Peter Bloch claims that the evangelists have always been listed in the canonical order of their gospels in the Bible. The Lexikon der Kunst also makes this argument and shows that this would also be the historically customary list. This canonical order, as it can also be seen in the Bode Museum and in the reconstruction in Münnerstadt today, divides the evangelists into groups of two (Matthew and Mark; Luke and John).

Beer, on the other hand, is based on the second possible order (Matthäus, Lukas, Markus, Johannes). This composition would direct the viewer's gaze to the center due to the seated position of the outer evangelists and the inclination of the head of Luke and Mark. Kurt Gerstenberg and Theodor Demmler also advocated the order adopted by beer. In summary, Gerstenberg claimed the following: The evangelists were arranged in groups of two. On the one hand, they were laid out in pairs: Matthew and Luke, as well as Mark and John. This can be assumed because the bull of Luke looks to the left in the direction of Matthew, while the bull looks to the right in the direction of Luke. Johannes and Markus also look in the respective direction of the other. Due to the arrangement of Matthew and John on the outer edges, whose view is in the middle of the four evangelists, the group dynamics as a group of four can also be recognized. Possibly these two group possibilities were reinforced by the missing symbols of Matthew and John, which were probably placed in the spaces in between.

Iconography (symbols)

The four evangelists with their respective symbolic figures, ceiling painting in the Heilig Geist hospital church (Ingolstadt) around 1730/40

The evangelist symbols (winged man, lion, bull and eagle) appear from the 5th century and become recurring attributes, especially in western Europe. The symbols appear in the author's picture and are mostly associated with their evangelist. In some cases, the evangelist symbols also replace the evangelist and stand on their own, also with a scroll or a book. First of all, they do not relate to the evangelists. In later depictions they look at the evangelist more often or, in the case of Matthew, his winged person can also whisper something in his ear for inspiration. According to Christian iconography, the four symbols of the evangelists in most cases have wings, only rarely, as in this case, only the eagle has wings. Strangely enough, only two of the four evangelists of the Riemenschneider evangelists also have a symbol and they do not have wings.

Markus 'Leo and Lukas' Taurus originally had wings that were only tucked in and therefore probably got lost. There are two possible explanations for the lack of the symbols of Matthew and John: on the one hand, the possibility that they were lost or not preserved because, unlike Mark and Luke, they were shown flying and therefore were made and set up separately from their evangelists. The second possibility is that these were not even made by Riemenschneider. In theory, you can distinguish between Matthew and John without the symbols. John is beardless and Matthew is depicted with a beard in the classic evangelist picture. A deviation from the order seems strange and not plausible at first. But if you look at the assignment as a whole, it is noticeable that Riemenschneider alone made changes to the Evangelists in at least two places. For the evangelists the order said that they should be portrayed in half-length portraits and each one sitting at a desk with his or her attribute. Since neither busts nor lecterns (with the exception of Johannes) were made, it seems likely that he made changes to the attributes himself. Bier, who wrote a detailed description and analysis of the altar, even expressed doubts about the difference in 1925 that the figures actually come from the Münnerstadt altar. These doubts have been dispelled in recent research. According to Bloch, the attributes of Matthew and John were made in each case. These would have been placed above their heads, so their heads were slightly raised as they looked at their symbols. The evangelist symbols have been assigned to the four main events in the life of Jesus since the 11th century. The eagle is assigned to the ascension, the bull to the sacrificial death of Jesus, the lion to the resurrection, and the winged man to the incarnation of God.

Provenance and history of the group of figures in connection with the high altar

The reconstructed altar in the church of St. Maria Magdalena in Münnerstadt, the four evangelists below (copy)

The evangelists by Tilman Riemenschneider are originally not a work of art in themselves, as it seems at first glance at their current location in the Bode Museum. They are taken from the predella of the high altar in Münnerstadt , which Riemenschneider made between 1490 and 1492. Unlike most of the works from this period, you do not have to estimate a year, as the order and an exchange of letters between the client and the craftsman have been preserved. Still, the question arises as to which part of the altar he made and which part he left to his journeymen. Riemenschneider had twelve different apprentices in a period of only 16 years, which illustrates the problem of assigning his works to the works in his workshop. He was also the master with most of his apprentices. He did not work alone, especially on large orders such as the altars. "[T] he contract partner could undertake to carry out the work with his own hands ... [a] lt was however not usual with sculpture." Nevertheless, Justus Bier was convinced that unlike the other parts of the altar the evangelists of Riemenschneider himself, would not have been made by his journeymen. Proof of this is the strong expression of their faces and the delicacy with which details have been worked out. It is also assumed that reliefs were often only designed by Riemenschneider and carried out by journeymen. Shrine statues, however, like the evangelists, were mostly made by himself.

The evangelists left the church in Münnerstadt when the altar was reorganized between 1649 and 1653 and came into the possession of the Berlin Museum through an auction in Vienna in 1887. Another original part of the altar is also in the Bode Museum: the relief The Appearance of Christ to Maria Magdalena. Eight other original parts ended up in the Bavarian National Museum in Munich.

Relief panel, The Appearance of Christ to Maria Magdalena (1490–1492), Bode Museum

Copies of the four figures have been back in their original location in the Church of St. Maria Magdalena in Münnerstadt since 1981 . They were made by Lothar Bühner.

literature

  • Michael Baxandall: The Art of the Picture Carver. Munich 1996.
  • Michael Baxandall and Julien Chapuis: Tilman Riemenschneider. New Haven 1999.
  • Justus Bier: Tilmann Riemenschneider. The early works. Wuerzburg 1925.
  • Peter Bloch (Ed.): Tilman Riemenschneider. Early works. Exhibition catalog, Würzburg, Mainfränkisches Museum Würzburg, September 5 to November 1, 1981, Regensburg 1982.
  • Theodor Demmler: Tilman Riemenschneider's masterpieces. Berlin 1936.
  • Max Hermann von Freeden: Tilman Riemenschneider. Munich 1981.
  • Stefan Fröhlig, Markus Huck: Tilman Riemenschneider. Regensburg 2014.
  • Kurt Gerstenberg: Tilman Riemenschneider. Vienna 1941.
  • Iris Kalden-Rosenfeld, Jörg Rosenfeld: Tilman Riemenschneider and his workshop. Königstein im Taunus 2001.
  • Otto Kletzl: Riemenschneider Art in West Bohemia. In: State Museums in Berlin. Prussian cultural property (ed.): Yearbook of the Prussian art collections. 60th year, Berlin 1939, pp. 56-70.
  • Ulrich Kneise; Scheele, Paul-Werner: Encounter with Tilman Riemenschneider. Regensburg 2012.
  • MacGregor, Neil: Germany. Memories of a nation. London 2014.
  • Hanswernfried Muth, Toni Schneiders: Tilman Riemenschneider and his works. Wurzburg 1984.
  • Fritz Neugass: “Tilmann Riemenschneider” in: Parnassus, 4th year, no. 3, 1930, pp. 8-11.
  • Hubert Schrade: Tilman Riemenschneider. Heidelberg 1927.
  • Heinz Stafski: An unknown work by the "painter servant" Tilman Riemenschneider. In: Journal for Art History. 43.Jg., H. 3, 1980, pp. 300-31.

Web links

Commons : Münnerstädter Altar  - collection of images, videos and audio files

Individual evidence

  1. ^ A b Hanswernfried Muth, Toni Schneiders: Tilman Riemenschneider and his works . Würzburg 1984, ISBN 3-88155-039-9 , pp. 39 .
  2. ↑ The Four Evangelists from the Münnerstädter Retabel. In: SMB-Digital. Retrieved July 12, 2020 .
  3. ↑ a b Lothar Bühner: Biography. In: lotharbuehner.de. Retrieved July 15, 2020 .
  4. ↑ a b c d e f Harald Olbrich (Hrsg.): Lexikon der Kunst. Architecture, fine arts, applied arts, industrial design . tape 2 : Cin-Gree . Leipzig 1989, ISBN 3-86502-084-4 , p. 395 .
  5. ↑ a b c d e Evangelists . In: Engelbert Kirschbaum (Ed.): Lexicon of Christian Iconography. A-Ezekiel . tape 1 . Basel 1994, p. 708-709 .
  6. ↑ a b c d e f Michael Baxandall and Julien Chapuis: Tilman Riemenschneider . New Haven 1999, p. 218 .
  7. ↑ a b c d Peter Bloch (Ed.): Tilman Riemenschneider. Early works . Regensburg 1982, p. 141 (Exhibition catalog, Würzburg, Mainfränkisches Museum Würzburg, September 5 to November 1, 1981).
  8. ^ Justus Bier: Tilmann Riemenschneider. The early works . Würzburg 1925, p. 32 .
  9. ↑ a b Iris Kalden-Rosenfeld and Jörg Rosenfeld: Tilman Riemenschneider and his workshop . Königstein im Taunus 2001, p. 42 .
  10. ↑ a b c Justus Bier: Tilmann Riemenschneider. The early works . Würzburg 1925, p. 59 .
  11. ^ A b c Kurt Gerstenberg: Tilman Riemenschneider . Vienna 1941, p. 20-21 .
  12. ^ Neil MacGregor: Germany. Memories of a nation . Allen Lane, London 2014, ISBN 978-0-241-00833-1 , pp. 217 .
  13. ↑ Michael Baxandall: The art of the picture carver . Munich 1996, p. 168 .
  14. ↑ Peter Bloch (Ed.): Tilman Riemenschneider. Early works . Regensburg 1982, p. 146 (Exhibition catalog, Würzburg, Mainfränkisches Museum Würzburg, September 5 to November 1, 1981).
  15. ↑ Iris Kalden-Rosenfeld and Jörg Rosenfeld: Tilman Riemenschneider and his workshop . Königstein im Taunus 2001, p. 41-43 .
  16. ↑ Ulrich Kneise and Paul-Werner Scheele: encounter with Tilman Riemenschneider . Regensburg 2012, p. 65 .
  17. ↑ Ulrich Kneise and Paul-Werner Scheele: encounter with Tilman Riemenschneider . Regensburg 2012, ISBN 978-3-7954-2519-7 , pp. 74 .
  18. ↑ Evangelists . In: Engelbert Kirschbaum (Ed.): Lexicon of Christian Iconography. A-Ezekiel . tape 1 . Basel 1994, p. 700 .
  19. ^ Hubert Schrade: Tilman Riemenschneider . Heidelberg 1927, p. 34 .
  20. ↑ a b Evangelists . In: Engelbert Kirschbaum (Ed.): Lexicon of Christian Iconography. A-Ezekiel . tape 1 . Basel 1994, p. 703 .
  21. ↑ a b Fritz Neugass: Tilmann Riemenschneider . In: Parnassus . tape 4 , no. 3 , 1932, p. 8-9 .
  22. ^ Max Hermann von Freeden: Tilman Riemenschneider . Munich 1981, p. 21 .
  23. ↑ Heinz Stafski: An unknown work of "Painters servant" Tilman Riemenschneider . In: Journal for Art History . tape 43 , no. 3 , 1980, p. 310 .
  24. ↑ Iris Kalden-Rosenfeld and Jörg Rosenfeld: Tilman Riemenschneider and his workshop . Königstein im Taunus 2001, p. 121 .
  25. ↑ Michael Baxandall: The art of the picture carver . Munich 1996, p. 54 .
  26. ↑ Michael Baxandall: The art of the picture carver . Munich 1996, p. 56 .
  27. ↑ Michael Baxandall: The art of the picture carver . Munich 1996, p. 122-123 .
  28. ↑ Michael Baxandall and Julien Chapuis: Tilman Riemenschneider . New Haven 1999, p. 114-115 .
  29. ^ Neil MacGregor: Germany. Memories of a nation . London 2014, p. 218 .
  30. ^ Justus Bier: Tilmann Riemenschneider. The early works . Würzburg 1925, p. 14 .
  31. ^ Stefan Fröhling and Markus Huck: Tilman Riemenschneider . Regensburg 2014, p. 26 .
  32. ↑ a b c Michael Baxandall and Julien Chapuis: Tilman Riemenschneider . New Haven 1999, p. 212-213 .
  33. ↑ Otto Kletzl: Riemenschneider Art in West Bohemia . In: State Museums in Berlin. Prussian cultural property (ed.): Yearbook of the Prussian art collections . tape 60 . Berlin 1939, p. 56 .
  34. ↑ Order as in the picture above and in the description
  35. ^ Theodor Demmler: The masterpieces of Tilman Riemenschneider . Berlin 1936, p. 40-41 .
  36. ↑ Evangelists . In: Engelbert Kirschbaum (Ed.): Lexicon of Christian Iconography. A-Ezekiel . tape 1 . Basel 1994, p. 699 .
  37. ↑ Harald Olbrich (Ed.): Lexicon of Art. Architecture, fine arts, applied arts, industrial design . tape 2 : Cin-Gree . Leipzig 1989, ISBN 3-86502-084-4 , p. 397 .
  38. ↑ Peter Bloch (Ed.): Tilman Riemenschneider. Early works . Regensburg 1982, p. 144 (Exhibition catalog, Würzburg, Mainfränkisches Museum Würzburg, September 5 to November 1, 1981).
  39. ^ Justus Bier: Tilmann Riemenschneider. The early works . Würzburg 1925, p. 30-33 .
  40. ↑ Baxandall; Bloch; MacGregor; Kneise
  41. ↑ Iris Kalden-Rosenfeld and Jörg Rosenfeld: Tilman Riemenschneider and his workshop . Königstein im Taunus 2001, p. 19-21 .
  42. ↑ Michael Baxandall: The art of the picture carver . Munich 1996, p. 188 .
  43. ^ Fritz Neugass: Tilmann Riemenschneider . In: Parnassus . tape 4 , no. 3 , 1932, p. 10 .
  44. ↑ Michael Baxandall: The art of the picture carver . Munich 1996, p. 113 .
  45. ^ Justus Bier: Tilmann Riemenschneider. The early works . Würzburg 1925, p. 34, 57 .
  46. ^ Heinz Stefanski: An unknown work by the "Malerknecht" Tilman Riemenschneider . In: Journal for Art History . tape 43 , no. 3 , 1980, p. 307 .
  47. ↑ The Appearance of Christ to Mary Magdalene. In: SMB Digital. Retrieved July 12, 2020 .
  48. ↑ Room 109 Bode Museum. In: http://bode360.smb.museum/ . Retrieved July 14, 2020 .
  49. ^ Place Münnerstadt. In: bayerisches-nationalmuseum.de. Retrieved July 12, 2020 .