Medias Altar

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Choir of the Margaret Church in Mediasch with altar; Weekday page with the passion cycle

The Mediasch Altar is a late Gothic winged altar in the Margaret Church of the city of Mediaș (German Mediasch) in present-day Romania , which was created between around 1490 and 1520 after Hermann Fabini around 1485 . The altar is one of the most important works of late Gothic in Transylvania .

Together with the Biertan altar and the altar of the church of Großprobstdorf , the Mediasch altar is assigned to a group of Transylvanian winged altars, which is influenced by the artist school of the Vienna Schottenstift around the unknown " Master of the Viennese Schotten Altar ".

construction

The central shrine of the Medias Altar measures 303 x 220 x 50 cm (height x width x depth), the individual panels of the altar wings each measure 153 x 110 cm (height x width). The reredos stands on a 146 cm high and 515 cm wide predella, the central shrine of which is 303.5 cm long and 30 cm deep. Today the predella is (again) covered by a painting panel that is 110 cm high and 324 cm wide with a frame, the painting within the frame itself is 212 cm wide. The crack is largely original, missing details and the gilding were added during the restoration in 1972/73.

Past and present equipment

Reredos

The formerly carved decoration on the festive side of the altarpiece has been completely lost, as has the once rich sculptural decoration, only the paintings on the weekday side have been preserved. It shows a cycle of passion on eight panels , consisting of capture, flagellation, crowning of thorns, carrying the cross, Christ at rest, crucifixion and resurrection.

Panels of the Passion Cycle
Capture of Jesus Flagellation Crowning of thorns Jesus before Pilate
Carrying the Cross Christ at rest crucifixion resurrection

On the inner surfaces of the altar wings (on the feast day side) there are four wood - carved four-passports with the symbols of the four evangelists, whose creation Fabini puts an older date. The original sculptures in the center shrine are lost.

The back of the altarpiece is covered with a dense, swirling, typically late Gothic leaf decoration in light green, in which white and light yellow flowers and fruits appear. This form of decoration is also known from van Meckenem's and Schongauer's work. A similar decoration can also be found on the back of the altar retable from Großprobstdorf.

Center shrine

The recesses in the three gilded niches decorated with a damask pattern in the background of the central shrine indicate that three life-size figures originally stood here. Other sculptures may have stood under the canopy of the crown; the different heights of the canopies indicate different sized figures, so that the winged altar could originally have been equipped with eleven sculptures. Later, a crucifixion group from the 18th century was placed in the shrine, which appeared too small for the size of the shrine, and was replaced on May 17, 1992 by three wood-carved figures by the Austrian sculptor Franz Pichler. These show the "risen Christ with the hand of the oath and the flag of victory", on his sides Mary Magdalene and the "other Mary" with ointment vessels. The crucifixion group was initially set up on the north wall of the nave and is now in the middle of the top of the altar. Wood-carved medallions with the symbols of the four evangelists, which were probably made at the beginning of the 15th century and are therefore older than the altar, were attached to the empty inner wings of the festival side. Inscriptions on each of the four passages of the medallions in Gothic minuscule give the names of the evangelists depicted.

Predella

Coat of arms pattern of an apostolic protonotary, similar to the coat of arms of the founder on the predella painting

The empty niches of the predella are covered by a painting of the Last Supper (according to Fabini around 1515, according to Firea around 1530), which is not much younger than the panel paintings on the altar. This shows how early the wooden sculptures on the altar were lost, possibly as early as 1545, when the Saxon priests decided at a synod on the iconoclasm of the Reformation in the churches of Transylvania. This synod took place in the Margarethenkirche of all places, the pastor of which, Bartholomäus Altemberger, emerged as a particularly zealous iconoclast.

Otto Folberth hypothesized that the four pointed arch niches of the predella may originally have contained four statues that Victor Roth assumed could have represented the four evangelists. For a short time in the 1990s the image of the Lord's Supper was removed from the predella and hung in the north aisle. Kurtfritz Handel had designed four apostle figures for the Predellanic. In the meantime, however, the image of the Lord's Supper is back in its original place. The figures of the apostles are today in the sacristy of the Margarethenkirche.

The paintings on the Predella plinth were covered by later overpainting for many centuries and only reappeared during the restoration in the Kronstadt workshop. Folberth was of the opinion that it was created by a different master than the panel paintings in the retable. In a restored condition, as Sarkadi (2008) demonstrated, the painting of the predella is not only a product of the same workshop, but could even have been created by the master of the altarpiece himself. The donor figure on the left is better preserved and shows a person marked by his clothing as a clergyman with a red biretta and an open book in his hand, i.e. an educated man, a master's degree. The other figure, also male and older in terms of face and posture, is more pale.

A clear assignment of the donor pictures on the predella plinth to important contemporary Mediasch citizens has not yet been successful. Sarkadi (2008) concluded from the depiction of the better preserved left figure with the red biretta and the book on the Mediasch citizen and royal judge (iudex regius) Ladislaus Thobiassy. At the end of the 15th century he, a member of the Thobiassy family from Hetzeldorf , was one of the most important inhabitants of Medias. In 1477 he traveled to the court of King Matthias Corvinus as a delegate of the two chairs to clarify property rights in Furkeschdorf, which was devastated by Ottoman mercenaries in 1470 and then given up. The donor's coat of arms on the painting, a scribe's hand reaching down from a crown and writing on a tape with a quill, would, according to Sarkady, fit the position of a royal clerk. Ladislaus' father Georgius was also the royal judge of the two chairs and had been repeatedly elected to this office in the 1460s. In 1474 he was greeted in the first place in a royal charter. Sarkadi considers it “more than likely that the Thobiassy family could have played an important role in the construction work in Mediasch at that time, and consequently also in the renovations and the vaulting of the Margaret Church.” Should Ladislaus Thobiassy continue his father's work in Mediasch have completed, the second older person recognizable on the donor's picture could represent Georgius. Unfortunately, the second donor coat of arms in the predella base, which could support this hypothesis, can no longer be recognized. The Thobiassy family coat of arms can also be found on one of the keystones in the vault of the central nave of St. Margaret's Church.

There is also a donor picture on the Last Supper painting itself. The figure kneels in a prayer chair on the edge of the sacrament scene and holds an open book in one hand. On the canopy of the prayer chair you can see a coat of arms (coat of arms shield with a silver crossbar and three written initials with a dove on it, as well as three plaques in the lower part of the shield). The coat of arms is adorned by a black hat with three tassels on each side, which indicates a church dignitary as the holder of the coat of arms, for example a bearer of the papal honorary title of apostolic protonotary . Firea (2013) assigns the picture of the founder to the priest Johannes Frederici, who worked in Mediasch around 1530, and who at that time held an honorary position comparable to the Protonotary. Firea reads the letters of the silver transverse band as "IFP" and thus as the initials for Ioannes Frederici Plebanus (chief pastor Johannes Frederici).

Restoration 1972–1973

1972–1973 the altar was completely dismantled and cleaned for renovation. The damaged carving was supplemented and re-gilded by Gerhard Mederus and Dieter Paule. The altar panels were cleaned and restored by Gisela Richter in the regional church restoration workshop in Kronstadt . In the four Predellanic niches depictions of the four evangelists by Kurtfritz Handel were initially set up, later these were replaced by four stylized lights at the suggestion of Hermann Fabini. In the current state, the image of the Lord's Supper covers the niches again.

Attribution and reception

Hans Pleydenwurff: Crucifixion (approx. 1470) from the altar of St. Michaelskirche in Hof
Israhel van Meckenem: Ecce Homo from the "Great Passion" (1455–1503) - a model for the Passion cycle by the Master of Mediasch (upper right panel of the altar)

The name of the painter is unknown, a signature is missing on the panels of the Passion Cycle, which is why the artist is referred to as the “Master of Medias” or “Master of the Medias Altar”.

Influence of the Schottenstift school

In 1907 Victor Roth published the first detailed work on the Mediasch Altarpiece and pointed to the stylistic relationship with Dutch and German works of the late Gothic period. The local history researcher Theobald Streitfeld established the connection to the city of Vienna in 1930, who recognized St. Stephen's Cathedral with its glazed tile roofs in the background of the 7th panel (Jesus on the cross) . Franz Juraschek identified other 15th-century Viennese buildings such as the Minorite Church . The cityscape is not shown topographically correct, but shows Viennese buildings of this time in a more or less random arrangement.

Juraschek (1930) was the first to highlight the stylistic relationship between the crucifixion panel and the corresponding representation on the large late Gothic winged altar of the Vienna Schottenstift . Roth (1930) followed this view and described the master of Mediasch as an important member of the Schottenstift school of painting. Initially, a scientific dispute arose about different influences of regional traditions on the work of the master of Medias, who was not free from the nationalism of that time. The “Schottenstift” hypothesis of Roth, Streitfeld, Reitzensteins and Jurascheks was countered by Hungarian authors with the hypothesis of Upper Hungarian influences. North Carpathian influences described Vatasianu in 1959, Lower Rhine and Italian influences finally Oprescu (1961).

Otto Folberth discovered in 1933 that the landscape in the background corresponds to the crucifixion of the “Baasner Hill” or the Keppenberg on the southern slope of the Kokeltal . In his Passion Cycle, the master equates the city of Medias metaphorically on the one hand with Jerusalem and on the other hand with the capital of the Holy Roman Empire . In the background of the eighth panel with the resurrection there is another “homage to Transylvania” with the depiction of the fortified church of Biertan .

Stange (1961) clearly considered the Medias Altar to be part of the Viennese style tradition, as did Folberth (1973) in his detailed analysis of the altar.

Influences of van Meckenem and Schongauer

Following Folberth's detailed monograph from 1973, the works of Dietmar Priebisch appeared, who in 1979 showed the direct and detailed artistic relationship between the Mediasch Altarpiece and the copperplate engravings from Israhel van Meckenem's “Great Passion” . Van Meckenem's work, in turn influenced by the work of Martin Schongauer , had found widespread use in the copper engraving technique, which emerged around 1420–30. In 1979 Hermann Fabini pointed to artistic parallels between the Medias Passion panels and the panels on the altar from the madder chapel of the Elisabeth Church in Wroclaw (around 1500, today in the National Museum of Wroclaw ), which were also based on the copperplate engravings by van Meckenem.

Details of the panels with the carrying of the cross and Christ's rest differ from the model van Meckenem. A representation of the crucifixion comparable to the seventh panel of the Medias Passion Cycle is not found in van Meckenem. Victor Roth had already pointed out the artistic relationship between the crucifixion scene and the corresponding depiction on the altar of the Schottenstift. In 1979 Hermann Fabini described similarities to the altar of St. Michaelis in Hof by Hans Pleydenwurff (approx. 1470, since 1811 in the Alte Pinakothek in Munich).

In 2008 Emese Sarkadi published further detailed analyzes of the influence of the Schottenstift school and van Meckenem's copperplate engravings on the design of the Mediasch altar panels. Accordingly, the panels with the Gethsemane scene, the flagellation, crowning of thorns, ecce homo and the carrying of the cross as well as the depiction of the resurrection closely follow the model of van Meckenem, from which they only differ in individual details. Models for these details can in turn be found in Schongauer's work.

A Transylvanian painting workshop

As early as 1916, Victor Roth noticed that two painting panels on the altar in Großprobstdorf near Mediasch (the Martyrdom of the Ten Thousand and the Martyrdom of St. Sebastian ) are stylistically closely related to the Medias altar. It later became clear that all Großprobstdorfer panels that are now in the Brukenthal Museum in Sibiu are stylistically related to the Mediasch Passion panels to varying degrees and that they were created in a Mediasch workshop. In the 1970s, Harald Krasser published a series of studies that also classify the Biertan Altar in the stylistic tradition of the Schottenstift school, with the panel paintings from Biertan being much closer to the models of Van Meckenem and Schongau, while the Mediasch master was more free with them . The occurrence of three winged altars closely related to each other stylistically and with the same Central European models thus made it possible to draw conclusions about the existence of a late Gothic artist's workshop in Transylvania.

Robert Suckale assigns the master painter Johannes Siebenbürger (around 1440–1483) from Transylvania to the Schottenstift school, if not to the "Schottenmeister" himself. It is certain that this master played an essential role in conveying Viennese painting to Transylvania Has.

The career of the Medias master remains unknown. The artistic parallels to van Meckenem's work shown in the research on this group of late Gothic Transylvanian winged altars ultimately only allow conclusions to be drawn about the broad reception of the Westphalian artist's copperplate engravings in Europe. To what extent personal knowledge, for example of the Viennese Schotten Altar, or knowledge of reproductions could have made the master of Medias familiar with the artistic work of other European painters of his time cannot be clearly clarified.

  • Back of the retable with late Gothic decoration

literature

Overview works with descriptions of the altar

  • Andreas Gräser (pastor in Wurmloch ): Outlines of the history of the city of Mediasch . Hermannstadt (Sibiu) 1862.
  • Karl Werner (high school professor in Mediasch): The Mediasch church . Hermannstadt (Sibiu) 1872.
  • Victor Roth (ev. Parish priest in Mühlbach ): Erdély szárnyas-oltárai (Transylvanian winged altars, Hungarian) . In: Gyula Forster (Ed.): Magyarország Müemlékei, Volume 3 . Budapest 1913, p. 117-180 .
  • Victor Roth: Transylvanian altars . In: Studies on German Art History, No. 192 . Strasbourg 1916.
  • Victor Roth: Erdélyi oltárok (Transylvanian altars, Hungarian) . In: Archaeologiai Ertésitö, 37th volume . Budapest 1917, p. 87-89 .
  • Alexander von Reitzenstein: painting . In: Victor Roth, editor C. Theodor Müller, Alexander Freiherr von Reitzenstein, Heinz R. Rosemann (eds.): The German art in Transylvania . Berlin, Hermannstadt 1934, p. 129 .
Reitzenstein supports the hypothesis of the Schottenstift influence.
  • Virgil Vatasianu: o. T. In: Istoria artei feudale în țǎrile romîne. Vol. 1 . Cluj 1959, p. 781-785 .
Vatasianu postulates artistic influences from the North Carpathian region.
  • Alfred Stange: German Gothic painting. Austria and the East German settlement area from Danzig to Transylvania in the period from 1400 to 1500 . Deutscher Kunstverlag, Munich 1961, p. 162 . - repeats the artistic relationship to the Schottenstift painter, also ascribes the panels of the Grossprobstdorfer Altar to the master of Mediasch.
  • Tibor Gerevich : Erdély Müvészet (The handicrafts of Transylvania, Hungarian) . In: Magyar Szemle, 12 . 1934, p. 225-241 .
Gerevich postulates an Upper Hungarian influence on the Medias master.
  • Antal Kampis: o. T. (Review Victor Roth: Die deutsche Kunst in Siebenbürgen, 1934) . In: Szászadok ("The Centuries", Hungarian) vol. 69 . 1935, p. 451-456 .
Kampis criticizes the theory of Roth, Streitfeld and Juraschek and emphasizes the formative role of Hungarian art in Transylvania.
  • George Oprescu: The fortified churches in Transylvania . Sachsenverlag, Dresden 1961, p. 35 . - In addition to Viennese influences, Oprescu also recognizes influences from Flanders and Italy.
  • Gisela and Otmar Richter: Transylvanian winged altars . In: Christoph Machat (ed.): Cultural monuments Transylvania. Vol. 1 . Word and World, Thaur near Innsbruck 1992, ISBN 978-3-85373-149-9 , p. 91-104 .
  • Emese Sarkadi: Produced for Transylvania - Local Workshops and Foreign Connections. Studies of Late Medieval Altarpieces in Transylvania. PhD dissertation in Medieval Studies . Central European University , Budapest 2008, p. 75–86 ( ceu.hu [PDF; accessed October 29, 2017]).
  • Emese Sarkadi Nagy: Local Workshops - Foreign Connections: Late Medieval Altarpieces from Transylvania . In: Studia Jagellonica Lipsiensia, Volume 9 . Thorbecke, Ostfildern 2012, ISBN 978-3-7995-8410-4 , p. 128-133 .
  • Dana Jenei: Contributions to the Transylvanian Panel Painting at the end of the Fifteenth Century. In: Acta Musei Brukenthal , Sibiu, VIII, 2, 2013, pp. 215-233.

Monographs

  • Victor Roth: The late Gothic winged altar in Medias . In: Archive of the Association for Transylvanian Cultural Studies, 34th volume . Hermannstadt (Sibiu) 1907, p. 193-240 .
  • Andras Peter: A magyar müvészet története . 1930, p. 118, 163 .
  • Theobald Bruno Streitfeld: Something about the crucifixion of the Medias altar . In: Korrespondenzblatt the Association for Transylvanian Regional Studies, 53. Jg . 1930, p. 52-55 .
  • Franz Juraschek: Medieval Vienna in an unknown view . In: Kirchenkunst, Austrian magazine for the care of religious art, 2nd year, 2nd issue . Vienna 1930, p. 45 f .
  • Victor Roth: The crucifixion of the Medias winged altarpiece . In: Correspondence sheet of the Association for Transylvanian Cultural Studies, 53rd year, No. 11-12 . S. 280 f .
  • Istvan Genthon: A régi magyar festömüvészet . Vác 1932, p. 62 f .
Genthon turns against the influence of the Schottenstift painter on the master of Medias, postulated by Roth, Streitfeld and Juraschek.
  • Alexander Freiherr von Reitzenstein: Old German painting in Transylvania . In: Communications from the German Academy . Munich 1932, p. 78-103 .
The author describes an artistic connection between the Medias altar paintings and those of the high altar of the church of Großprobstdorf in the Brukenthal Museum in Hermannstadt / Sibiu.
  • Otto Folberth: On the riddle of the Medias crucifixion . In: Klingsor, Siebenbürgische Zeitschrift, 10th year . Kronstadt 1933, p. 371-377 .
Folberth identified the landscape in the background of the crucifixion picture as that of the "Baasner Hill" or the Keppenberg in the Kokeltal north of Mediasch.
  • Hermann Phleps: The high gates in Transylvania . In: East German Science Vol. 6 . Munich 1959, p. 153-157 .
Phleps describes the depiction of a gate in typical Transylvanian wooden construction on the panel with the capture of Christ.
  • Harald Krasser: Investigations into medieval panel painting in Transylvania. On the origin and dating of the Biertan altar panels . In: Research on Folklore and Regional Studies, Vol. 14, No. 2 . Publishing house of the Academy of the Socialist Republic of Romania, Bucharest 1971, p. 9-24 .
Krasser postulates the existence of a “ Biertan master” and assumes that he could have worked in a workshop with the master from Medias (p. 14).
  • Otto Folberth: Gothic in Transylvania. The master of the Medias Altar and his time . Schroll, Vienna, Munich 1973, ISBN 978-3-7031-0358-2 ( limited preview in the Google book search).
  • Hermann Fabini: Striking similarities discovered. On the question of the origin of the Medias altar panels . In: Karpatenrundschau . 1979, p. 6 .
  • Hansotto Drotloff: The Mediascher winged altar and its master . In: Hansotto Drotloff, Günter E. Schuster (Ed.): Mediasch. A historical foray through the Transylvanian-Saxon city on the Kokel . Schiller, Sibiu (Hermannstadt) / Bonn 2009, ISBN 978-3-941271-15-9 , pp. 117-138 .
Images of the Medias altar panels in comparison with the corresponding works by Israhel van Mechenem, Martin Schongauer, Hans Pleydenwurff, as well as the masters of the Schottenstift altar and the Breslau madder altar.
  • Ciprian Firea: "Per bireti nostri capiti impositionem investimus ...". Arhipresbiteri, însemne heraldice şi artǎ în renaşterea timpurie din Transilvania . In: Ars Transilvania XXIII . 2013, p. 99-123 .
- on the question of the donor's image on the predella painting of the Last Supper

Works with illustrations

Photographs of the condition of the altar before restoration can be found in Richter (1991). Detailed photos of the altar and its panels can be found in Folberth (1973), Drotloff (2009), Sarkadi-Nagy (2012) and Firea (2013).

Individual evidence

  1. ↑ a b Hansotto Drotloff: The Mediascher winged altar and its master . In: Hansotto Drotloff, Günter E. Schuster (Ed.): Mediasch. A historical foray through the Transylvanian-Saxon city on the Kokel . Schiller, Sibiu (Hermannstadt) / Bonn 2009, ISBN 978-3-941271-15-9 , pp. 120 .
  2. ↑ a b c d Hermann Fabini: Mediasch. In: Sacred architecture in Transylvanian-Saxon cities . monuMenta Verlag & Working Group for Transylvanian Cultural Studies, Sibiu (Hermannstadt), Heidelberg 2013, ISBN 978-973-7969-15-6 , p. 199 .
  3. ↑ Harald Krasser: On the Transylvanian successor to the Schottenmeister . In: Austrian Journal for Art and Monument Preservation (27) . 1963, p. 109-121 .
  4. ↑ Otto Folberth: Gothic in Transylvania - The Master of the Mediasch Altar and His Time . Schroll, Vienna, Munich 1973, ISBN 3-7031-0358-2 .
  5. ^ Emese Sarkadi Nagy: Local Workshops - Foreign Connections: Late Medieval Altarpieces from Transylvania . In: Studia Jagellonica Lipsiensia, Volume 9 . Thorbecke, Ostfildern 2012, ISBN 978-3-7995-8410-4 , p. 175-178 .
  6. ^ Emese Sarkadi: Produced for Transylvania - Local Workshops and Foreign Connections. Studies of Late Medieval Altarpieces in Transylvania. PhD dissertation in Medieval Studies . Central European University , Budapest 2008, p. 82 .
  7. ↑ a b Ciprian Firea: "Per bireti nostri capiti impositionem investimus ...". Arhipresbiteri, însemne heraldice şi artǎ în renaşterea timpurie din Transilvania . In: Ars Transilvania XXIII . 2013, p. 99-123 .
  8. ^ Emese Sarkadi: Produced for Transylvania - Local Workshops and Foreign Connections. Studies of Late Medieval Altarpieces in Transylvania. PhD dissertation in Medieval Studies . Central European University, Budapest 2008, p. 81 .
  9. ^ Emese Sarkadi: Produced for Transylvania - Local Workshops and Foreign Connections. Studies of Late Medieval Altarpieces in Transylvania. PhD dissertation in Medieval Studies . Central European University, Budapest 2008, p. 86 .
  10. ^ Gisela and Otmar Richter: Transylvanian winged altars . In: Christoph Machat (ed.): Cultural monuments Transylvania. Vol. 1 . Word and World, Thaur near Innsbruck 1992, ISBN 978-3-85373-149-9 .
  11. ↑ Hansotto Drotloff: The Mediascher winged altar and its master . In: Hansotto Drotloff & Günter E. Schuster (Ed.): Mediasch. A historical foray through the Transylvanian-Saxon city on the Kokel . Schiller, Sibiu (Hermannstadt) / Bonn 2009, ISBN 978-3-941271-15-9 , pp. 121 .
  12. ↑ Victor Roth: The late Gothic winged altar in Mediasch . In: Archives of the Transylvanian Regional Studies Association (34) . 1907, p. 193-240 .
  13. ^ Theobald Streitfeld: Something about the crucifixion of the Mediasch Altarpiece . In: Correspondence sheet of the Association for Transylvanian Cultural Studies, 53 . 1930, p. 52-55 .
  14. ^ A b Franz Juraschek: Medieval Vienna in an unknown view . In: Kirchenkunst, Austrian magazine for the care of religious art, 2nd year, 2nd issue . Vienna 1930, p. 45-46 .
  15. ^ Ferdinand Opll: The face of the city of Vienna at the end of the Middle Ages. Known and new things about the "Vienna Views" on panel paintings from the 15th century . In: Yearbook of the Association for the History of the City of Vienna (55) . 1999, p. 101-145 .
  16. ↑ Victor Roth: The crucifixion picture of the Mediascher winged altar . In: Correspondence sheet of the Verein für Siebenbürgische Landeskunde (53), No. 11-12 . 1930, p. 280-281 .
  17. ↑ Tibor Gerevich: Erdély Müvészet (The handicrafts of Transylvania, Hungarian) . In: Magyar Szemle, 12 . 1934, p. 225-241 .
  18. ↑ Antal Kampis: o. T. (Review Victor Roth: Die deutsche Kunst in Siebenbürgen, 1934) . In: Szászadok ("The Centuries", Hungarian) vol. 69 . 1935, p. 451-456 .
  19. ↑ Virgil Vatasianu: o. T. In: Istoria artei feudale în țǎrile romîne. Vol. 1 . Cluj 1959, p. 781-785 .
  20. ↑ George Oprescu: The fortified churches in Transylvania . Sachsenverlag, Dresden 1961, p. 35 .
  21. ↑ Otto Folberth: On the riddle of the Medias crucifixion . In: Klingsor, Siebenbürgische Zeitschrift, 10th year . Kronstadt 1933, p. 371-377 .
  22. ↑ Hansotto Drotloff: The Mediascher winged altar and its master . In: Hansotto Drotloff, Günter E. Schuster (Ed.): Mediasch. A historical foray through the Transylvanian-Saxon city on the Kokel . Schiller, Sibiu (Hermannstadt) / Bonn 2009, ISBN 978-3-941271-15-9 , pp. 134 .
  23. ^ Alfred Stange: German Gothic painting. Vol. 11 Austria and the East German settlement area from Danzig to Transylvania in the period from 1400 to 1500 . Deutscher Kunstverlag, Munich, Berlin 1961, p. 162 .
  24. ↑ Otto Folberth: Gothic in Transylvania. The master of the Medias Altar and his time . Schroll, Vienna, Munich 1973, ISBN 978-3-7031-0358-2 .
  25. ↑ Dietmar Priebisch: The "Mediascher Meister", an epigone? About the template of the Passion Altar from Mediasch . In: Südostdeutschland Vierteljahresblätter, 18 . 1979, p. 116-121 .
  26. ^ A b Adam Labuda: Israhel van Meckenem and Eastern European Painting. Reflections on the reception of the spiritual model . In: Unser Bocholt, 33, No. 4 . 1982, p. 47-56 . , quoted from Drotloff & Schuster, 2009
  27. ^ Hermann Fabini: Striking similarities discovered. On the question of the origin of the Medias altar panels . In: Karpatenrundschau . 1979, p. 6 . , quoted from Drotloff & Schuster, 2009
  28. ^ Emese Sarkadi: Produced for Transylvania - Local Workshops and Foreign Connections. Studies of Late Medieval Altarpieces in Transylvania. PhD dissertation in Medieval Studies . Central European University , Budapest 2008, p. 75-81 .
  29. ^ Victor Roth: Transylvanian Altars . In: Studies on German Art History, No. 192 . Strasbourg 1916, p. 57 .
  30. ↑ Daniela Damboiu, Iulia Mesea: confluences: European remuneration of Transylvanian art. Exhibition catalog of the Brukenthal Museum . Ed .: Muzeul Național Brukenthal. Sibiu 2007, ISBN 978-973-117-062-6 , pp. 140 .
  31. ↑ Harald Krasser: On the Transylvanian successor to the Schottenmeister. Austrian Journal for Art and Monument Preservation, 27 (1973), pp. 109–121. Ders .: The Biertan altarpieces and the Transylvanian successor to the Scottish master. Archive of the Association for Transylvania Regional Studies, 13 (1976), pp. 96-108. Ders .: The Biertan altarpiece and the Transylvanian successor to the Scottish master. In: Gustav Gündisch , Albert Klein, Harald Krasser and Theobald Streitfeld (eds.): Studies on the Transylvanian Art History. Bucharest, Kriterion (1976), pp. 193-214
  32. ^ Robert Suckale: The painter Johannes Siebenbürger (around 1440-1483) as a mediator of Nuremberg art to East Central Europe . In: Evelin Wetter (Ed.): The countries of the Bohemian Crown and their neighbors at the time of the Jagiellonian kings (1471 - 1526). Art - Culture - History, Studia Jagellonica Lipsiensia 2 . Ian Thorbecke Verlag, Ostfildern 2004, ISBN 978-3-7995-8402-9 , pp. 363-384 .