Ravensburger protective coat Madonna

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Ravensburger Schutzmantelmadonna (Michel Erhart)
Ravensburger protective coat Madonna
Michel Erhart , around 1480
Wood carving
Bode Museum , Berlin

The Ravensburger Schutzmantelfadonna (also Ravensburger Schutzmantelfrau ) is a late Gothic Madonna statue made of limewood with a protective coat that covers ten people and gave the sculpture its name. The sculpture was created around 1480 by the artist from the Ulm school Michel Erhart or the sculptor Friedrich Schramm and is now in the Bode Museum (former Kaiser Friedrich Museum ) in Berlin , but originally comes from the Liebfrauenkirche in Ravensburg . Several copiesof the work can be found in several churches in Germany and around the world.

Image description

In contrast to numerous other depictions of the protective cloak Madonna, the Ravensburg figure shows Mary without the baby Jesus. Maria is dressed in a gold-colored undergarment that reaches down to her feet and a wide cloak that is decorated with a precious weave pattern. She spreads this cloak with both arms to protect ten people underneath. She has covered her head and shoulders with a veil, which still allows a glimpse of her rich hairstyle. The rich drapery of the robe corresponds to the date of origin of the sculpture in the late 15th century, which documentary tradition suggests.

history

The work was created on behalf of the Ravensburger patrician Clemens Ankenreute and stood on the high altar of the Liebfrauenkirche from 1480 (or 1489). When the Madonna was carried through the city during a penitential walk during an outbreak of the plague, an ebb of the plague could be determined, which was attributed to the effectiveness of this walk and the Madonna. From then on, this “miracle” led to great veneration of the Ravensburger Schutzmantelmadonna and her adoration in danger and need.

The Madonna was later removed from the church - "giving way to the changed taste in art" - and deposited in an attic. Before 1837 it came into private ownership and was acquired by the Berlin museums in 1850, where it is still located today. In 1935, an artist from Weingartner made a true-to-life copy, which was installed in the Ravensburger Liebfrauenkirche. This so-called homecoming of "our dear lady" became the occasion for "The Game of the Ravensburger Schutzmantelmadonna." The Marian play about the creation of the picture was performed between 1935 and 1946 at several locations in Upper Swabia.

In the final phase of the Second World War , a British bomber pilot allegedly saw the protective coat Madonna just before he flew to Ravensburg and wanted to drop his bomb load over the city. In his story, he stated that for this reason he turned back and that the city of Ravensburg was spared from air raids that day. Out of gratitude, the largest and most important square in Ravensburg was renamed Marienplatz after the war .

literature

  • Peter Eitel : The Ravensburger Schutzmantelmaria. Observations on the history of a medieval work of art . In: Ernst Ziegler (Ed.): Art and culture around Lake Constance. Ten years of the Langenargen Museum. Ceremony for Eduard Hindelang . Thorbecke, Sigmaringen, 1986, ISBN 3-7995-4099-7 , pp. 111-120.
  • Antje-Fee Köllermann, Iris Wenderholm (ed.): The Bode Museum. 100 masterpieces. Museum of Byzantine Art, Sculpture Collection, Coin Cabinet . 2. verb. Aufl. Staatliche Museen zu Berlin, Berlin 2006, ISBN 3-88609-546-0 .
  • Hermann Tüchle : The protective jacket woman. About the history and the meaning of their veneration. In: Robert Mayer (editor), Pfarramt Liebfrauen Ravensburg (Hrsg.): 700 years Pfarrei Liebfrauen. 500 years of protective jacket woman Ravensburg. 1280-1980. Pfarramt Liebfrauen, Ravensburg 1980, DNB 941109240 , pp. 18–37.

Web links

Commons : Ravensburger Schutzmantelmadonna  - Collection of pictures, videos and audio files

Individual evidence

  1. ↑ As the term Madonna especially for presentations with used child avoid some authors the term Schutzmantelmadonna , although the figure corresponds otherwise this type. Terms such as protective coat woman (Hermann Tüchle), protective coat Maria or Maria with the protective coat (Staatliche Museen zu Berlin) have so far not really caught on, as their large number shows.
  2. ↑ An inscription on the altar mentioned the carver Friedrich Schramm and the year, which was identified as 1480 or 1489. See Alfons Dreher : History of the imperial city of Ravensburg and its landscape from the beginnings to mediatization in 1802 . Anton H. Konrad and Dorn'sche Buchhandlung, Weißenhorn and Ravensburg 1972.
  3. ↑ Königliche Kunstkammer, later Kaiser-Friedrich-Museum, after 1945 in the West Berlin Sculpture Department, Sculpture Collection Berlin-Dahlem, today Sculpture Collection and Museum of Byzantine Art in the Bode Museum .
  4. ↑ Mary with the protective cloak. In: SMB-digital - online database of collections. State museums in Berlin; - sculptures from the Christian epochs from late antiquity to classicism. From the holdings of the sculpture department of the State Museums, Prussian Cultural Heritage Foundation, Berlin Dahlem . Prestel-Verlag, Munich 1966, DNB  456114645 , p. 73 No. 345 plate 57 . - Hermann Tüchle : The protective jacket woman. About the history and the meaning of their veneration. In: Robert Mayer (editor), Pfarramt Liebfrauen Ravensburg (Hrsg.): 700 years Pfarrei Liebfrauen. 500 years of protective jacket woman Ravensburg. 1280-1980. Pfarramt Liebfrauen, Ravensburg 1980, DNB 941109240 , pp. 18–37, here p. 19.
  5. ↑ Ravensburger protective coat woman. 50 years The game from the Ravensburger protective jacket woman. Ravensburg 1985, undated
  6. ^ Catholic parish of Liebfrauen Ravensburg: Liebfrauen Ravensburg - Schutzmantelmadonna ( Memento from March 26, 2010 in the Internet Archive ).