Stone Bible (Schöngrabern)
The so-called Stone Bible by Schöngrabern is an extraordinary Romanesque relief that is attached to the apse of the parish church in Schöngrabern in Lower Austria . They can be described as a special form of a Biblia pauperum .
The reliefs on the apse, which dates from the first third of the 13th century, represent a unique monument to such a decoration. The rich plastic jewelry is a unique phenomenon in Austria , comparable counterparts only exist in France and Italy . In the meantime, the thesis, which has since been refuted, has been put forward that the reliefs were created around 1580 against a late Reformation- Flacian background.
history
Most researchers give the period 1210 to 1230 as the time of creation of the sculptures.
The apse of the Schöngraben church received first attention in the 19th century. Between 1803 and 1805 the architect Karl Friedrich Schinkel made drawings of the “old Gothic chapel”. The first publication on the sculptures comes from the businessman Matthias Eissl in 1816. The first scientific work on the reliefs was written in 1818 by the Orient researcher Joseph von Hammer-Purgstall , who was the first to take the now controversial opinion that the groups of figures could be arranged in their order in the lower half of the apse from left to right and in the upper half in the opposite direction from right back to left. In 1962 the term “Stone Bible” was coined for this work of art.
description
Building description
The semicircular apse is divided into three bays by half columns. A cordon cornice divides the yokes so that a total of six rectangular fields are created. The reliefs in the fields deal with the struggle between good and evil, virtue and vice in the broadest sense, drawing on the old and new test offices , fables and animal stories.
The four half-columns rest on angular bases on a profiled base cornice and carry a round arch frieze with a tooth cut . The outer columns, in the north and south, do not directly adjoin the choir square , but leave a small space the width of a round arch frieze free as a framing field. The round arch frieze has a total of 20 arches, six each in the middle above the relief fields and one each outside. In the upper third, the yokes formed by the half-columns are horizontally divided by a richly profiled cornice band, which runs over all vertical structures and thus reshapes the profiles. This cornice band forms the basis for the three narrow arched windows with double bulging frames in the apse and at the same time serves as a roof for the groups of figures just below.
A little below the arched frieze, the wall has been withdrawn and creates an architrave so that the fields appear deeper. In the corners thus created between each yoke and the half-columns that delimit it, there are smaller columns with cube capitals in relief in the upper area, which end at the architrave and stand on fluted bases below.
The upper fields are divided into three sections by hanging columns next to the windows. Both of these hanging columns are only preserved on the south side, on the east and north side only the right column exists, of the left column only the capital and remains of the base.
Description of the groups of figures in the individual yokes
The three yokes each contain four, so a total of twelve reliefs. In each yoke there is a relief below the window and thus below the cordon cornice, one above the arched window where it adapts to the arch, and two flank the window opening delimited by the hanging pillars.
Southern yoke
Top center
God the Father, flanked on the left by the dove of the Holy Spirit and the jugs of Cana and on the right by the enthroned Maria with child.
A head with two hands can be seen between the arched window and the architrave of this field. A support stone for the architrave above rests on the head, which has short hair and whiskers. One hand with an outstretched thumb, forefinger and middle finger as well as a curved ring finger and little finger is bent downwards in a blessing towards the six jugs, the other holds an open book. On the right side Mary sits with the baby Jesus on a throne resting on lions' heads. The Mother of God wears a richly folded dress with long sleeves, the head is tied with a cloth. With her left hand she holds the child, with her right she offers him a fruit.
Top left
Archangel Michael as soul weigher
This group of figures is badly damaged so that only a few details are clearly visible. The Archangel Michael holds the Book of Life with his left hand and the scales with his right. At his feet lies the dead man, whose good deeds and sins are to be weighed. On the left edge of the field an angel appears as advocate, on the right side a devil drags the sins in a sack. Above the Archangel, the redeemed soul hovers heavenward.
The angel wears a casula over an upper garment , which is decorated like scales around the neck and over the chest. The right hand is on the chest and holds a book, the left is stretched out and holding a scale. The bowl facing the angel tilts on his side, the other is directed upwards. The angel's head and the scales are badly damaged, the rest of the figure - especially the wings - in relatively good condition.
A naked figure hurrying up with curled hair and a grimace-like expression tries to lower the lighter scale by adding a weight. This figure is also badly damaged, both legs are missing and of the left arm only the hand pointing upwards is left that seems to be holding a book or a scroll. This figure is followed by a similar, somewhat smaller figure, hurrying up quickly and seeming to be hauling a sack. It is also badly damaged.
Below the scales is a naked figure in a horizontal position with closed eyes. The arms are placed against the body, the legs are straight.
Below the group of figures is a carrying stone designed as a ram's head, above is a carrying stone for the architrave in the form of a figure with upturned arms and legs, which holds a cover plate on the head.
Top right
Damnation of vanity (?)
A female figure is harassed by a little devil who clings tightly to the train of the dress with his hands and legs. A second larger and damaged devil figure stabs a kettle with three human heads with a fork in his left hand.
The female figure wears a large veil, the ends of which extend on both sides of the wall surface. She is wrapped in a richly pleated dress with hanging sleeves, which is delimited by a strip at the neck. The dress has a train on which sits a small naked figure with unnaturally long arms, which is partially covered with this train and parts of the veil. The feet clad in pointed shoes are visible under the dress.
The right hand of the female figure is placed on the breast as if she were pointing to a square, diamond-shaped medallion that she wears around her neck. The left arm is broken off and can only be guessed by the traces of demolition on the wall. In the original state, the left hand was touched by the now heavily damaged naked shapeless figure on its side, who is holding a fork with her left hand. This fork is immersed in a cross section with three human heads.
Above the group of figures there is a supporting stone made of two birds. Between the two birds, which have turned their heads to one side, there is a flower-shaped ornament. The plumage of a bird is precisely worked and well preserved.
Below
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Immediately under the profiled cornice is the four-part group of figures consisting of Eve, the tree of knowledge, Adam and a devil.
Naked Eva stands on a stone. She is shown with long braids that fall down over her chest. In her left hand she is holding a fruit that she is eating. The right hand tries to cover its nakedness, the arm is embraced by a small dragon whose head is broken off and whose rear part is damaged.
The ornamentally treated tree of knowledge stands on a console between Adam and Eve. It has intertwined roots, three intertwined trunks that branch out in the crown, leaves and fruits. The top of the tree is damaged.
The figure of the naked Adam also stands on a stone and with his right hand picks a fruit from the tree. The left hand is on the stomach as if he had already eaten the forbidden fruit. She holds a bundle of leaves that covers the nakedness.
The devil rushing to the right of the group of figures in a kneeling position has grabbed Adam by the left shoulder. The figure of the devil shows a chilling facial expression, has bulging limbs and wavy hair. It differs significantly from the clumsy, but by no means unnatural, depiction of the other two figures.
On a cuboid in the lower zone between the choir square and the first half column there is a memorial inscription dated 1585 for the rector Niclas Eighorn.
Eastern yoke
Top center
Hell, symbolized by the nun and monk fighting the devil.
The resemblance of this group of figures to that from the middle of the northern yoke is unmistakable. Here, too, two human figures - apparently a nun and a monk - nestle around the curve of the apse window, who are grabbed by the hair by a devil with a contorted face and sticking out tongue. Both figures are tied to the devil's head with a ribbon.
The female figure standing on a supporting stone on the left wears a long dress with wide cut-out and falling sleeves, which reveals the tight-fitting sleeves of the undergarment, which are folded across. Over her head she wears a veil that falls over her shoulders, and she has placed her hands on her chest.
The male figure on the right is also standing on a small support stone. She has her arms up against her neck as if she wanted to loosen the tape with which she is tied to the devil's head. She wears boots and an outer dress, the long sleeves of which have numerous small cross pleats. A coat hangs over it, which falls on either side of the arms.
Top left
Wolf and crane.
Both figures are damaged. One of the bird's feet and both of the wolf's legs are broken off. It can still be seen that the crane surrenders itself innocently to evil.
Above this group of figures is a supporting stone for the architrave in the form of a figure with upturned arms and legs, which is holding a cover plate on its head. To the right of it are the remains of a hanging column consisting of the capital and two hands that were part of the bearing stone.
Top right
Samson with the lion. ( Ri 14.6 EU )
Samson with helmet and armor and long hair in a plait sits on the lion, which he has grabbed in the mouth with his right hand to tear it to pieces. He is dressed in a tight-fitting robe that partially lies over the lion's back. A flying drapery can be seen behind the figure, which cannot be clearly assigned due to the weather-related damage to the stone. It may be part of a coat that Samson wears or has worn over the robe.
Below
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The sacrifices of Cain and Abel before the throne of God.
In the center of this group of figures, God the Father sits on a throne adorned with small pillars and capitals above a dragon with a fish tail. He is shown with short beard and hair on his head and wears a long, sleeved robe. Two throws complete the clothing: a longer one, which is laid in wide, flat folds and almost reaches the end of the upper garment, and a shorter one, which extends into the lap. The bare feet rest on small stools. The right hand with outstretched thumb, index finger and middle finger as well as curved ring finger and little finger is raised to Abel in a blessing. The left hand holds out a scepter to Cain, the upper end of which bears a lily-like crown made up of three balls.
On both sides of the throne, Cain and Abel kneel with their offerings: on the right Cain with a bundle of sheaves tied together by a ribbon, on the left Abel with a lamb.
The figure of Cain wears a long robe that is tied around the waist with a belt. It has short sleeves and reveals the sleeves of an undergarment that reach up to the wrist. The figure has long hair behind the ears and the feet are dressed in half-boots.
Abel is dressed similarly to Cain, only the cloak around the neck and down the front of the chest is decorated with a strip. The hair growth also corresponds to that of Cain. A figure hurrying up behind him on the left, whose right arm has broken off, grabs Abel by the ear. The traces of demolition on the facade show that this arm was bent upwards. The position, clothing and facial expression of this figure are the same as those of the two sacrificing figures.
The fish-like, scaled dragon with a looped tail underneath the throne devours a person who is trying to free itself from its mouth. In the middle the kite has two fin-like arms with claws, with which it has grabbed a second naked figure in a horizontal position.
A cuboid of the third cuboid layer above the skirting board bears an inscription marked 1580, introduced with a cross and partially obscured.
Northern yoke
Top center
“People are attached to good things”, a symbol for heaven.
Above the round window is a male head with a long beard and long hair. A bearing stone for the architrave above rests on the head. Two male figures standing on supporting stones hold on to the strands of beard and hair and form the frame of the window arch. They wear half-boots, their clothing consists of outer garments, which are gathered around the hips with a belt.
Top left
Temptation of man.
A female figure holds a round mirror in her right hand, while with her left hand she holds a small blooming tree towards a male figure. She is dressed in a long dress with hanging sleeves and a train drawn to the left. Only the tight sleeves with parallel folds are visible of the undergarment. The figure wears a veil that spreads out in rich folds on the wall surface.
The male figure holds his arms crossed over his chest in a defensive gesture. She stands on a small stone, has short hair with a center parting and an upper dress that reaches to her knees. The legs are bare.
Top right
Fight against the bear.
An upright bear has grasped a person with its left paw who is about to stab a dagger in the side with its right hand. A hunter comes to his aid, holding a lance aimed at the bear with both hands, which the bear tries to grab with his right paw. The hunter wears long, parted hair, half-boots and an upper dress with close-fitting sleeves. He is accompanied by a dog that attacks the bear from behind.
Below
Fight with the lion.
A bare-chested hunter in a loincloth has raised his right hand with a battle ax to strike a lion, and with his left he grasps his throat. The folds of the loincloth wrap around the figure's upturned feet. The hunter is accompanied by two dogs. He is leading one on his right arm on a leash, the other has attacked the lion from behind. The group of figures only extends over a single stone block, so both dogs are shown vertically for reasons of space. The lion's left hind foot and the head of one of the dogs are broken off.
literature
- Federal Monuments Office : Dehio Lower Austria north of the Danube. Vienna 1990, ISBN 3-7031-0652-2 .
- Richard Kurt Donin : On the history of art in Austria. Verlag Margarete Friedrich Rohrer, Innsbruck / Vienna 1951, pp. 13–21.
- Rupert Feuchtmüller : "Schöngrabern - The Stone Bible". Verlag Herold GmbH, Vienna / Munich 1979, 2nd edition 1980, ISBN 3-7008-0167-X .
- Werner Hofmann , Ralph Andraschek-Holzer, Wilhelm Cerveny: The Stone Bible - The Riddles of Schöngrabern. A fragment. Verlag Bibliothek der Provinz, Weitra 2017, ISBN 978-3-902416-76-6 .
- Martina Pippal : The parish church of Schöngrabern. An iconological study of their apse reliefs (= publications of the Commission for Art History, Volume 1). Publishing house of the Austrian Academy of Sciences, Vienna 1991, ISBN 3-7001-1911-9 .
- Martina Pippal: Schöngrabern, church, Kremsmünster , treasury, Klosterneuburg , treasury. In: Dictionary of Art. 1996, Volume 18, pp. 154-155 & Volume 28, pp. 447-448.
- Gustav Heider : The Romanesque church to Schöngrabern in Lower Austria. A contribution to Christian art archeology. Verlag Carl Gerold & Sohn, Vienna 1855 ( digital edition from Digitale-sammlungen.de).
Web links
- Pfarramt Schöngrabern: The Romanesque Church of Schöngrabern - The Stone Bible. A brief introduction. In: grabern.riskommunal.net (PDF; German, English, Czech, Chinese).
Individual evidence
- ↑ a b Pippal 1991, p. 10.
- ↑ Pippal 1991, p. 13.
- ↑ Rupert Feuchtmüller : The stone Bible. Vienna / Munich 1962 (new edition 1980 with new photos).
- ↑ a b c Dehio, p. 1052.
- ↑ Gustav Heider: The Romanesque Church to Schöngrabern , p. 88.
- ↑ a b c Dehio, p. 1053.
- ↑ Gustav Heider: The Romanesque Church of Schöngrabern , page 86.
- ↑ Dehio, p. 1052 f.
Coordinates: 48 ° 36 ′ 7 ″ N , 16 ° 3 ′ 53 ″ E