Fourteenth-century Barcelona was home to a number of flamboyant artistic workshops producing cartoon-like altarpieces for a wider market.
Category: Medieval Histories
‘Medieval Histories’ offers medievalists all the news about exhibitions, books, research, archaeology, travel-tips and much more from the Medieval World
The Altenberg Madonna
Altenberg Madonna Enters the Städel Museum: A Landmark Acquisition
This morning, the Städel Museum announced what can rightly be described as a watershed moment for the study and appreciation of medieval art in Germany: the acquisition of the Madonna and Child Enthroned, known as the Altenberg Madonna. Dating from around 1320–1330, the sculpture entered the museum’s collection through the joint support of the Ernst von Siemens Art Foundation, the Städelscher Museums-Verein, and the Kulturstiftung der Länder.
With the acquisition of the Altenberg Madonna—made possible through the generous support of leading German cultural foundations—the Städel Museum in Frankfurt achieves the long-awaited reunification of the Altenberg Altar. This exceptional 14th-century Gothic sculpture thus ranks among the most significant acquisitions in the museum’s history.
Considered one of the supreme masterpieces of German Gothic sculpture and among the earliest surviving works of 14th-century Cologne production, the Altenberg Madonna is listed as cultural property of national importance and is therefore subject to strict export protection.
A Long-Awaited Reunion
The sculpture was originally created for the Altenberg Altar, commissioned for the abbey church of the Premonstratensian convent of Altenberg an der Lahn, near Wetzlar in Hesse. For more than a century, the Städel Museum has preserved the painted wings of this extraordinary polyptych—among the oldest examples of German panel painting in its collection. The altar’s central shrine has long been held on permanent loan from the Braunfels Castle Museum. With the acquisition of the Madonna, once positioned at the very heart of the ensemble, the Altenberg Altar can now be fully reassembled and permanently presented to the public for the first time in its history.
The sculpture’s recent history reflects a prolonged period in private ownership. From the late 1920s onward, the Altenberg Madonna was located in southern Germany and, from 1981, remained on permanent loan to the Bayerisches Nationalmuseum in Munich. Its transfer to the Städel thus represents not only a major enrichment of the museum’s collection, but also a symbolic and historical return of the work to its original artistic and narrative context.
Philipp Demandt, Director of the Städel Museum, remarked: “After one hundred years, the celebrated Altenberg Madonna has returned to its rightful place at the heart of the altar—a truly memorable moment in the history of the Städel. This exceptional acquisition was made possible by the foresight of the owners and the extraordinary commitment of our supporters. I extend my sincere thanks to the Ernst von Siemens Art Foundation, the board and members of our supporting association, and the Kulturstiftung der Länder.”
The Altenberg Altar in Context
The Altenberg Altar occupies a distinguished place in the history of European sacred art. From the late 13th century onward, sculpted and painted altarpieces became central fixtures in churches across Latin Europe, fostering close collaboration between painters and sculptors. Particularly north of the Alps, altars with movable wings were developed to accommodate changing liturgical requirements throughout the church calendar. Created around 1330, the Altenberg Altar is among the earliest surviving examples of this innovative format.
On weekdays, the altar displayed scenes from the Passion of Christ against a dark ground. Gradual opening revealed the central shrine containing the Altenberg Madonna, surrounded by the abbey’s relics. On Sundays, a partial opening presented the Virgin flanked by episodes from her life. This sophisticated iconographic program emphasized Mary’s role as patroness of both church and convent, reflecting the significance of Marian devotion in the spiritual and political life of the region.
The abbey of Altenberg maintained close ties to the ruling family of the landgraves of Hesse and Thuringia. After the death of Ludwig IV of Thuringia, Saint Elizabeth of Thuringia entrusted her youngest daughter, Gertrude, to the abbey. Gertrude later became abbess and shaped its fortunes for decades, while the presence of Saint Elizabeth’s relics established Altenberg—alongside Marburg—as a major center of her veneration.
Artistic Excellence and Preservation
Artistically, the Altenberg Madonna belongs to the well-known type of enthroned Virgins with the standing Christ Child, developed in Cologne under strong French influence. Related examples are preserved in numerous collections, including the Liebieghaus Skulpturensammlung in Frankfurt. The Altenberg Madonna, however, is distinguished by its extraordinary sculptural refinement and the exceptional preservation of its original polychromy—an exceedingly rare survival for wooden sculpture of this period.
Mary is shown as a youthful figure with a gentle, animated smile, seated on a throne with a slender cushion and a high back crowned by a pointed, ornamental gable. Her feet rest upon a polygonal base adorned with tracery. In her right hand she once held a lily, symbol of her virginity and emblem of her queenship, while her left supports the Christ Child, who stands partly on her thigh and partly on the throne. The Child’s gesture—reaching toward the lost lily while clutching a bird that pecks painfully at his finger—subtly prefigures the Passion.
The sculpture’s splendor is further enhanced by the gilded garments of both figures, enriched with glass insets imitating precious stones, and by the original presence of a crown. Mary’s gold mantle, lined with ermine, underscores her role as Queen of Heaven, while the lavishly decorated throne affirms the sacred and regal character of the image.
Monastic Culture and Provenance
The Altenberg Madonna and its altar also stand as eloquent testimony to the artistic and spiritual achievements of medieval female monastic culture. Within a society dominated by male hierarchies, the Premonstratensian nuns of Altenberg fostered a remarkably sophisticated theological and artistic environment, giving rise to one of the most distinguished sacred ensembles of its time.
The sculpture’s provenance is comprehensively documented. Following the secularization of the abbey in 1803, the Madonna passed into the possession of the princes of Solms-Braunfels and was sold in 1916 to Munich art dealer A. S. Drey. By the late 1920s, it entered the collection of Julius Böhler, remaining in family ownership until its acquisition by the Städel Museum.
Martin Hoernes, Secretary General of the Ernst von Siemens Art Foundation, commented: “The Altenberg Madonna is a captivating and remarkably early example of Cologne’s medieval sculpture. Preserving cultural heritage for present and future generations lies at the heart of our mission. Bringing this work—from Cologne via Altenberg to Frankfurt—to the Städel Museum fulfills our founder Ernst von Siemens’s conviction that works of art should be placed where they can be experienced by the widest possible audience.”
PHOTOS:
The Altenberg Madonna © Städel Museum and Norbert Miguletz
SOURCE:
PRESS RELEASE: Altenberg Madonna acquired for the Städel
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Putin’s Medieval Dream of Ruling an Empire
At his Alaska meeting with Trump, Putin made a curious demand that cut to the heart of the war: he wants to rule as Czar of a medieval-style empire
“Mr. Putin also demanded guarantees that Russian should be an official language in Ukraine, and that security should be established to allow the Russian Orthodox Church to be reinstated as the leader of the Orthodox Church in Ukraine”, wrote New York Times in a reference to Putin’s and Trump’s negotations in Alaska.
In truth, these demands appear downright bizarre. Consider the context: Russia has waged a war of aggression that, so far, has cost around a million Russian lives or ruined their health, without securing any meaningful territorial gains. And yet, Putin shows up in Alaska with demands that, beyond territorial concerns, peace should also reinstate the Russian language and the Russian Orthodox Church as national cultural focal points in the future Ukraine. Why is this so important to him? What is this war really about? Generally, three explanations are put forward:
Putin, the man
The first type of explanation is individual-oriented. Here we note that Putin, for one reason or another, appears as a character deviant. Maybe he is also ill (Parkinson’s has been mentioned). What we have witnessed since 2014, when Crimea was annexed, really looks from the outside like the work of a madman. For who else but psychopaths with delusions of grandeur start a war whose main manifestation is terror-bombings of civilians in Kyiv and the rest of Ukraine? And where more than a million Russian soldiers have ended up dead or maimed in the meat grinder of the battlefield since 2022?
Further on, commentators have attempted to dig deeper into Putin’s personal history. He was born in 1952 in Leningrad as the youngest son of a factory worker and soldier. His childhood home was undoubtedly also marked by a couple of other circumstances, namely that his grandfather had been cook for both Stalin and Lenin, while his mother was a dedicated churchgoer and believer. There must have been a certain “cognitive dissonance” in that home. In addition, it would have been marked by the stories of one of his two brothers, who died of hunger in Leningrad in 1942. The Revolution and the war would have been ghosts that haunted his childhood and youth. After school and university, where he studied law and economics, he was recruited in 1975 to the KGB. He then served in the GDR as liaison officer until 1989. After the coup against Gorbachev, however, he changed horses in midstream to support the restoration of the defunct Russia. In 1998 he was appointed head of the FSB (the KGB’s successor), until he was elected president in 2000. Might this be enough of an explication? Somehow, it does not quite suffice to explain the odd demands quoted here. We need more context
Putin, the medieval emperor
Although the sources are sparse, there is a straight line from Putin’s deeply felt regret over the collapse of the Soviet Union to his self-proclaimed preoccupation with Russia’s medieval history and the Russian Orthodox Church. He has himself mentioned this as a background for his political positioning.
This preoccupation with the Middle Ages is clearly linked to his desire to re-establish the world order that prevailed before the invention of the “nation” in the 1500s as the primary political “actor”. In short, the idea of a Europe of imagined communities configured as nations consolidated during the 15th and 16th centuries, to be finally codified in 1648 in Westphalia. Since then, the idea spread in a way that made it seem “natural.” Today in the Western world we no longer think in terms of empires, but rather nations shaped by the basic dictum: cuius regio, eius religio, with our addition, eius lex. The original dictum was confirmed in 1555 in Augsburg, though first formulated in 1582. It means: “Each kingdom, its religion (and its law.)”
The consequences of this “naturalness” with which we live with the national idea were according to his own words experienced acutely by Putin when the Russian Empire definitively collapsed after 1989, and everything from the Baltic States to Kazakhstan broke out of the Soviet imperial iron fist.
Putin, the latter-day Czar
Thus, there seems at least on the discursive and narrative level to be a clear connection between Putin’s loathing of the idea of “national independence,” his desire to restore “the Russian Empire,” and his preoccupation with Russian history as rooted in the Kievan Rus’ Empire.
From about 880–1100 a group of Nordic Vikings ruled over a huge territory that stretched from the Black Sea to the tundra in the north and across the Pontic steppe to the German forests in the west. Although this empire waxed and waned, it ruled the territory until 1240 when the Mongols sacked Kyev. Only with the Mongols’ final defeat by the Russians in 1480 did the center of gravity finally move eastward to Moscow. Apparently, it is this Viking empire that Putin has feared might re-emerge as a strong economic center. One, which perhaps even in the long run draw Belarus into its orbit, further reducing Russia to an even more insignificant periphery – a nation among other nations, leaving the global scene to USA, China and India.
To put it simply: Just as Ivan the Terrible and Peter the Great had ambitions of being almighty Czars, the same applies to Putin. In this game he has of course received financial support from the oligarchs, who early on understood how to seize the Soviet Union’s massive natural resources, including the vast gas deposits. Lately, there was presumably a growing concern among these power brokers that Europe was moving toward a sustainable transition to more CO₂-neutral energy production, energizing the plans for “more control”. And following this, the war on Ukraine.
Given these economic interests, it is nevertheless significant that throughout the lead-up to the war in 2014 and the massive escalation of hostilities after 2022, Putin has consistently advanced “cultural,” “historical,” and “religious” rather than economic reasons for the war’s necessity.
Thus, Putin has also found support in the Russian Orthodox Church and its ambitions to once again control the Ukrainian church, which achieved independence in 2019 as a result of the schism between the leadership of the Russian church and the Ecumenical Patriarch in Constantinople. It is probably another reason why Putin could be quoted by the New York Times as having stipulated that supremacy over the Ukrainian church must again lie in Moscow.
These historical and cultural narratives have from the very beginning been intertwined and fairly unambiguous. The story is that Ukraine had adopted the West’s decadent culture and was heading toward membership in the EU (and perhaps NATO). Since Ukraine, however, had historically always been the starting point for Russia and therefore a natural part of the Russian Empire, this was an intolerable situation for an imperialist like Putin. In his view, Ukraine could not, historically speaking, continue as an independent nation.
Putin, an imperialist?
It is clear that in Putin’s eyes only empires should exist – that is, centralized spheres of power – and not nations. Which, incidentally, is a perspective he shares with Trump, who also regards nations – for example Canada and Greenland – as political perversions.
But the explanation is not only cultural and historical. It is also economic, in that we are observing here a former centre’s attempt to recapture its previous identity as an empire.
In other words: an entirely necessary insight from what in the social sciences is called “World System History” seems crucial to understanding what is happening.
Within this framework of understanding, Ukraine must be characterised as a former periphery that managed to stage a revolt against the former weakened centre’s economic exploitation. Culturally, Ukraine then escaped by reinventing itself as a cosmopolitan Western country complete with southern-style cafés, its own church, its own language, and a magnificent nature. In an increasingly tense militarized environment in Moscow and its surroundings, the newly established periphery – the nation-state Russia – then prepared to subjugate the former periphery in order, at the same time, to re-establish the Russian Empire as culturally superior and thereby (also) position itself as an economic power.
That Putin in this perspective has drawn heavily on the neo-medieval narrative of Russia’s cultural, popular, and economic superiority is no surprise. But in reality it is banal: it is about strong feelings of powerlessness and the dream of regaining power; and envisioning it as an empire.
It amounts to an almost medieval approach to the future world order of the 21st century.
Karen Schousboe
READ:
World System History. The Social Science of Long-Term Change.
Ed. by Robert A. Denemark, Jonathan Friedman, Barry K. Gills, and George Modelski.
Routledge 2008.
Coercion, Capital, and European States, AD 990–1900:
By C. Tilly
Blackwell 1990
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Women in the Viking World
Imagining women’s lives and ways of thinking in another world is complicated. How do we transgress the barriers of our own cultural predispositions? These questions were recently explored at a conference focusing on “Women in the Viking World”.
How should we imagine the lives of Viking women? And in what way – if any – did their lives change with the introduction of Christianity? Did the conversion entail limitations? Or did it create new possibilities for women in terms of equality? For instance, concerning intellectual possibilities inside religious communities?
These questions have been debated in the last 40 years, since the seminal book published by Judith Jesch in 1991, which was based on her research in the 1980s.
In recent years, however, a new archaeological focus has been observed in Viking Studies research on women. This trend took off in 2013, with Gardela’s initial work on “warrior-women” culminating in his book published in 2021. His work followed the footsteps of the research published in 2017, which led to the 2019 publication in Antiquity on reassessing the Viking Warrior women in the Birka grave BJ. 581.
During the summer of 2024, scholars and graduate students gathered in Liverpool in the UK to take stock, exploring questions of identity, gender, status, migrations, settlements, emotions and consciousness, as well as the lived experience as evidenced by archaeology and anthropology.
One conclusion was that “age” appeared more critical than “gender” when mapping status as witnessed by grave goods. However, assemblies of grave goods did indeed signal gender. Another venue explored was based on studies of women’s histories as witnessed in Runic Stones, not least the story of the Danish Queen Thyra, which Danish archaeologists and runologists have recently studied. Following this, the question of how to avoid cultural myopia, for instance, when identifying male rods as “spires” or “sceptres” signalling juridic power as opposed to female rods, which are habitually identified as staffs, signalling otherworldly or religious capabilities.
Finally, the conference explored new ways of reading the Icelandic Corpus of texts to grasp women’s emotional and political realities when dealing with the everyday experience of making a living. One particular effort was represented by papers exploring the normative systems and the space allotted for emotional and practical transgressions in these texts.
“If the conference aimed to provide an arena for the exchange of ideas between disciplines about recent and currently ongoing research projects within Viking Studies, it was most definitely a success. The presenters showed the relevance of prioritizing the study of the women in the Viking world, both in their lived experiences, as evidenced by the archaeological studies, and in the literary representation and depiction of women. Whether this divide itself is possible to bridge cannot be resolved so easily, and the conference hopefully spurs further attempts to engender clarifying research into these areas”, writes Kim Bergqvist from Stockholm University in a fine overview of the conference in a recent issue of Scandia.
PHOTO:
Ane Halsboe-Jørgensen, current minister for Cultur & Church posing as “Vølve”. The Photo was taken as part of series of ten portraits by the artist Jens Lyngvild as part of an exhibition at Køge Museum , Vølver, Guld og Guder / © Jens Lyngvild
SOURCE:
Women in the Viking World. Conference report from the University of Liverpool (27. – 28. August 2024)
Ed by Kim Bergquist
In: Scandia. Journal of Medieval Norse Studies (2024) No 7
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