Santiago de Compostela. Pilgerarchitektur und bildliche Repräsentation in neuer Perspektive

Die Kathedrale von Santiago de Compostela, als Ziel und Höhepunkt der Pilgerwege zum Jakobsgrab, darf heute mehr denn je Aufmerksamkeit beanspruchen, nicht nur als Ziel des Jakobsweges, sondern vor allem als architektonische und kulturgeschichtliche Quelle. Das mehrjährige Forschungsprojekt von Bernd Nicolai, Universität Bern und Klaus Rheidt, Universität Cottbus, 'Die Kathedrale von Santiago de Compostela - Gestalt, Funktion und Programm', das den Bau und seinen architektur- und kunstgeschichtlichen Kontext von Grund auf neu untersucht, legt hier eine Zwischenbilanz vor. Der Band präsentiert erstmalig Ergebnisse zu Bauverlauf und Ausstattung auf der Basis einer neuen Bauforschung, Baugeschichte und Quellenanalyse und konfrontiert sie mit aktuellen internationalen Forschungen in Spanien, den USA, der Schweiz, Deutschland, England und Frankreich zum Themenbereich der Pilgerstraßenarchitektur und -skulptur.

Printed Narrative: The Festival Books for Archduke Ernest of Austria from Brussels and Antwerp 1594

Workshop „The Narrative in Eastern and Western Art“, Graduate School of Letters, Kyoto, 2-5 December 2013 Abstract by Ivo Raband, University of Berne Printed Narrative: The Festival Books for Ernest of Austria from Brussels and Antwerp 1594 During the early modern period the medium of the festival book became increasingly more important as an object of ‘political narration’ throughout Europe. Focusing on Netherlandish examples from the sixteenth and seventeenth centuries, my talk will focus on the festival books printed for the Joyous Entries of Archduke Ernest of Austria (1553–1595). Ernest was appointed Governor General of the Netherlands by King Philipp II in 1593, being the first Habsburg Prince to reside in Brussels since 30 years. In Brussels and Antwerp, the Archduke was greeted with the traditional Blijde Imkomst, Joyous Entry, which dates back to the fourteenth century and was a necessity to actually become the sovereign of Brabant and Antwerp and to uphold the privileges of the cities. Decorated with ephemeral triumphal arches, stages, and tableaux vivants, both cities welcomed Ernest and, at the same time, demonstrated their civic self-assurance and negotiated their statuses. In honor of these events of civic power, the city magistrates commissioned festival books. These books combine a Latin text with a description of the events and the ephemeral structures, including circa 30 engravings and etchings. Being the only visual manifestation of the Joyous Entries, the books became important representational objects. The prints featured in festival books will be my point of departure for discussing the importance of narrative political prints and the concept of the early modern festival book as a ‘political object’. By comparing the prints from Ernest’s entries with others from the period between 1549 and 1635, I will show how the prints became as important as the event itself. Thus, I want to pose the question of whether it would have been possible to substitute a printed version of the event for the actual ceremony.