Siebenarmige Leuchter im 16. Jahrhundert
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Claudia Echinger-Maurach
Abstract
A drawing for a seven-branched candelabrum by MichelangeloMichelangelo (New York, Cooper-Hewitt National Design Museum), first published in 2002, is still known only to a narrow circle of specialists and has not been discussed by scholars since. The large-format presentation drawing raises questions concerning the artistic models as well as the material, scale, and intended location of the projected artefact. As the drawing was left partially unfinished, this chapter aims to reconstruct its form and iconography. Close analysis reveals that Michelangelo conceived the seven-branched candelabrum in the context of a funerary monument. Regarding the reconstruction of the intended context, it is interesting to note the similarities between MichelangeloMichelangelo’s project and a drawing by Baccio BandinelliBandinelli, Baccio (which has come down to us in a later copy) for the tomb of Pope Clement VII. The drawing shows a seven-branched candelabrum (presumably to be executed in relief) behind the pope’s sarcophagus. This demonstrates that in 16th-century Italy high-ranking clerics conceived funerary monuments to include seven-branched candelabra, even if none of these projects were ever realised. Apparently, this fits in with an antiquarian interest in the Temple, which is also substantiated by the analysis of a painting by Michelangelo’s contemporary and collaborator Marcello VenustiVenusti, Marcello, in which a representation of a seven-branched candelabrum plays a significant role as a marker of the Temple in Jerusalem.
Abstract
A drawing for a seven-branched candelabrum by MichelangeloMichelangelo (New York, Cooper-Hewitt National Design Museum), first published in 2002, is still known only to a narrow circle of specialists and has not been discussed by scholars since. The large-format presentation drawing raises questions concerning the artistic models as well as the material, scale, and intended location of the projected artefact. As the drawing was left partially unfinished, this chapter aims to reconstruct its form and iconography. Close analysis reveals that Michelangelo conceived the seven-branched candelabrum in the context of a funerary monument. Regarding the reconstruction of the intended context, it is interesting to note the similarities between MichelangeloMichelangelo’s project and a drawing by Baccio BandinelliBandinelli, Baccio (which has come down to us in a later copy) for the tomb of Pope Clement VII. The drawing shows a seven-branched candelabrum (presumably to be executed in relief) behind the pope’s sarcophagus. This demonstrates that in 16th-century Italy high-ranking clerics conceived funerary monuments to include seven-branched candelabra, even if none of these projects were ever realised. Apparently, this fits in with an antiquarian interest in the Temple, which is also substantiated by the analysis of a painting by Michelangelo’s contemporary and collaborator Marcello VenustiVenusti, Marcello, in which a representation of a seven-branched candelabrum plays a significant role as a marker of the Temple in Jerusalem.
Kapitel in diesem Buch
- Frontmatter I
- List of Contents V
- Introduction 1
-
I. Tabernacle and Temple
- Das Schicksal des siebenarmigen Leuchters aus dem Jerusalemer Tempel im mittelalterlichen Rom 3
- Priest, Temple, Jewishness, Redemption? 37
- Articulating the geometricalia of Scripture 79
- Vasari and Giambullari on the Menorah, the Tabernacle, and Bezalel 97
- Die Menora in Raffaels Vertreibung des Heliodor und Garofalos Vertreibung der Wechsler aus dem Tempel 143
-
II. Image and Exegesis
- tres gradus fidelium in ecclesia 169
- Jewish and Christian Re-Imagining of the Seven-branched Lampstand in the Postilla litteralis of Nicholas of Lyra (d. 1349) 217
- Der siebenarmige Leuchter im Speculum humanae salvationis 243
- The Sanctuary’s Implements 271
- “A Secret Particularly Obscure” 307
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III. Patronage and Memoria
- Aniane and Fulda 341
- Seven-branched Candelabra in Medieval England 365
- Marienwohlde oder Mölln? 415
- Siebenarmige Leuchter im 16. Jahrhundert 443
-
IV. Context and (Re-)Use
- Der siebenarmige Leuchter im Heiligtum von Mentorella (Vulturella) in Latium 475
- „Madonna del Albero, dandole tal cognome quella gran pianta“ 503
- Der siebenarmige Leuchter in der Marienkirche in Frankfurt an der Oder 543
- „den store liusestaken af bronz med dess Siu lampor“ 577
- Survivals and Revivals of the Menorah in Medieval and Early Modern European Synagogues 613
- Figures and Charts 653
Kapitel in diesem Buch
- Frontmatter I
- List of Contents V
- Introduction 1
-
I. Tabernacle and Temple
- Das Schicksal des siebenarmigen Leuchters aus dem Jerusalemer Tempel im mittelalterlichen Rom 3
- Priest, Temple, Jewishness, Redemption? 37
- Articulating the geometricalia of Scripture 79
- Vasari and Giambullari on the Menorah, the Tabernacle, and Bezalel 97
- Die Menora in Raffaels Vertreibung des Heliodor und Garofalos Vertreibung der Wechsler aus dem Tempel 143
-
II. Image and Exegesis
- tres gradus fidelium in ecclesia 169
- Jewish and Christian Re-Imagining of the Seven-branched Lampstand in the Postilla litteralis of Nicholas of Lyra (d. 1349) 217
- Der siebenarmige Leuchter im Speculum humanae salvationis 243
- The Sanctuary’s Implements 271
- “A Secret Particularly Obscure” 307
-
III. Patronage and Memoria
- Aniane and Fulda 341
- Seven-branched Candelabra in Medieval England 365
- Marienwohlde oder Mölln? 415
- Siebenarmige Leuchter im 16. Jahrhundert 443
-
IV. Context and (Re-)Use
- Der siebenarmige Leuchter im Heiligtum von Mentorella (Vulturella) in Latium 475
- „Madonna del Albero, dandole tal cognome quella gran pianta“ 503
- Der siebenarmige Leuchter in der Marienkirche in Frankfurt an der Oder 543
- „den store liusestaken af bronz med dess Siu lampor“ 577
- Survivals and Revivals of the Menorah in Medieval and Early Modern European Synagogues 613
- Figures and Charts 653
