Untitled - Der Naumburger Meister

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Organisers of the exhibition
represented by
Georg Graf von Zech-Burkersroda,
Dean of the Chapter
represented by
the Mayor Bernward Küper
Principal sponsors of the Saxony-Anhalt State exhibition 2011
Additional support
S E KT K E L L E R E I
Partners and supporters
In cooperation with Musée du Louvre Paris; Musée des Monuments français Paris;
Musée National du Moyen Âge Paris; Musées de la Ville de Strasbourg; Bischöfliches
Dom- und Diözesanmuseum Mainz; Hochstift Meißen; Landesamt für Denkmalpflege
und Archäologie Sachsen-Anhalt; Evangelisches Kirchspiel Naumburg; Domkantorei
Naumburg; Naumburg Kolleg; LISA Landesinstitut für Lehrerfortbildung,
Lehrerweiterbildung und Unterrichtsforschung; Theater Naumburg
Enjoy a visit to “Der verschwundene Dom” (The vanished cathedral),
a special exhi­bition by Bischöfliches Dom- und Diözesanmuseum Mainz on
the occasion of the Mainz Cathedral’s 1000-year anniversary from
1st April to 31st October 2011
“From Naumburg to Meissen”, a special exhibition by the Hochstift Meissen
from 29th June to 2nd November 2011 in Meissen Cathedral
Contact
Exhibition office
fon +49 (0) 3445 23 01 123
[email protected]
Public Relations
fon +49 (0) 3445 23 01 122
[email protected]
Under the generous auspices
of the Chancellor
of the Federal republic of Germany,
Dr. Angela Merkel
The Naumburg Master –
Sculptor and Architect
i n t h e E u r o p e o f C at h e d r a l s
The “Schlösschen”
on the marketplace
in front of the Church
of St. Wenceslas
Naumburg, Chapel of St. Giles
in a canon‘s house
Naumburg City Museum
“Hohe Lilie”
on the marketplace
Entitled “The Naumburg Master –
Sculptor and Architect in the Europe of Cathedrals”, the SaxonyAnhalt State Exhibition will be presented in Naumburg from 29th June
to 2nd November 2011. It is organized by the city of Naumburg in cooperation with the United Chapters
Foundations of the Cathedrals of
Merseburg and Naumburg and the
collegiate Chapter of Zeitz (Vereinigte Domstifter zu Merseburg und
Naumburg und des Kollegiatstifts
Zeitz).
In close cooperation with a large
number of museums, institutions
and specialists from Germany and
abroad, this international exhibition
is dedicated to the work of the so
called Naumburg Master and his ar-
tistic position in the context of mid
13th century Europe. Outstanding
works of art - including sculpture,
treasury objects in gold and silver,
stained glass and illustrated books
from France, Germany, Poland, the
United Kingdom, Austria and the
USA – provide a unique insight and
understanding of cultural and artistic exchange in medieval Europe.
Naumburg, apex of
St. John‘s Chapel
in the cathedral cemetery
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An exhibition area of 2500m² will be
used, including the “Schlösschen“
on the market place, the Cathedral
of St. Peter and St. Paul, the Church
of St. Mary near the Cathedral, and
the city museum “Hohe Lilie”. The
St. John’s Chapel in the Cathedral
cemetery as well as the St. Giles’
Chapel await the visitor. In addition
to the exhibition space a highlight
shall be the redesigned Cathedral
garden including the children’s medieval stone masons’ lodge and the
“Garden of the Naumburg Master” –
a recreation of a medieval garden
where the natural plant world which
inspired the sculptor for the capitals
of the rood screen in the Cathedral
can be admired.
Naumburg Cathedral
The towers of the cathedral
from the south west
Naumburg Cathedral crypt
under the east choir
The Naumburg Cathedral of St. P­eter
and St. Paul ranks as one of the most
important sacred cultural monuments from the time of the European
High Middle Ages. Together with
the cloisters, the chapel of the Three
Kings, the Church of St. Mary and
the surrounding canons’ houses, the
impressive building with its four
towers creates a magnificent architectural ensemble.
The history of Naumburg Cathedral
begins in 1028 with the transfer of
the Bishop’s seat to Naumburg from
Zeitz, which was founded by Em-
peror Otto the Great in 968. With
the exception of a few remaining
remnants of several walls, little is left
of the 11th century cathedral.
Sources indicate comprehensive
building work on the cloisters and
the cathedral church from 1211-1212
at which time the decision was made
for an ambitious rebuilding of the
cathedral. By the time of the death of
Bishop Engelhard II in 1242, the
crypt, the east choir, the transept,
nave and the ground floor of the two
west towers had been completed.
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Naumburg Cathedral
nave looking towards the west
with a view of the west rood screen
and west choir
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B i s h o p D i e t r i c h II
and the construction
of the west choir
Statue
of Count Syzzo
Charter from 1249: appeal
for the completion of the cathedral
Naumburg, Domstiftsarchiv
Statues of Ekkehard II,
Margrave of Lusatia and Meissen
and his consort Uta
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The decisions made by Bishop Dietrich II (1243–1272) had a major
i­nfluence on the history of Naumburg Cathedral. Being a member of
the House of Wettin as well as being
a long term member of the Naumburg
Cathedral chapter, Dietrich maintained a special and intermediary
p­osition in the tense network woven
between the claims to power of the
diocese and the attempts to contain
and restrict diocesan power on the
part of Margrave Henry the Illustrious of Meissen (1221–1288). Siegfried II, Archbishop of Mainz, ordained Dietrich II as bishop. This
direct contact was a major contributing factor leading to the summons
to Naumburg of the artist who had
created the rood screen in the Cathedral of Mainz. The cooperative
e­fforts of Bishop Dietrich II, various
representatives of the cathedral
chapter, and the master craftsman
from Mainz resulted in the agreement to complete the west choir of
the cathedral and by so doing to fundamentally and symbolically manifest the secular and ecclesiastic legality of Naumburg as Bishop’s Seat.
For this reason, it was the further
agreed upon to commission a group
of twelve statues: one each of twelve
various benefactors who had endowed and gifted the Naumburg
Cathedral. These twelve statues
form the artistic basis of the west
choir itself, all of which is embedded
in a highly complex and comprehensive theological concept.
T h e
w e s t
c h o i r
–
a
u n i q u e
e n s e m b l e
View
of the
west choir
Front view of the west
rood screen
Christ before Pilate, relief
on the west rood screen
Due to their excellent artistic quality,
the architecture, sculpture, stained
glass and fresco of the west choir
(completed approximately 1250)
create a synthesis which is completely unified in both its iconographical
and structural engineering aspects.
This extraordinary artistic, architectural, and theological harmony can
only have been achieved by giving a
general directorship of the worksite
to one responsible sculptor/architect – the “Naumburg Master” who
came from Mainz.
The composition of the Crucifixion
group and the related reliefs detailing the Passion on the west rood
screen, the design of the twelve benefactor figures in the west choir, as
well as the deacon’s statue in the
form of a pult-bearer, and the bishop’s monument tomb in the east
choir – are all of consumate artistic
mastery. Faces, gestures and movements are reproduced in an unusually lifelike and expressive manner.
The extraordinary ability of the artist to give to all of his human figures
a realistic expression of emotional,
spiritual, and psychological conditions, imbues the figures with an inner life and soul. The uniquely realistic representations of plants in the
capitals of the rood screen and those
of humans and animals on the gargoyles of the west choir are examples of the astonishing naturalism of
the Naumburg Master. Firmly anchored within an architectural
framework, the statues of the benefactors in the west choir are spatially
related to the Crucifixion group and
the reliefs depicting the Passion on
the west rood screen. In turn, these
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Detail of St. John
from the Calvary scene on
the west rood screen
Detail of the Virgin Mary
from the Calvary scene on
the west rood screen
figures and depictions are all in an
immediate compositional relationship and interaction with the fresco
of the Supreme Judge in the quatrefoil. In harmony with the depictions
of the Naumburg Bishops and the
saints triumphal over vice in the
stained glass windows, the entire artistic and architectonic complex of
the west choir manifests the central
statement of faith in the theology of
the High Middle Ages.
How medieval works of art from
various genres were compositionally
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unified in order to express to believers an idea of salvation can still be
examined today by virtue of the ensemble of sculpture, stained glass
and painting in the west choir. Based
upon the medieval ideal of creating
an organic art work, the exhibition
offers a survey of stylistic and programmatic relationships within the
various genres of medieval art with
comparative presentations of manuscripts, gold and silver objets d’art,
and stained glass.
l i f e
a N d
w o r K
o f
The Naumburg masTer
Atlas, supporting
sculpture on the west front
of Noyon Cathedral
Procession of the damned
on Judgment Day
on the former west rood
screen of Mainz Cathedral
Mainz, Dom-und
Diözesanmuseum
The Founders’ bay and the choir
polygon in Meissen Cathedral
As there are no written sources as to
the life of the Naumburg Master, research into the history and work of
the anonymous sculptor/architect
and his workshop is dependent on
the results of architectural research
and artistic analysis. However, the
results of this research and analysis
indicate and recognize that the
Naumburg Master is one of the most
important sculptor/architects in Europe, embedded in a wide stream of
east and west cultural exchanges. In
the form of originals and copies, the
exhibition in Naumburg manages to
bring together a large number of
works which manifest this cultural
exchange so inherent to the art and
architecture of mid 13th century Europe. As well as being based on the
architect’s places of residence before
and after Naumburg – Mainz and
Meissen – it presents the foundation
of the “Naumburg” workshop and
its forerunners in reims, Noyon,
Coucy and Metz.
The Master’s specific style can be
seen for the first time in the west
front of Noyon Cathedral, and also
perhaps in the sculptural decorations of the donjon of the fortress of
Coucy, the largest castle complex in
France in the 13th century. Furthermore, he created in the Cathedral
of Metz an artistically outstanding
relief.
The appointment of the Master’s
workshop by Siegfried III of Eppstein, Archbishop of Mainz, played
an important part in the Master’s
work within the Holy roman Empire. His work on the west and east
choirs of Mainz Cathedral may have
been contemporary to the design
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Division of the coat
of St. Martin in the parish
church of Bassenheim
and construction of the Templars’
chapel in Iben in the rhineland. His
capability as an architect was comprehensively demonstrated with the
complete design of the west choir at
Naumburg, and with the bold and
complex site of the Cathedral at
Meissen, the substructure of which
extends deep down a steep cliff.
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reims
T h e c o r o N aT i o N c aT h e d r a l
of The KiNgs of fraNce
The iNflueNce
of reims caThedral
Eve with the distaff,
figure from the rose archivolt
in the north transept
of reims Cathedral
reims, Palais du Tau
The redeemed sinners in Abraham‘s bosom
from the Prince‘s Porch of Bamberg Cathedral
Bamberg, Diözesanmuseum
Choir
of Notre-Dame
Cathedral
in reims
From the time that remigius, Archbishop of reims anointed Chlodwig,
King of the Franks at the end of the
5th century in the cathedral, the
cathedral at reims played a prominent role in the establishment and
formation of the west Frankish –
later French – kingdom. The new
cathedral, which was built following
a devastating fire in 1211, reflects the
confidence and the tradition of both
the most important French archbishopric and the ambitious royal
dynasty. New forms in sculpture
and architecture are witnesses to the
innovative power that spread out
from the most influential cathedral
building site of the time. Masks and
tracery are the main elements for the
individualization of the sculpture
and the artistic sophistication of the
building. From the beginning, architecture and sculpture were integrated in a hitherto unknown way – the
origins of the “sculptor/architect”
began here.
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The building of reims Cathedral
was a magnet for stonemasons,
architects and craftsmen from all
over Europe. owing to the rapidity
of construction and the gigantic size
of the undertaking, there was a high
turnover of highly specialized workers. The groups of workers who
moved from reims spread the new
knowledge of architecture, sculpture and logistics throughout most
of the Christian countries within a
very short time. Using prominent
originals and copies, the exhibition
indicates the triumphal procession
of this new style in Strasbourg,
Trier, Bamberg and Magdeburg. And,
the artistic and architectural sources
which inspired the Naumburg Master are also a central theme of the
exhibition.
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Head of an angel
Trier, rheinisches
Landesmuseum
The masTer builders of
The goThic caThedrals
arT aNd academia –
paradise regaiNed
Atlas from Strasbourg Minster
Strasbourg, Musée
de l’Œuvre Notre-Dame
Capital with vines
on the west rood screen
of Naumburg Cathedral
Baptismal font from Hildesheim Cathedral
Hildesheim, Cathedral of the Assumption of the
Virgin Mary
During the course of the 13th century, with the building of cathedrals
that seemed to reach towards heaven,
the scale of which transcended all
building that had hitherto been conceived – including those of antiquity,
the social status of the architect
changed. Entrusted with development of construction to the highest
standards, he was considered to be a
“doctor lathomorum”, a highly qualified stonemason. The names of the
sculptor/architects of these new,
massive buildings were often immortalized in the labyrinths, a symbol of pre-eminent architecture,
which were inlaid in the stone floors
of the cathedrals.
Architectural sketches drawn on
parchment were then passed from
one building site to another builidng
site which allowed the sculptor/architect to comprehensively study,
analyse, and understand both his
own and other building projects in
their various stages. Microarchitectural positions, such as baldachins
over figures, mirror, in a model-like
manner, ideals of architecture. The
“atlantes”, statues of the master
builder often found figuratively supporting an architectural element
within the building are allegories of
the humble, modest, and servile relationship of the master builder to his
physically and spiritually overwhelming creation: the cathedral.
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The foundation of universities in
Europe – especially that in Paris
around 1150 – brought about a new
scientific understanding. The writings of the philosophers from antiquity were rediscovered: in particular those of Aristotle, which formed
the basis of scholastic teaching. As a
result of the thoughts and writings
of Albertus Magnus, the Dominican
friar from Cologne, scientific research concerning nature changed.
research was now exclusively concentrated on visual experience.
This empirical principle also finds its
expression in art, in the naturalistic
depiction of flora and fauna in the
decoration of the capitals and in
friezes of foliage. The plants on the
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Scenes from the life
of Parisian pupils
Paris, Archives nationales,
recueil des titres de
fondation du collège de Hubant
ornamental leaves
from the rood screen
in Chartres Cathedral
Chartres, Kathedrale
Notre Dame
west rood screen capitals in Naumburg are of particularly impressive
vitality. In light of the sacrificial
death of Christ as depicted on the
west rood screen these plants symbolize the redemption of the entire
cosmos. observation of nature is extended to humans and animals in the
same way. Emulating the famous
“masks” of rheims Cathedral, which
are based on physiognomic studies,
attempts were made in many locales
to convey a sense of inner life in the
rendering of faces. owing to this increased visual awareness and experience of nature, even mythical beings
such as dragons appear to have a real
existence.
Sin and redemption –
t h e h u m a n fa c e o f C h r i s t
The Eucharistic Christ
private loan,
Wolfenbüttel, Herzog
August Bibliothek
The crucified Christ
at the entrance
to the west rood screen
in Naumburg Cathedral
Platter with the head
of John the Baptist
Naumburg,
Treasury Vault
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The concept of distinctive individual
knowledge of guilt, combined with
the question of the possibility of
freeing oneself from the yoke of sin
through one’s own efforts pervades
the entire gothic time period. However, it was simultaneously maintained that it was possible to obtain
salvation through the church. This
salvation occurred, for example,
by presenting endowments to the
church or churchrelated institutions,
and by so doing, avoiding eternal
damnation. The representations on
the rood screen point to the act of
redemption though the crucifixion
of Christ, which was mystically
reenacted in the celebration of the
Eucharist at the choir altar. The
prayers of the congregation included the benefactors portrayed in the
statues on account of their good
deeds.
The concept of salvation on the
Judgement Day with a punishing
God permeated cathedral sculpture
of the first half of the 13th century.
In the work of the Naumburg M­aster
the grace endowing Christ a­ppears
instead. Those entering the choir at
the west rood screen confront the
Saviour directly in a powerful manner that is not to be found in cathedrals either before or since. Many
and various statues and reliefs of the
13th century, in places far removed
from one another, artistically indicate the theological concept of a
spiritually renewed and noble humanity.
Courtly culture and
the commemoration of founders
Sacred figures
in colour a nd light
The Ascanians‘ Chalice
Berlin, Evangelische
Kirchengemeinde
St. Petri und St. Marien
Christ‘s descent into hell
The Wolfenbüttel
Pattern Book,
Herzog August Bibliothek
Wolfenüttel
The Resurrection
Hamburg, Staats-und
Universitätsbibliothek,
Cod. 1 in scrinio
Golden brooch from the
Erfurt treasure trove
Thüringisches Landesamt
für Denkmalpflege und
Archäologie
Influenced by developments in
France and England, a high culture
of courtly nobles flourished in Saxony and Thuringia in the 13th century,
and found expression in poetry and
music as well as the fine arts. In the
same context an concept of spiritual
salvation developed which was artistically represented with the assistance of an hierarchically organized
classification system, as seen for example, in the west choir of the
Naumburg Cathedral. The sculptures of the founders in Naumburg
evoke the characteristics and distinctions developed by and inherent to
the knightly class since the 12th century. These class characteristics and
distinctions were to be seen in weaponry, heraldry, costume and jewellery, and particularly in the standards of courtly behaviour.
Tomb figure of Margrave
Dietrich of Meissen (died 1307)
Leipzig, Kustodie der Universität
In this epoch, the commemoration
of cathedral founders via an artistic
process increased considerably.
Founders and benefactors often long
dead were memorialized in the form
of monuments or, as in Naumburg,
as statues. These memorials serve as
a reminder of the everlasting, perpetual powers as well as the venerable
age of ecclesiastic institutions. In the
statues of the founders, intended as
models to emulate, the prospect and
promise of salvation appears to be
honoured by good works.
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Mary Magdalene
in the north window
of the west choir of
Naumburg Cathedral
19
The stained glass windows of the
west choir, which to a large extent
have survived in their original condition, have not hitherto been sufficiently valued or recognized for
their artistic importance. Their artistic importance, however, the windows should be as much appreciated
as the sculpture and the architecture,
whereby the images in the windows
have completely different origins.
The “Zackenstil”, which spread
from the Rhineland to North and
Central Germany, is based upon
Byzantine motifs. As the “Wolfenbüttel pattern book” indicates, these
various patterns were formalised and
compiled in Constantinople. The exhibition highlights the significance
of the Naumburg stained glass,
which is then compared to a selection of unique examples of stained
glass and illustrated manuscripts.
Cathedral rood screens
i n t h e 1 3 t h c e nt u r y
A new courtly ideal – art
under St. Louis of France
Apostle from the cycle of
statues in Sainte-Chapelle
Paris, Musée National
du Moyen Âge
King Childebert I, statue from the Abbey
of Saint-Germain-des-Prés in Paris
Paris, Musée du Louvre
The representation of the Passion of
Christ on the rood screen is a key
position within the overall concept
in Naumburg. The sacrificial death
on the Cross is the source of redemption for the penitent. Who wished to
further the salvation of his soul could
do so by contributing to the church
in the form of financially-oriented
endowments. The Passion of Our
Lord is a particularly common theme
on other rood screens from the 13th
century, an architectural barrier
which separates the congregation in
the nave from the clergy in the choir.
Fragments of complete and identifiable rood screens of France and the
Rhineland will be placed alongside
the work of the Naumburg Master.
The dream of the Three Wise Men,
relief from the rood screen in
Chartres Cathedral
Notre-Dame Cathedral, Chartres
Mary Magdalene
from the rood screen of
Amiens Cathedral
Amiens, Musée du Picardie
The sacrifice of Isaac, relief from the
rood screen of Strasbourg Minster
Strasbourg, Musée de l’Œuvre
Notre-Dame
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The complex development of courtly aspects and the associated physical, human appearances seen within
the sculptural cycle of the Cathedral
Founders in Naumburg are determined by and are a reception of artistic ideas and forms firstly manifested at the Cathedral of Rheims.
These particular stylistic forms and
modelling are indubitably a reception of Rheims, and yet these forms
were also rooted in the cultural heritage and objectives of the commissioners of the statues in Naumburg.
So palpable in the Naumburg benefactor statues, the artistic ideal and
objective of creating unique, individual, human forms shall find in
Naumburg and in Meissen its final
expression.
A unified standardization replaced
the goal of artistically registering
and portraying individual traits: a
direct result of a uniforming and
unifying of courtly etiquette and life
under Louis IX of France, commonly referred to as Saint Louis (1226–
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1270). Within this courtly context, a
sophisticated elegance was developed. In association with this new
codification of courtly life and towards the middle of the 13th century
in Paris, a concept of art was developed that henceforth would dominate taste throughout much of Europe. In the exhibit, works of art
carried out in France at this time or
inspired by the French model illustrate this new concept of art.
The exhibition presents major works
produced at this time in Paris, among
them the statue of King Childebert
from the abbey of Saint-Germaindes-Prés and the apostles from SainteChapelle. The Sainte-Chapelle, a central building project under Louis IX,
was built at this time to house the
r­elic of Christ’s crown of thorns
which Louis IX had acquired. The
Sainte-Chapelle was erected as a
“transparent” home for this extraordinary relic at the same time as the
Naumburg west choir and also, in the
interior, contains a cycle of statues.
Int e r p r e t a t i o n s o f t h e
Naumburg Cathedral:
P a s t a n d P r e s e nt
Evil Queen
Scene from the DVD
“Snow White and the seven Dwarfs”
© Disney
Without a doubt, Naumburg Cathedral and the work of the Naumburg
Master are unique. And yet it could
be maintained that there are as many
Naumburg Cathedrals, as many Utas
and Ekkehards and as many Naumburg Masters to be found as there
are viewers, readers and scholars
who study them.
For a good 150 years art history has
been concerned with the “stone marvel” of Naumburg with multifarious
and often contradictory results. Popular reception – at that time vehement – began at the end of the 1920s
with a flood of publications and reproductions, among which the expressive photographs by Walter Hege, a native of Naumburg and a pioneer in the photography of architecture and nature, played a central
part.
Uta in the Cold War: as allegory of the “Eastern
Colonisation” as seen on a German Federal Post
stamp released during the annual conference of
the East German Cultural Council in Berlin-West,
1957
A diversity of interests of proble­
matic contradictions (Romanesque/
Gothic, introverted/extroverted, Ger­man/French etc.) provided the matrix for a kaleidoscopic mix of pictures: the “Master” as a born again
Pygmalion, as a wandering genius, as
God seeking mystic, as a Waldensian
heretic, and finally as a prosaic collective of stonemasons. Uta, whose
fame soon outstripped the fame of all
the other Naumburg likenesses, has
been portrayed as a faithful wife, as
an unapproachable aristocrat and as a
mysterious diva.
The Naumburg statues have been
abused as a symbol of the would be
superiority of the Germans over everything foreign; while the reproductions in plaster and clay in West German living rooms after the World
War II served as a reminder of their
compatriots in the East. Today the
Naumburg Master and his works appear to stand for European integration, a concept which had already
been achieved in the Middle Ages.
22
The first illustration of Ekkehard and Uta
(detail). Copper Engraving from: Johann
Schamelius. Historische Beschreibung von
dem ehemals berühmten BenedictinerKloster zu St. Georgen. Naumburg 1728
“A culture fights for its existence”.
Uta as an icon of World War II
perseverance and endurance rallying
speeches, from: “Kultur-Sonderausgabe”
of the Leipziger Illustrierten Zeitung,
December 1944
23
The entertaining part of the exhibition in the City Museum “Hohe
L­ilie” (a building that dates back to
the middle of the 13th century) is
concerned with the interesting question of how such constructs of interpretation are formed and what manifest results they have produced. Under what conditions can works of art
which are totally alien to the modern
world be brought to life? How do
the pictures appear in the eyes of the
beholder? What do these works contribute to the process of interpretation? What does the beholder bring
with him? And how much is owing
to the “spirit of the age”?
The Garden of
the Naumburg Master
North Cathedral Sqaure
dral
Cathe
West
sure
enclo
Naumburg Master
Cathedral Square
West
Garden of the
S te in b ru c h b e la g
Cathedral stonemason's
hut for children
choir
s Church
St. Mary'
pelle
Marienka
3 Stg. 15/33
4 Stg. 15/33
5 Stg. 15/33
South
ure
enclos
Höhe Bestand
Höhe geplant
Brüstungshöhe geplant
Anemone ranunculoides L.,
Ranunculaceae: Buttercup flower,
yellow anemone
The Naumburg Cathedral garden
surrounds a large area immediately
to the southwest of the Cathedral.
This garden of approximately two
and a half acres invites the visitor to
stroll and enjoy the park, and perhaps indulge in a cup of coffee.
Until the opening of the 2011 exhibit, this area of the Cathedral grounds
was not open to the public. Unified
within it are historic pond and pool
complexes, the bastions of the medieval “Immunity Walls”, as well as
the gardens of the former homes of
the canons.
Naturalistic capital on the Western
rood screen in Naumburg Cathedral
Naumburg Cathedral garden
In harmony with the newly redesigned Cathedral Garden, the garden of the Naumburg Master manages to create a relaxing and atmospheric ambience in which the Cathedral itself is situated and embedded.
Within the park complex, in close
proximity to the west Choir, the
“Garden of the Naumburg Master” is
situated in which the visitor may
study and admire the local plant
world. Exactly these plants served to
inspire the Naumburg Master; he
used these plants as models for the
capitals, the friezes, and the keystones of the west rood screens and
the west choir. On both the west
rood screen and in the west choir of
the Cathedral are over 150 original
capitals on which botanically correct and identifiable foliage are to be
found.
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Within the grounds of the Cathedral
garden and in the course of the Exhibition a recreation of a medieval
a­rtisans’ and artists’ workshop (Bau­
hütte) shall be opened in which visitors may study and experience both
the administrative and artistic processes of building and creating a
m­edieval Cathedral. Here visitors
may experience, for example, the
creation of a copy of a statue of a
founding cathedral capital member
such as Uta or Ekkehard, perhaps
the most wellknown of the twelve
figurative sculptures.
Moreover, the Naumburg Cathedral
garden will be the location of many
artistic performances. Here the
Naumburg Theatre will perform the
special highlight “Lichtschatten­tän­
zer” with figures, masks, music and
dance.
25
The following sponsors and
patrons have financed the
reconstruction and restoration
of the Naumburg Cathedral
garden:
Related
St a n d p o i nt s
and
Places
Bad Kösen
Merseburg
Zeitz
You may wish to consider visiting historically corresponding places in the
Saale-Unstrut Region with superb
historical building ensembles and
equally important works of medieval
art. These corresponding positions,
both in terms of towns and buildings
and art works, are all closely related to
the historic and artistic developments
of the Naumburg Cathedral, the Cathedral Chapter, and the Naumburg
Bishops. And in the scenic landscape
of the vineyards of the Saale-Unstrut
wine growing region, results of decisions of the Naumburg Bishops are
still to be experienced.
Merseburg
The ensemble of Palace and Cathedral dominates the city of Merseburg,
and both invite visitors to explore
and to view the numerous art treasures which are maintained in this
unique ensemble. For the Merseburg
Cathedral the Naumburg Master created the tomb figure of Hermann the
Freyburg
Knight of Hagen. Valuable stained
glass windows and a monumental
triumphant cross bear witness to the
artistic glories of the high middleages contained within the Cathedral.
www.merseburger-dom.de
www.merseburg.de
Zeitz
The Bishop’s Seat of Zeitz was created in 968 and was moved to Naumburg in the year 1028. The early medieval crypt of the former Cathedral
in Zeitz is today integrated in the
historical palace church of Moritzburg. The remarkable Gate House
of the Moritzburg Palace houses the
collegiate library with the extraordinary book collections of the last
Naumburg Bishop Julius Pflug
(1499–1564). International curiosities are the editions of reformatory
writings of Martin Luther and
Philipp Melanchthon.
www.vereinigtedomstifter.de
www.zeitz.de
26
Schulpforte
Freyburg
The castle of the Thuringian Landgraves, founded in 1090 and related
to the Wartburg Castle, conveys the
flair of the courtly life under Margrave Henry the Illustrious to this
day. Important personages such as
Emperor Barbarossa, St. Elisabeth of
Thuringia, and poets such as Heinrich von Veldecke emboss the castle
with a unique history. In addition,
the remarkable Town Church of
Freyburg is considered to be the “little sister” of the Naumburg Cathedral.
www.schloss-neuenburg.de
www.freyburg-tourismus.de
27
Schulpforte
The Monastery Pforta is a former
Cistercian abbey in the Naumburg
city district of Schulpforte. This abbey has been used as a public school
for gifted students since 1543. The
Monastery Church with its original
building forms and substance is an
excellent example of 13th century
Cistercian architecture. Built in approximately 1251 the choir of the
church is architecturally related to
developments experienced on the
west choir of the Naumburg Cathedral, indicating an influence of the
Naumburg Master.
www.stiftung-schulpforta.de
Bad Kösen
High over the Saale River Valley the
picturesque ruins of the Castles of Saaleck and Rudelsburg commemorate
their founders, the Bishops of Naumburg. Built Bishops in the High Middle
Ages, this castle served to protect the
trading routes, such as the Via R­egia.
Saaleck Castle lies just a few hundred
meters distance from the Rudelsburg
upstream on the Saale R­iver.
www.rudelsburg.com
www.burg-saaleck.info
Schönburg
The Fortress with the imposing Round
Tower was in the medieval era an extremely important possession of the
Naumburg Bishops. Of the original
12th and 13th century building substance remain today the enclosing
walls, the fortress keep, and the Courthouse of the Naumburg Bishops.
www.schoenburg.de
Schönburg
The Cathedral
stonemason’s hut
for children
Curators
Prof. Dr. Hartmut Krohm
Dr. Holger Kunde
Direktor und Stiftskustos
der Vereinigten Domstifter
Dr. Siegfried Wagner
Direktor des Stadtmuseums Naumburg
Academic advisory board
Prof. Dr. Enno Bünz
Universität Leipzig
Dr. Julien Chapuis
Skulpturensammlung und Museum
für Byzantinische Kunst Berlin
Dr. Cécile Dupeux
Musée de l‘Œuvre Notre-Dame Strasbourg
Prof. Dr. Jeffrey Hamburger
Harvard University
Prof. Dr. Christian Heck
Université Charles de Gaulle Lille
Prof. Dr. Leonhard Helten
Martin-Luther-Universität Halle-Wittenberg
Andreas Höfflin
Ministerium für Wirtschaft, Magdeburg
Dr. Martin Hoernes
Kulturstiftung der Länder, Berlin
Prof. Dr. Jarosław Jarzewicz
Instytut Historii Sztuki,
Uniwersytet Adama Mickiewicza Poznań
Dr. Norbert Jopek
Victoria & Albert Museum London
Dr. Hans-Jürgen Kotzur
Bischöfliches Dom- und Diözesanmuseum
Mainz
Dr. Pierre-Yves Le Pogam
Musée du Louvre Paris
Prof. Dr. Heinrich Magirius
Radebeul
Prof. Dr. Harald Meller
Landesamt für Denkmalpflege
und Archäologie Sachsen Anhalt, Halle
Young craftsmen in the
Stonemason‘s Lodge
The 2011 state exhibition has a special
attraction for school classes to the
Naumburg Cathedral: a day in a medieval cathedral stone masons’ lodge
and workshop. Hands on experience
lies in the foreground: faithful copies
of the original tools can be used. The
pupils can slip into the roles of a medieval master builder or craftsman,
and experience the fascinating world
of a stonemason’s lodge of the 13th
century, and even try out medieval
working technology. Opportunities
to build a vault with model bricks or
to reconstruct a Gothic window from
soft porous concrete blocks and give
it a lead glazing will abound. In addition, a large, wooden model of the cathedral may be used to indicate to the
children the different construction
phases of the church. The concept for
this innovative project is currently
being developed in cooperation with
the Landesinstitut für Lehrerfortbildung, Lehrerweiterbildung und Unterrichtsforschung von Sachsen-Anhalt (LISA) [Saxony-Anhalt state Institute for the Continuing Education of Teachers and Research of
Teaching Methods].
Schoolchildren
creating a tracery window
Ingo Mundt
Kultusministerium, Magdeburg
Prof. Dr. Joachim Poeschke
Westfälische Wilhelms-Universität Münster
Bettina Quäschning
Investitions-und Marketinggesellschaft,
Magdeburg
Domherr Prof. Dr. Arno Sames
Halle (Vorsitzender des Beirates)
Prof. Dr. Dany Sandron
Université de Paris-Sorbonne
Prof. Dr. Wolfgang Schenkluhn
Martin-Luther-Universität Halle-Wittenberg
Prof. Dr. Ulrich Schießl
Hochschule für Bildende Künste Dresden
Prof. Dr. Manfred Schuller
Technische Universität München
Dr. Bettina Seyderhelm
Kunstgutbeauftragte der Kirchenprovinz
Sachsen, Magdeburg
Prof. Dr. Hans-Georg Stephan
Martin-Luther-Universität Halle-Wittenberg
Reinhard Schmitt
Landesamt für Denkmalpflege und Archäologie
Sachsen-Anhalt, Halle
Christophe De Winter
Französischer Kulturattaché
in Sachsen-Anhalt, Magdeburg
Prof. Dr. Jean Wirth
Université de Genève,
Unité d’histoire de l’art, Genf
Prof. Dr. Harald Wolter-von dem Knesebeck
Rheinische Friedrich-Wilhelms-Universität
Bonn
Editor Vereinigte Domstifter zu Merseburg und Naumburg und des Kollegiatstifts Zeitz
Graphic Ott+Stein, Berlin
Printed by Grafisches Centrum Cuno, Calbe
Photo credits Bildarchiv der Vereinigten Domstifter (Matthias Rutkowski, Guido Siebert);
Musée de Picardie Amiens (Hugo Maertens); Diözesanmuseum Bamberg (Konrad Rainer); Rheinisches
Landesmuseum Trier; Région Centre Inventaire général, ADAGP (Mariusz Hermanowicz, Aldo
Abbinante); SCN Archives nationales; Harald Wolter-von dem Knesebeck; Herzog-August-Bibliothek
Wolfenbüttel; Staats- und Universitätsbibliothek Hamburg; Dom-Museum Hildesheim; Thüringisches
Landesamt für Denkmalpflege und Archäologie; Patrick Fock; Kustodie der Universität Leipzig
(Karin Kranich); Walt Disney Company; Elisabeth Harting; Stiftung Dome und Schlösser in
Sachsen-Anhalt, Museum Schloss Neuenburg (Thomas Tempel); Museum Schloss Moritzburg Zeitz
(Schütze-Rodemann, Halle/Saale), Schönburg (Christian Günther, Leipzig) ); LISA
Catalogue A catalogue of about 900 pages with numerous illustrations in colour will be published
on the occasion of the exhibition; Michael Imhof Verlag; ISBN No. 978-3-86568-600-8.
28
1
Naumburg Tourist Board
Markt 12
D-06618 Naumburg
fon +49 (0) 3445 27 31 25
fax +49 (0) 3445 27 31 28
[email protected]
www.naumburg-tourismus.de
Arrival
Hannover v A2
By InterCity from Berlin,
Frankfurt/Main and
Nuremberg
or by local train
from Halle and Eisenach.
By air from airports
of Halle-Leipzig, Erfurt
and Berlin
Berlin
A2
Magdeburg
A9
Visitor Services
Domplatz 16/17
D-06618 Naumburg
fon +49 (0) 3445 23 01 120
fax +49 (0) 3445 23 01 121
[email protected]
www.naumburgermeister.eu
A14
Halle
Opening Hours
Daily: 10.00 a.m. – 7.00 p.m.; long Fridays: 10.00 a.m. – 10.00 p.m.
Göttingen v A38
The Naumburg Cathedral garden with the “Garden of the Naumburg
Master” may be visited during the regular opening hours.
Leipzig
A14
Merseburg
A14
A38
Freyburg
Admission charges
Adults/Group concessions 12/11 €
Concessions (students, trainees) 8 €
School children 2 €
Season ticket for adults*/for schoolchildren* 30/5 €
Naumburg
Schulpforte
Bad Kösen
k
Weißenfels
Schönburg
The travel destination SaxonyAnhalt impresses its visitors
with numerous buildings on
the “Romanesque Road”, with
idyllic parks and gardens in
the “Garden Dreams”, with
various opportunities for outdoor
activities at the rivers and lakes
of the “Blue Ribbon” as well as
with sensational archeological
discoveries on the “Sky Paths”.
Dre
sde
n
Zeitz
*not valid for special events and without supplement for guided tours
Erfurt
Guided tours for individual visitors
Weimar
Jena
Frankfurt a. M. v A4
A4
Please contact us for travel offers:
fon +49 (0) 391/562-83820
www.sachsen-anhalt-tourismus.de
A9
A4 k Dresden
Mü
nch
en
v
Audio-Guide Languages: German, English, French
Guided tours for the public
Meeting point:
Schlösschen 10.30 a.m. and 2.30 p.m.
Naumburg Cathedral 11.30 a.m. and 3.30 p.m.
100m
(including walking time)
Education programs
School projects
Further information about the medieval Cathedral stonemason’s hut and
workshop for children is published in separate folders and on our homepage:
www.naumburgermeister.eu
W ei m ar er St
ra ße
Jen
ae
r
a
Str
ße
B8
8
aß
Str
he
05
L2
lle
Ha
W e n ze ls
Marienmaue r
We
in g
Ma rie nst raß e
asse
n z e ls g
We W e
nz
els
16
str
aß
We nze lsm aue r
e
THE ATE RPLATZ
auer
6
TOPF
MA RK T
Ja k o b sm
tr a ß e
1
HOLZ
MA RK T
Ja ko bs st ra
ße
We ing art en
M a ri e n
MA RK T
13
n b e r- S
Sa lzg as se
asse
sse
i
5
ße
ga ss e
10
Thain burg
Ja k o b sr
15
P
Ne us tra ße
Fischg
n
9
Jakobs gasse
g
Lin
14
MARIENPLATZ
F is c h s tr
aße
Mühlga
er S
Neu
rin
stra
arte
den
Reussenplatz
eng
g
Jü de ng as se
ren
rin
J. -G u te
üter
eng
n
de
Ros
Sa lzs tra ße
KRAM ER
PLAT Z
Exhibition tour
1. Schlösschen on the marketplace
2. Cathedral of St. Peter
and St. Paul
3. Canon’s house
with St. Giles’ Chapel
4. St. John’s Chapel
5. City Museum “Hohe Lilie”
3
Windmühlenstraße
ga ss e
tein
weg
redig
Domp
ße
ße
80 € plus admission
Price per group
30 € plus admission
40 € plus admission
OTHMARS
PLATZ
Sc hu ls tr aß e
B 87
Duration
45 minutes
60 minutes
li s s tr a
Ho sp ita lst raß e
50 € plus admission
Lin
e
Her
12
P
P os tr in g
er
ra
60 minutes
ass
sc
se
ergas
ie n g a
A e g id
om
d. D
ter
Hin
g
Neu
M or it zb er
St
Mor itzs traß e
Price per group
25 € plus admission
au
ing
er
30 minutes
erg
rg
Duration
f
eg
um
bu
Li n d e n h o
M ic h a e
120 minutes
Guided tours for school classes
Reservation required
Meeting point: by arrangement
1 teacher & 1 escort free
Fr
Place
“The world of the Gothic Cathedral”
Guided tour through the Schlösschen
“Way and works of the Naumburg Master”
Guided tour through the Cathedral & cloisters
Combined guided tour
through the Schlösschen, Cathedral & cloisters
11
WC
P WC
inw
ey
Guided tours for group visitors
Reservation required
Languages: German, English, French
Meeting point: by arrangement, Schlösschen (Markt 6) or Naumburg Cathedral (Domplatz 16/17)
Number of persons in a group: max. 25 persons, 1 tour guide and 1 bus driver free
Ste
2
Seil
DOMF RIE DHOF
Ne
ienr
3.50 € plus admission
**no surcharge for children and adolescents under 18 years of age when accompanied by an adult
DOM
PLATZ
n
P
MORITZ
PLATZ
4
ne
8
ße
Mar
90 minutes
2.50 € plus admission
tra
un
r
60 minutes
3
sts
Br
1.50 € plus admission
0
B 18 ß e
Stra
30 minutes
7
ache
Price per person**
Roßb
Duration
sse
Po
Place
“The world of the Gothic Cathedral”
Guided tour through the Schlösschen
“Way and works of the Naumburg Master”
Guided tour through the Cathedral & cloisters
Combined guided tour
through the Schlösschen, Cathedral & cloisters
e
Naumburg
B8
7
B 1 lser S
8 0 traß
e
iße
nfe
V OGE LW IE S E
P WC
ri n g
Other sights worth seeing
6. Town Church of St. Wenceslaus
7. to the Railway Station
8. Provincial High Court
9. St. Mary’s Town Gate
10. Church of St. Mary Magdalen
11. Church of St. Maurice
12. Church of St. Othmar
13. Town Hall
14. Catholic Church of St. Peter
and St. Paul
15. Naumburg Theater
16. Nietzsche House
4