Calvary in Kitzingen: Dragging Your Cross through Eighteenth–Century Franconia
This article represents the first substantial study of the image of the Kreuzschlepper (cross-dragger), a monumental roadside sculpture of Christ carrying his instrument of martyrdom to Mount Calvary only found in the cultural region of Franconia and first introduced to these lands at the end of the...
| Main Author: | |
|---|---|
| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
|
| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
Taylor & Francis
2021
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| In: |
Material religion
Year: 2021, Volume: 17, Issue: 3, Pages: 317-354 |
| Standardized Subjects / Keyword chains: | B
Kitzingen (Region)
/ Landscape
/ Sacralization
|
| RelBib Classification: | AF Geography of religion CD Christianity and Culture KAH Church history 1648-1913; modern history KBB German language area NBF Christology |
| Further subjects: | B
Martin von Cochem
B sacred landscape B Kreuzschlepper B Franconia B Passion imagery B Public monuments B Carrying of the Cross B Baroque B Patronage |
| Online Access: |
Volltext (lizenzpflichtig) |
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| 520 | |a This article represents the first substantial study of the image of the Kreuzschlepper (cross-dragger), a monumental roadside sculpture of Christ carrying his instrument of martyrdom to Mount Calvary only found in the cultural region of Franconia and first introduced to these lands at the end of the seventeenth century. Drawing on a database of more than 300 surviving figures, the study investigates this fascinating imagery from a variety of complementary perspectives (artistic, religious, commemorative, temporal, social-geographical, economic, and phenomenological), sometimes zooming in on individual monuments, sometimes zooming out to develop a statistical angle on the material. Of particular concern is the question of how the image of the Kreuzschlepper was integrated into an already deeply-layered ritual landscape and how it was configured for the presentification and perpetuation of both the memoria of Christ’s Passion (his walk up Mount Calvary in particular) and the memoria of the donors who gifted these figures over several generations. The article is intended not only as a contribution (and corrective) to our understanding of the Franconian Baroque, but also, and perhaps more importantly, as an intervention into the current debate on the making and meaning of sacred places and spaces during the later Middle Ages and the early modern period. | ||
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