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The Tree and the Column: The Bronze Door of Hildesheim
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The Tree and the Column: The Bronze Door of Hildesheim in Franklin, TN
Current price: $29.95
Barnes and Noble
The Tree and the Column: The Bronze Door of Hildesheim in Franklin, TN
Current price: $29.95
Loading Inventory...
Size: OS
The Tree and the Column
examines the bronze door of Hildesheim Cathedral, which is not only a masterpiece of Ottonian art but is among the most recognizable and studied works of medieval sculpture.
Commissioned by Bishop Bernward of Hildesheim and cast around 1015, the door's two leaves feature the oldest-known monumental image cycle in German sculpture, depicting significant events from the Old and New Testaments. Isabelle Marchesin closely reads each of the door's sixteen panels, analyzing the detailed iconography to excavate the elaborate theological and deeply spiritual significance of the biblical scenes cast into metal.
Studying the door's technical, material, political, and theological dimensions, Marchesin argues that Bernward intended the cathedral door to be read and reread like scripture so that unifying messages about God's presence in the world could be understood. Featuring nearly two hundred detailed color photographs of the panels that reveal their remarkable artistry and materiality,
offers an innovative explication of a total work of medieval art.
examines the bronze door of Hildesheim Cathedral, which is not only a masterpiece of Ottonian art but is among the most recognizable and studied works of medieval sculpture.
Commissioned by Bishop Bernward of Hildesheim and cast around 1015, the door's two leaves feature the oldest-known monumental image cycle in German sculpture, depicting significant events from the Old and New Testaments. Isabelle Marchesin closely reads each of the door's sixteen panels, analyzing the detailed iconography to excavate the elaborate theological and deeply spiritual significance of the biblical scenes cast into metal.
Studying the door's technical, material, political, and theological dimensions, Marchesin argues that Bernward intended the cathedral door to be read and reread like scripture so that unifying messages about God's presence in the world could be understood. Featuring nearly two hundred detailed color photographs of the panels that reveal their remarkable artistry and materiality,
offers an innovative explication of a total work of medieval art.
The Tree and the Column
examines the bronze door of Hildesheim Cathedral, which is not only a masterpiece of Ottonian art but is among the most recognizable and studied works of medieval sculpture.
Commissioned by Bishop Bernward of Hildesheim and cast around 1015, the door's two leaves feature the oldest-known monumental image cycle in German sculpture, depicting significant events from the Old and New Testaments. Isabelle Marchesin closely reads each of the door's sixteen panels, analyzing the detailed iconography to excavate the elaborate theological and deeply spiritual significance of the biblical scenes cast into metal.
Studying the door's technical, material, political, and theological dimensions, Marchesin argues that Bernward intended the cathedral door to be read and reread like scripture so that unifying messages about God's presence in the world could be understood. Featuring nearly two hundred detailed color photographs of the panels that reveal their remarkable artistry and materiality,
offers an innovative explication of a total work of medieval art.
examines the bronze door of Hildesheim Cathedral, which is not only a masterpiece of Ottonian art but is among the most recognizable and studied works of medieval sculpture.
Commissioned by Bishop Bernward of Hildesheim and cast around 1015, the door's two leaves feature the oldest-known monumental image cycle in German sculpture, depicting significant events from the Old and New Testaments. Isabelle Marchesin closely reads each of the door's sixteen panels, analyzing the detailed iconography to excavate the elaborate theological and deeply spiritual significance of the biblical scenes cast into metal.
Studying the door's technical, material, political, and theological dimensions, Marchesin argues that Bernward intended the cathedral door to be read and reread like scripture so that unifying messages about God's presence in the world could be understood. Featuring nearly two hundred detailed color photographs of the panels that reveal their remarkable artistry and materiality,
offers an innovative explication of a total work of medieval art.
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