DOI issue:
Nr. 3-4
DOI article:Timmermann, Achim: A promise of paradise: microarchitecture, baptism and the font ciborium of St. Severus in Erfurt =
DOI Page / Citation link:https://doi.org/10.11588/diglit.35031#0187
A PROMtSE OF PARAD1SE
179
2. A. Aeretw-S', Ez*/zzz7, 2. 27. 32we/'zz.s', Ez;/zz/7, /ozzt ć'z7zo/'zzzzzz,
/o/z/ ćz7)o/'z'z/w, t/eAzz/ o/.szzpe/tsf/^zc/zz/^ ti'z7/z .s7zz/zze
r/eCzz/ o/.szzpeztsfzizcnzz^ o/"A?6 Pźz^zzz /Wrzzy tzzzt/ C/z/'z'.s7 CAz/J
draw the viewer's gazę both upward, toward the vault, and inward, toward the font in the
ciborium's very midst.
The font itself provides a further challenge to the eye and mind of the beholder. Extra-
polated from a series of rotated hexagons and six-pointed stars, and devoid of images,
apart from a few grotesques on its wooden openwork lid, it represents a microarchitectural
tonr Jeybrcz?. While its socle develops in a series of stacked-up, syncopated steps, its sides
are enlivened by muscular ogee arches that intersect one another as they wrap themselves
around the basin. Morę visual surprises in the form of droplet- and pretzel-shaped tracery
configurations fili the dark interstices between the curved and richly-profiled ogees.
The spectacular, three-sided ciborium encapsulating the font emulates and magnifies
many of these architectural motifs. The first tier of its elevation is thus crowned by giant,
intersecting ogee arches, which are additionally animated at this level by pinnacle clusters
growing within trefoil cusps, proliferating branch- and leafwork, and enormous finials
that rise well into the superstructure. In contrast to the font, the ciborium is populated by a
fair amount of imagery - apostles affixed to the three massive corner piersi vested angels
that ride on the backs of the corner ogees, and - suspended within the airy, three-sided
baldachin of the superstructure - the life-size statuę of the Virgin Mary, standing on a
crescent moon and backlit by a mandorla of flickering rays of sunlight (ill. 3). Enframed
by delicate curtains of branchwork tracery, and topped by an openwork spire that almost
touches the aisle vaults, this triumphant figurę seems to float above the font like a vision,
like a futurę promise to anyone baptized at this site or witnessing the event.
^ Only the figures of Peter and Paul are origina!: the others are copies; cf. BECKER [ed.], D/2 57<r;<7r EzfżzrZ... (as in notę
1), p. 446.
179
2. A. Aeretw-S', Ez*/zzz7, 2. 27. 32we/'zz.s', Ez;/zz/7, /ozzt ć'z7zo/'zzzzzz,
/o/z/ ćz7)o/'z'z/w, t/eAzz/ o/.szzpe/tsf/^zc/zz/^ ti'z7/z .s7zz/zze
r/eCzz/ o/.szzpeztsfzizcnzz^ o/"A?6 Pźz^zzz /Wrzzy tzzzt/ C/z/'z'.s7 CAz/J
draw the viewer's gazę both upward, toward the vault, and inward, toward the font in the
ciborium's very midst.
The font itself provides a further challenge to the eye and mind of the beholder. Extra-
polated from a series of rotated hexagons and six-pointed stars, and devoid of images,
apart from a few grotesques on its wooden openwork lid, it represents a microarchitectural
tonr Jeybrcz?. While its socle develops in a series of stacked-up, syncopated steps, its sides
are enlivened by muscular ogee arches that intersect one another as they wrap themselves
around the basin. Morę visual surprises in the form of droplet- and pretzel-shaped tracery
configurations fili the dark interstices between the curved and richly-profiled ogees.
The spectacular, three-sided ciborium encapsulating the font emulates and magnifies
many of these architectural motifs. The first tier of its elevation is thus crowned by giant,
intersecting ogee arches, which are additionally animated at this level by pinnacle clusters
growing within trefoil cusps, proliferating branch- and leafwork, and enormous finials
that rise well into the superstructure. In contrast to the font, the ciborium is populated by a
fair amount of imagery - apostles affixed to the three massive corner piersi vested angels
that ride on the backs of the corner ogees, and - suspended within the airy, three-sided
baldachin of the superstructure - the life-size statuę of the Virgin Mary, standing on a
crescent moon and backlit by a mandorla of flickering rays of sunlight (ill. 3). Enframed
by delicate curtains of branchwork tracery, and topped by an openwork spire that almost
touches the aisle vaults, this triumphant figurę seems to float above the font like a vision,
like a futurę promise to anyone baptized at this site or witnessing the event.
^ Only the figures of Peter and Paul are origina!: the others are copies; cf. BECKER [ed.], D/2 57<r;<7r EzfżzrZ... (as in notę
1), p. 446.