DOI Artikel:
Utzig, Joanna: [Rezension von: Michael Burger, Fenestrae non historiatae. Ornamentale Glasmalerei der Hochgotik in den Regionen am Rhein (1250–1350)]
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.51154#0122
Folia Historiae Artium
Seria Nowa, t. 17: 2019/PL ISSN 0071-6723
JOANNA UTZIG
Jagiellonian University
REVIEW
MICHAEL BURGER, FENESTRAE NON HISTORIATAE.
ORNAMENTALE GLASMALEREI DER HOCHGOTIK
IN DEN REGIONEN AM RHEIN (1250-1350),
BERLIN: DEUTSCHER KUNSTVERLAG FÜR KUNSTWISSENSCHAFT 2018
(CORPUS VITREARUM MEDII AEVI DEUTSCHLAND, STUDIEN, 3),
256 PAGES, BLACK-AND-WHITE AND FULL-COLOUR ILLUSTRATIONS
Michael Burgers book, released in 2018 as the third vol-
ume of the editorial series Corpus Vitrearum Medii Aevi
Deutschland, Studien, represents a pioneering landmark
due to the compendious character and vast scope of its
discussion of the phenomenon of medieval ornamental
stained glass.1 Admittedly, researchers’ interest in orna-
mental stained-glass windows was piqued as early as in
the first half of the nineteenth century, and that point in
time witnessed the rendition of documentations featuring
full-colour drawings of many such complexes (which is
relevantly exemplified by Sulpiz Boisserés batch of draw-
ings facsimileing the Gothic stained glass in Cologne
Cathedral).2 However, much as ornamental stained glass
1 This work is an elaboration of a PhD dissertation defended in
2015 at the Albert-Ludwigs-Universität in Freiburg im Breis-
gau. To date, the authors output already comprises a number of
works dealing with medieval stained glass, ornamental glazing
included. M. Burger, ‘Die Glasmalereien der Klosterkirche Hai-
na aus kunsthistorischen Sicht’, in Klosterkirche Haina. Restaurie-
rung 1982-2012, ed. by G. Götze, Ch. Vanja, В. Buchstab, Stutt-
gart, 2011, pp. 141-162; idem, ‘Die ornamentale Kathedralvergla-
sung des Kölner Domes’, Kölner Domblatt, 82, 2017, pp. 82-111; see
also the study exploring correlations between the architecture
and stained glass motifs in the tracery: ‘Maßwerk aus Glas. Or-
namentale Wechselbeziehungen zwischen Architektur und Glas-
malerei’, in Im Rahmen bleiben. Glasmalerei in der Architektur des
13. Jahrhunderts, ed. by U. Bednarz, L. Helten, G. Siebert, Berlin,
2017, pp. 78-88.
2 S. B01SSERÉE, Ansichten, Risse und einzelne Theile des Doms von
Köln, Stuttgart and Paris, 1821-1831.
windows are widely represented and stylistically diverse,
albeit they are in rather poor repair, researchers still tend
to show their scholarly predilection for figural stained
glass compositions. There are but a comparatively limited
number of monographic studies of ornamental stained-
glass glazing, and those are preponderantly concerned
with artefacts in Cistercian and Franciscan architecture.3
Few and far between are the exceptional undertakings
aiming for a comprehensive overview of the tradition of
ornamental stained glass, and the accomplishments mer-
iting special mention in this respect are typified, first and
foremost, by the article authored by Hartmut Scholz in
1998.4 In addition, as the recent publication written by
Burger addresses the above lacuna in the literature on this
subject, a recognition and a critique are merited by this
release as well.
3 E.g.: H. Wentzel, ‘Die Glasmalerei der Zisterzienser in Deutsch-
land’, in LArchitecture monastique. Actes et travaux de la rencon-
tre franco-allemande des historiens dart. Die Klosterbaukunst. Ar-
beitsbericht der deutsch-französischen Kunsthistoriker-Tagung,
Mainz, 1951, pp. 173-178; E. Frodl-Kraft, ‘Das “Flechtwerk” der
frühen Zisterzienserfenster’, Wiener Jahrbuch für Kunstgeschich-
te, 20 (24), 1965, pp. 7-20; B. Lymant, Die mittelalterlichen Glas-
malereien der ehemaligen Zisterzienserkirche Altenberg, Bergisch
Gladbach, 1979.
4 H. Scholz, ‘Ornamentverglasungen der Hochgotik’, in Himmels-
licht: Europäische Glasmalerei im Jahrhundert des Kölner Dom-
baus, 1248-1349, exh. cat., Cologne, Schnütgen-Museum, ed. by
H. Westermann-Angerhausen, Cologne, 1998, pp. 51-62.
[ÜB
Publikacja jest udostępniona na licencji Creative Commons (CC BY-NC-ND 3.0 PL).
Seria Nowa, t. 17: 2019/PL ISSN 0071-6723
JOANNA UTZIG
Jagiellonian University
REVIEW
MICHAEL BURGER, FENESTRAE NON HISTORIATAE.
ORNAMENTALE GLASMALEREI DER HOCHGOTIK
IN DEN REGIONEN AM RHEIN (1250-1350),
BERLIN: DEUTSCHER KUNSTVERLAG FÜR KUNSTWISSENSCHAFT 2018
(CORPUS VITREARUM MEDII AEVI DEUTSCHLAND, STUDIEN, 3),
256 PAGES, BLACK-AND-WHITE AND FULL-COLOUR ILLUSTRATIONS
Michael Burgers book, released in 2018 as the third vol-
ume of the editorial series Corpus Vitrearum Medii Aevi
Deutschland, Studien, represents a pioneering landmark
due to the compendious character and vast scope of its
discussion of the phenomenon of medieval ornamental
stained glass.1 Admittedly, researchers’ interest in orna-
mental stained-glass windows was piqued as early as in
the first half of the nineteenth century, and that point in
time witnessed the rendition of documentations featuring
full-colour drawings of many such complexes (which is
relevantly exemplified by Sulpiz Boisserés batch of draw-
ings facsimileing the Gothic stained glass in Cologne
Cathedral).2 However, much as ornamental stained glass
1 This work is an elaboration of a PhD dissertation defended in
2015 at the Albert-Ludwigs-Universität in Freiburg im Breis-
gau. To date, the authors output already comprises a number of
works dealing with medieval stained glass, ornamental glazing
included. M. Burger, ‘Die Glasmalereien der Klosterkirche Hai-
na aus kunsthistorischen Sicht’, in Klosterkirche Haina. Restaurie-
rung 1982-2012, ed. by G. Götze, Ch. Vanja, В. Buchstab, Stutt-
gart, 2011, pp. 141-162; idem, ‘Die ornamentale Kathedralvergla-
sung des Kölner Domes’, Kölner Domblatt, 82, 2017, pp. 82-111; see
also the study exploring correlations between the architecture
and stained glass motifs in the tracery: ‘Maßwerk aus Glas. Or-
namentale Wechselbeziehungen zwischen Architektur und Glas-
malerei’, in Im Rahmen bleiben. Glasmalerei in der Architektur des
13. Jahrhunderts, ed. by U. Bednarz, L. Helten, G. Siebert, Berlin,
2017, pp. 78-88.
2 S. B01SSERÉE, Ansichten, Risse und einzelne Theile des Doms von
Köln, Stuttgart and Paris, 1821-1831.
windows are widely represented and stylistically diverse,
albeit they are in rather poor repair, researchers still tend
to show their scholarly predilection for figural stained
glass compositions. There are but a comparatively limited
number of monographic studies of ornamental stained-
glass glazing, and those are preponderantly concerned
with artefacts in Cistercian and Franciscan architecture.3
Few and far between are the exceptional undertakings
aiming for a comprehensive overview of the tradition of
ornamental stained glass, and the accomplishments mer-
iting special mention in this respect are typified, first and
foremost, by the article authored by Hartmut Scholz in
1998.4 In addition, as the recent publication written by
Burger addresses the above lacuna in the literature on this
subject, a recognition and a critique are merited by this
release as well.
3 E.g.: H. Wentzel, ‘Die Glasmalerei der Zisterzienser in Deutsch-
land’, in LArchitecture monastique. Actes et travaux de la rencon-
tre franco-allemande des historiens dart. Die Klosterbaukunst. Ar-
beitsbericht der deutsch-französischen Kunsthistoriker-Tagung,
Mainz, 1951, pp. 173-178; E. Frodl-Kraft, ‘Das “Flechtwerk” der
frühen Zisterzienserfenster’, Wiener Jahrbuch für Kunstgeschich-
te, 20 (24), 1965, pp. 7-20; B. Lymant, Die mittelalterlichen Glas-
malereien der ehemaligen Zisterzienserkirche Altenberg, Bergisch
Gladbach, 1979.
4 H. Scholz, ‘Ornamentverglasungen der Hochgotik’, in Himmels-
licht: Europäische Glasmalerei im Jahrhundert des Kölner Dom-
baus, 1248-1349, exh. cat., Cologne, Schnütgen-Museum, ed. by
H. Westermann-Angerhausen, Cologne, 1998, pp. 51-62.
[ÜB
Publikacja jest udostępniona na licencji Creative Commons (CC BY-NC-ND 3.0 PL).