This statue of a holy woman, probably one of the half-sisters of the
Virgin, Mary Cleophas, the wife of Alpheus, or Mary Salome, the wife of
Zebedee formed part originally, it may be presumed, of a Pieta group.
This remarkable example of German sculpture at the close of the XV century
is carved in linden wood, and preserves largely intact the original
gilding and polychromy which add so much to the decorative effect of the
piece. A second figure from this group, a kneeling Magdalene, is in the
Kaiser-Friedrich Museum in Berlin. There has been noted a similarity in
style between these two sculptures and the work of the Meister des
Blaubeurer Hochaltars (so called from the sculptured high altar in the
choir of the cloister-church at Blaubeuren). We have represented,
perhaps, a late phase of his art, stronger and more realistic than in his
early period. It would be most interesting if the connection with this
well-known master could be established, but, failing that, the figure may
be confidently attributed to the school of Ulm, about 1500.
We do not expect to find in German sculpture of the XV century that
spirituality which characterizes the great achievements of the Italian
school. German plastic art was one of realism, modified by a strong
decorative tradition centuries old, based not only on precedent but on
propriety. If the carved altarpiece were to tell in the subdued light of
the Gothic church, the artist had to resort to exaggeration, to sharp
contrasts in modeling, to the added emphasis of gold and color, to secure
his effect. The skillful artist converted his exaggerations of form and
movement into beautiful decoration; seized upon the necessity of
contrasting planes as a pretext for crumpling his draperies into numerous
rhythmic folds, and used the resources of gilding and polychromy to enrich
as well as to emphasize form.
But at his best, the German sculptor was more than a simple decorator.
Our statue is a case in point. Here we have the work of one who surely
has looked into the human heart. Beneath the pattern of line and area,
beneath the gold and colors, is a living woman. Not our idea of a saint
perhaps; rather, a pretty woman, dainty in her ways, coquetting with
religeon—nevertheless very real. Our artist may never have seen a saint,
but, no doubt, he saw many a maid like this in his parish. If we are not
raised to spiritual heights by his conception of a sainted character, we
are at least delighted by his charming humanity.
[St. Mary Magdalene, Linden Wood. Attributed to Jorg Syrlin the Younger,
1425-after 1521]
St. Mary Magdalene, Linden Wood. Attributed to Jorg Syrlin the Younger,
1425-after 1521
This relief, attributed to a well-known sculptor of the school of Ulm, one
of the chief centers of South German art, may be dated about 1500. Such
carvings as this were commonly used to ornament the doors of large
shrines. The decorative treatment of the drapery, with its involved
folds, is characteristic of the German school.
[Small Column, Marble. Southern French, XIV Century]