Kersti Markus

This article discusses the iconography of the Virgin Mary cycle on the corpus and the inner wings of the St Barbara altarpiece in the National Museum of Finland in Helsinki. The retable is most famous for the paintings by the North German master called Francke depicting the legend of St Barbara. In the historiography of this altarpiece, the study of the paintings dominates over that of the reliefs. The aim of the article is to explain how and why its sculptural programme is influenced by Birgittine spirituality, and how it was connected to the bishop of Åbo/Turku, Magnus II Tavast, who, it is argued, is the most probable commissioner of the altarpiece.

This article discusses the iconography of the Virgin Mary cycle on the corpus and the inner wings of the St Barbara altarpiece in the National Museum of Finland in Helsinki. The retable is most famous for the paintings by the North German master called Francke depicting the legend of St Barbara. In the historiography of this altarpiece, the study of the paintings dominates over that of the reliefs. The aim of the article is to explain how and why its sculptural programme is influenced by Birgittine spirituality, and how it was connected to the bishop of Abo/Turku, Magnus II Tavast, who, it is argued, is the most probable commissioner of the altarpiece.

The early period of the Christianization of Livonia has until recently been considered in terms of written and archaeological sources, but the present article focuses on visual material. We will try to answer the question why two stone fortresses—Ukskula and Holme—had to be built in the Livonian territory in the context of a peaceful German mission, and why their architectural style is quite different, eliminating the possibility that they could be the work of the same hands. The Chronicle of Henry of Livonia tells us that both building projects were initiated by Canon Meinhard of the Segeberg Convent. In 1186, when the first of the two strongholds had been built, but not the second, Meinhard also became bishop. Although the investiture of a bishop by the Archbishop of Bremen should have been considered an important landmark in the Christianization of Livonia by the Church of Riga, the fact is only briefly mentioned in Henry’s Chronicle. More significant reasons for this gloss over ...

The Christianization of Livonia from the Perspective of Visual Sources

The early period of the Christianization of Livonia has until recently been considered in terms of written and archaeological sources, but the present article focuses on visual mate- rial. We will try to answer the question why two stone fortresses—Üksküla and Holme— had to be built in the Livonian territory in the context of a peaceful German mission, and why their architectural style is quite different, eliminating the possibility that they could be the work of the same hands. The Chronicle of Henry of Livonia tells us that both building projects were initiated by Canon Meinhard of the Segeberg Convent. In 1186, when the first of the two strongholds had been built, but not the second, Meinhard also became bishop. Although the investiture of a bishop by the Archbishop of Bremen should have been considered an important landmark in the Christianization of Livonia by the Church of Riga, the fact is only briefly mentioned in Henry’s Chronicle. More significant reasons for this gloss over such a major event may be found by looking more closely at the architec- ture of the Holme castle. The style clearly follows that of the Danish 12th century state fortresses, presenting an intriguing synthesis between the castle on the island of Sprogø and the Havn castle of Bishop Absalon of Roskilde.
Besides architecture, the fortresses’ spatial relation to the landscape deserves special attention. Most 12th century Danish fortresses are built on islands, facilitating the control of maritime traffic. The name in Henry’s Chronicle, castrum Holme, denotes a castle built on a small isle in the Scandinavian languages, and considering the position of the island, the fortress was conveniently placed for controlling the traffic on the river Daugava. We could draw the conclusion that after his investiture, Bishop Meinhard turned to the Danes for advice on the next steps to be taken in Livonia. The same happened in the Wendish Crusade, when Duke Henry the Lion of Saxony and King Valdemar of Denmark divided the conquered areas between them. Furthermore, after Bishop Albert’s (1199-1229) ordi- nation his first official visit was paid to the King of Denmark. The Danish marked their presence in the area with a castle on the isle of Holme. This explains why, in 1188, Arch- bishop Hartwig applied for papal approval to specifically emphasise the bishopric’s sub- ordination to Bremen. This could also be the reason for Henry’s taciturnity on the subject in his Chronicle and for the later exculpations of the Church of Riga, including the claim that this church antedated both the Danish crusade and the Danish mission in the region. The construction of the Holme castle lends credibility to the suggestion that Knud VI’s ambitions in Livonia were considerably broader than the historiography has so far sug- gested.

This article discusses the use of the cult of the Holy King in the context of the Baltic Crusades at the end of the 12th century and in the early 13th century. The analysis is based on the account of the miracle of St Olaf performed in Estonia, the story of the King's visit to the island of Gotland reflected by Gutasagan and the spatial relation of St Olaf's churches to the landscape. It also discusses three Danish sources which have previously not received attention from historians dealing with the Baltic Crusades, but which actually can change our understanding of the history of the Baltic Sea region and the foundation of the town Reval as well. Particular focus will be placed on the commercial interest of the Danes in communication with the Rus' and its reflections in the building of St Olaf's churches.

Focusing on visual sources and the cultural landscape, Kersti Markus offers a fresh perspective on the Baltic crusades in Visual Culture and Politics in the Baltic Sea Region, 1100-1250. The book examines how visual propaganda was used by the Danish rulers as an instrument in establishing supremacy in the Baltic Sea region. In recent decades, Danish historians have highlighted the central role of the Valdemar dynasty and the bishops supporting them in the Baltic crusades, but visual sources show how the entire society was mentally prepared for a journey with redemption waiting at the end. A New Jerusalem was being built in Scandinavia, and the crusade to Livonia was conducted under the banner of Christ.

Readership. All those interested in the history of the crusades, and the medieval history and visual culture of Livonia and Scandinavia. For more information see brill.com Order information: Order online at brill.com The Americas: 1 (860) 350 0041 | brillna@turpin-distribution.com Outside the Americas: 44 (0) 1767 604-954 | brill@turpin-distribution.com