Rethinking Jagiello Hungary 1490-1526

Extensive Hungarian-language summary and commentary by Laszlo Szabolcs Gulyas in Klio 2006/2 (University of Debrecen). Electronic version available at http://www.c3.hu/~klio/klio062/klio040.htm

Frankapanski Modruš s Tržan-gradom na slici Sveto Rodbinstvo Jana van Scorela u Obervellachu

According to his biographer, Karel van Mander, the Netherlandish painter Jan van Scorel spent a brief period studying with Albrecht Dürer before setting of for Carinthia, where he was warmly received by the local nobility. Historians have long been aware of the commissions from this period of van Scorel’s career – the Adoration of the Magi and the Frangipani-Altar. Originally a triptych, the latter work was “modernized” and, in 1692, encased in a Baroque altar housing in the church of St. Martin in the Carinthian village of Obervellach. The coats of arms on the reverse of the Holy Kinship indicate that the painting was commissioned by Count Christopher Frankapan and his wife Apollonia Lang of Wellenburg. However, over time, art historians have assumed that the Holy Kinship portrays members of the Lang family, leading to the conclusion that the work was commissioned by Apollonia’s brother, Matthäus Lang von Wellenburg, Cardinal and Prince-Archbishop of Salzburg. However, the backdrop against which the family members are portrayed, featuring the town, new fortress, and castle on the hill, corresponds to Modruš with Tržan-grad, owned at the time by the Frankapan family.Nizozemski je slikar Jan van Scorel prema njegovu životopiscu, Karelu van Manderu, kratko naukovao kod Albrechta Dürera nakon čega je otputovao za Korušku, gdje ga je lokalno plemstvo izvrsno primilo. Na tom je putu odradio historiografiji dobro poznate dvije narudžbe – Poklonstvo kraljeva (za tirolsku plemenitu obitelj Khuen von Belasy) i Frankapanski oltar (1519.). Potonje je djelo (prvotno triptih) “modernizirano” i 1692. ugrađeno u barokni oltar koji se i danas nalazi u crkvi sv. Martina u koruškom mjestu Obervellach. Zahvaljujući grbovima na poleđini središnje slike (Sveto Rodbinstvo) historiografiji su također poznati i naručitelji triptiha – knez Krsto I. Frankapan i supruga mu Apolonija Lang od Wellenburga. No povjesničari su umjetnosti s vremenom zaključili da su upravo na slici Svetog Rodbinstva portretirani članovi obitelji Lang pa su stoga konstatirali kako je riječ o narudžbi kardinala i salzburškog nadbiskupa Mateja, Apolonijinog brata. Oslici ambijenta (grada i nove tvrđave te dvorca na brdu) u kojem je portretirano niz pripadnika očigledno iste obitelji (kao Sveto Rodbinstvo), međutim, odgovaraju vizuri tadašnjega frankapanskog Modruša s Tržan-gradom

De Poenitentia et Evangelio Coming Together and Coming Clear in Luther\u27s Theology

These three breakthroughs - the understanding of God\u27s righteousness, law and gospel, and repentance - are not noted here arbitrarily. While the present examination is concerned primarily with tracing Luther\u27s changing theology of repentance, we can not do so as if this doctrine existed in isolation, standing and falling on its own. Any understanding of repentance, Luther\u27s not excepted, is intimately entwined with one\u27s understanding of God\u27s righteousness and the gospel- and most importantly, how these meet in one\u27s conception of the person and work of Christ

Six Ways Ecumenical Progress Is Possible

Ecumenism can only be the outcome of both mutual and internal discernment in the churches. It will take time, it will involve missteps, and it will require humility

Hans Wertinger in context : art, politics, and humanism at the court of Ludwig X, Duke of Bavaria

textThe German Renaissance artist Hans Wertinger (c. 1465/70-1533) was a prolific master who worked in a variety of artistic media and oversaw a large atelier during his mature years. In 1516, Wertinger completed his first commission for Ludwig X (1495-1545), Duke of Bavaria, newly resident in Landshut. Two years later, Wertinger was named Ludwig’s court painter. The artist’s interaction with the Wittelsbach court, including its scholars, during these and subsequent years inspired many of his most innovative artworks. Wertinger painted portraits of the duke that addressed Ludwig’s conceits and conveyed his political and religious authority. He also collaborated with one of Ludwig’s advisors, the humanist scholar Dietrich von Plieningen, on book illustrations and a history painting with themes related to the classical past. As befitted Wertinger’s position as court painter, he provided a wide variety of decorations for Ludwig’s palace at Burg Trausnitz; these illustrate and elucidate the space of rulership. Wertinger’s success as a court painter is a testament to his versatility and innovation, as he created diverse artworks that both reflected and contributed to the broader culture of the Landshut court.Art Histor