La communion des Lutheriens dans l'Eglise des Minorites à Augsbourg 1732
print, etching, engraving
baroque
etching
etching
genre-painting
history-painting
engraving
Dimensions 13 x 16 1/2 in. (33.02 x 41.91 cm) (plate)16 x 19 5/8 in. (40.64 x 49.85 cm) (sheet)
This print captures the communion of Lutherans in the Minorites Church in Augsburg. The act of communion depicted here carries profound symbolism. The Eucharist, or Holy Communion, represents spiritual cleansing and unity with the divine. Note the individuals ascending the staircase, moving towards the altar. In ancient Roman art, the act of ascending stairs often symbolized honor and the attainment of divine favor, appearing on triumphal arches. Similarly, we see the motif of the staircase in religious contexts, such as Jacob's Ladder, representing a mystical connection between Heaven and Earth. This motif speaks to something primal within us: the desire to bridge the gap between the earthly and the divine. The act of approaching the altar signifies seeking transcendence, a psychological journey towards enlightenment. The print captures this collective yearning for something beyond ourselves, a deeply human impulse that resonates across time and cultures. The symbolism reflects a cyclical progression of meaning, as the gestures and motifs of one era resurface and evolve in another, adapted yet fundamentally unchanged.
Comments
Catharina Heckel Sperling learned drawing from her father, Augsburg goldsmith Michael Heckel. A prodigy, she etched a booklet of fashion plates at age 11. She was self-taught as a painter of easel paintings and miniatures. In 1725, she married engraver Hieronymus Sperling, and together they spent the next few years making etched and engraved illustrations for a Bible published from 1731 to 1735, the same period in which the present church view appeared. Working at the dawn of the Age of Enlightenment, she made images intended to convey vast quantities of information with the greatest clarity and objectivity possible. In The Communion of the Lutherans she carefully depicted the church, the clothing, and the ceremony. This is not to say that she insisted on archeological accuracy; comparison to modern photographs of the church reveals that she made the sanctuary appear loftier than it is in reality.
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