Thanks to Alistair Forbes for hosting this week’s SPF.
Credit: © C.E. Ayer
Jacobus was a talented Holtzschnitzer (woodcarver) as his Papa and Opa had been before him. He gazed at the fine ritter (knight) he had geschnitzt (carved) on the remaining panel of set of doors in the St. Mary Magdalene’s Kathedralen (cathedral). He was greatly pleased by his relief die Schnitzereit (carvings) and the subject matter. His Opa would have been proud, he had been the most exceptional Holtzschnitzer of his time.
When Jacobus was four, his Papa taught him everything he knew then, sent him around Europe to train under Meister der Holzschnitzerei (woodcarving masters). At the prime of life, Jacobus was in Paris working on Holzschnitzereien (woodcarvings) for the king of France, schnitzen (carving) reliefs and figures for a generous wage.
Jacobus was even more talented than his Opa had been and enjoyed that the subject matter in many French Kathedralen weren’t so limited due to the Renaissance influence in art. His next project was a die Schnitzereit of Mary Magdalene. Not a relief but a carefully schnitzen (carved) contrapposto* figure with a rounded body, full breasts, and hips.
These were the Holzschnitzereien found in Italian churches and not the old Gothic churches of his homeland in Deutschland. Jacobus grinned as plans for the Mary Magdalene took shape. He grabbed etwas Pergament (some parchment) off a table nearby and began to sketch.
*Contrappasto – “Is an Italian term that means counterpoise. It is used in the visual arts to describe a human figure standing with most of its weight on one foot so that its shoulders and arms twist off-axis from the hips and legs (Wikipedia.com).”
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