Portable Prototypes: Canterbury Badges and the Thomasaltar in Hamburg

dc.contributor.authorLee, Jennifer
dc.contributor.departmentHerron School of Art and Designen_US
dc.date.accessioned2023-03-07T18:04:52Z
dc.date.available2023-03-07T18:04:52Z
dc.date.issued2021
dc.description.abstractPilgrims’ badges often depicted works of art located at a cult center, and these cheap, small images frequently imitated monumental works. Was this relationship ever reversed? In late medieval Hamburg, a painted altarpiece from a Hanseatic guild narrates the life of Thomas Becket in four scenes, two of which survive. In 1932, Tancred Borenius declared this altarpiece to be the first monumental expression of Becket’s narrative in northern Germany. Since then, little scholarship has investigated the links between this work and the Becket cult elsewhere. With so much visual art from the medieval period lost, it is impossible to trace the transmission of imagery with any certainty. Nevertheless, this discussion considers badges as a means of disseminating imagery for subsequent copying. This altarpiece and the pilgrims’ badges that it closely resembles may provide an example of a major work of art borrowing a composition from an inexpensive pilgrim’s badge and of the monumental imitating the miniature.en_US
dc.eprint.versionFinal published versionen_US
dc.identifier.citationLee, J. (2021). Portable Prototypes: Canterbury Badges and the Thomasaltar in Hamburg. Arts, 10(3), Article 3. https://doi.org/10.3390/arts10030051en_US
dc.identifier.urihttps://hdl.handle.net/1805/31693
dc.language.isoenen_US
dc.publisherMDPIen_US
dc.relation.isversionof10.3390/arts10030051en_US
dc.relation.journalArtsen_US
dc.rightsAttribution 4.0 International*
dc.rights.urihttp://creativecommons.org/licenses/by/4.0/*
dc.sourcePublisheren_US
dc.subjectbadgesen_US
dc.subjectMeister Franckeen_US
dc.subjectRegressioen_US
dc.titlePortable Prototypes: Canterbury Badges and the Thomasaltar in Hamburgen_US
dc.typeArticleen_US
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