tailieunhanh - The Kalkar School of Carving: Attribution of a Wooden Polychromed Sculpture

The lack of emphasis (about 10 % of the course) in connection design within a course is by no means a reflection of the significance of connections to the integrity of a structure. Instead, it is due to the time constraint in a semester and the common belief in the past that connections are standardized details that should be left to the fabricators. However, the connections are the glue that holds a structure together. Historically, connection failures have contributed to many structural failures, for example, the Hartford Civic Center in 1977 [1], the Hyatt Regency Hotel in. | The Kalkar School of Carving Attribution of a Wooden Polychromed Sculpture LUCRETIA GODDARD KARGÈRE L. w. Frohlich Fellow Sherman Fairchild Center for Objects Conservation The Metropolitan Museum of Art IN THIS ARTICLE I propose to reattribute Saint Roch acc. no. a wooden polychromed sculpture in the collection of The Metropolitan Museum of Art 1 previously catalogued as early sixteenthcentury Flemish or German to a school of carving located in the town of Kalkar in the Lower Rhine region of Germany near the Dutch border. Comparisons will be adduced between the piece and works produced in the first half of the sixteenth century by a circle of sculptors that included Heinrich Douwerman Heinrich van Holt and Arnt van Tricht. In addition to issues of iconography provenance and style the article will examine the carving techniques used in the sculpture. Iconography The wooden figure represents Saint Roch patron saint of the plague-stricken Figure 1 . He stands squarely on a small piece of turf staff in left hand his head directed slighdy to his right and his left leg to the fore. To his right is a small angel dressed in a long robe arms and gaze lifted to his left is a dog with a loaf of bread in its jaws. The saint s vestments are of a style that was worn north of the Alps at the beginning of the sixteenth century. They consist of a broad cloak with a large collar a knee-length jacket with a square neckline and a slit up the front from hem to hip level and a doublet with a double row of slashing around the The costume is well fitted with details of contemporary masculine dress a leather belt around the waist of the jacket a strap over the right shoulder and across the chest that would support a bag hanging underneath his cloak the knotted rope fastening the cloak ankle-high boots each with two rectangular buckles and a brimmed hat stylishly tilted to his left over a close-fitting felt cap. The saint s coordinated attire contrasts with the exposure of