Cool Nebenjob Ulm images

A few nice Nebenjob Ulm images I found:

Image from page 11 of “Deutsche plastik des mittelalters..” (1909)
Ulm
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Identifier: deutscheplastikd00saue
Title: Deutsche plastik des mittelalters..
Year: 1909 (1900s)
Authors: Sauerlandt, Max, 1880-1934
Subjects: Sculpture, German Sculpture, Medieval Sculpture, Reproductions of
Publisher: Düsseldorf & Leipzig : K. R. Langewiesche
Contributing Library: PIMS – University of Toronto
Digitizing Sponsor: University of Toronto

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ie, Der schwabische Schnitzaltar. StraBburg 1907. — STADLER, HansMultscher und seine Werkstatt. StraBburg 1907. — TONNIES, Eduard, Leben undWerke des Wiirzburger Bildschnitzers Tilman Riemenschneider. StraBburg 1900. —VISCHER, Robert, Studien zur Kunstgeschichte. Nebenjob Stuttgart 1886. — WEESE, Arthur, I Die Bamberger Domskulpturen, StraBburg 1897. ZEICHNUNGEN IM TEXT: Seite XII. Kapitell aus der Ludgerikirche in Helmstedt. XIII. Kapitell aus dem friiheren KlosterPosa bei Zeitz. XV. Kapitell aus der Sakristei des Domes in Naumburg. XVIII. Kapitell amEingang der Krypta in Goslar. XX. SchluBstein in der gotischen Wolbung eines Hauses amRingplatz in Krakau, 14. Jahrhundert. XXII—XXVI. Kapitelle im Westchor des NaumburgerDomes. 13. Jahrhundert. XXVII—XXXI. Miserikordien vom Chorgestiihl des Nebenjob Ulmer Munstersvon Jorg Syrlin. 1. Halfte des 16. Jahrhunderts. IX. Tiirklopfer an der Petrikirche in Liibeck.Mitte des 14. Jahrhunderts. XXXII. Tiirklopfer am Dom in Reval. EINLEITENDE BEMERKUNGEN

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MIT FONFZEHN ZEICHNUNGEN IM text von HANS SCHMIDT-CHARLOTTENBURG R iir die ganze neuere Epoche iiber-nimmt von den darstellenden Kiinsten dieMalerei die Fiihrung, die Plastil^ tritthiiiter sie in die zweite Reihe zuriick, undalle beide, Malerei wie Plastik, entwickelnsich in enger, zeitweilig bis zu strikter Ab-hangigkeit getriebener Verbindung mit dermonumentalen Baukunst, die wahrend derganzen Epoche im Mittelpunkt der kiinst-lerischen Interessen steht. In der Malerei, genauer gesagt in dermonumentalen Flachendekoration, wie siesich gleich in den ersten Jahrhundertenunserer Zeitrechnung auf den breiten Ober-wanden der Hauptschiffe, auf der Stirnseiteder Triumphbogen und in der Kappe derAitarnischen der fiiihchristlichen Basilikenzu cntfalten begann, vvurden vvesentlicheGrundsatze der neuen Kunst zuerst fest-gestelit, Grundsatze, die dann auch aufden Stil der Schwesterkunst bestimmendeingevvirkt haben.*) Die aus zahllosen bunten Steinen undStiften zur festen Wand zusammengemauer-ten

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Image from page 507 of “Handbuch der glasmalerei für forscher, sammler und kunstfreunde, wie für künstler, architekten und glasmaler” (1914)
Ulm
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Identifier: handbuchderglasm00fisc
Title: Handbuch der glasmalerei für forscher, sammler und kunstfreunde, wie für künstler, architekten und glasmaler
Year: 1914 (1910s)
Authors: Fischer, Josef Ludwig, 1879-
Subjects: Glass painting and staining Glass painting and staining
Publisher: Leipzig, K. W. Hiersemann
Contributing Library: Smithsonian Libraries
Digitizing Sponsor: Smithsonian Libraries

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<u • ^_r O T3 C C ^OJ Qj ra Sc ■o o ^ CJ rt 2 ? hn5 t; faß r3 s § ^ ^ M =^ cq ^

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235 das bekannte Beobachtungsinstrument, während die Musik die Harfeschlägt, später aber mit einem Hammer an aufgehängten Glockenverschiedenen Tons pocht, wie wir auf einem Glasgemälde zuLaon bemerken können. Im weiteren Mittelalter kommt dazunoch die Medizin. Während Capella sich auf weibliche Figurenbeschränkt, hat Vinzenz aus den großen Männern des klassischenAltertums je einen Vertreter hinzugefügt. Obwohl uns nur mehrbildhauerische Zeugen dieses Systems, z. B. an dem Chorgestühldes Nebenjob Ulm er Münsters erhalten sind, so muß es doch einstens ver-schiedenen Glasgemälden zum Vorwurf gedient haben. Wenigstenssind aus dem englischen Kloster Sankt Alban Erinnerungen an derleiFenster auf uns gekommen. Wir wissen nicht sicher, aus welcherZeit die Glasgemälde von Sankt Alban stammen, vermutlich abergehören sie dem 14. Jahrhundert an. Sie sind nur mehr aus denInschriften unter jenen Fensterflügeln bekannt, die einst die oftunverständlichen Szenen zu erläutern bestimmt waren.

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Image from page 44 of “Life of Adolph Spaeth, D.D., LL.D. … told in his own reminiscences, his letters and the recollections of his family and friends” (1916)
Ulm
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Identifier: lifeofadolphspae00spae
Title: Life of Adolph Spaeth, D.D., LL.D. … told in his own reminiscences, his letters and the recollections of his family and friends
Year: 1916 (1910s)
Authors: Spaeth, Harriett Reynolds Krauth
Subjects: Spaeth, Adolph, 1839-1910
Publisher: Philadelphia, General council publishing house
Contributing Library: Princeton Theological Seminary Library
Digitizing Sponsor: Princeton Theological Seminary Library

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nt, are fromthe years 1467-1496. The glory of the church is thehigh altar with its wonderful wood-carving painted andgilded, which was completed in 1494. The relief on theright wing dates from 1493. In going to bed the boys were obliged to pass alongan open corridor whose arches looked down on thechurch with its blackened oak stalls where the Benedic-tine monks used to sit only a few centuries before. Theeffect of the moonlight, slanting and shifting on theseempty seats was extremely weird, and, doubtless, ghostlyshapes often glided through the dreams that followed. The surroundings of Blaubeuren are most romantic.The cloister and village nestle close to the Blautopf,a clear blue lake long considered unfathomable, just atthe point where, from its placid depths, the wide streamof the River Blau flows toward Nebenjob Ulm. Like the edgesof a colossal crater, precipitous, and mostly bare wallsof rock enclose the basin of the Blautopf with its en-chanting green meadows. The striking feature of this

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e SJ frf(f/(ffy«/i ^(fr/ A t r//f</ n THE CLOISTER SCHOOL 21 spot however, is a solitary mountain peak, the Ruck,which has remained standing in the middle of the basin,steep and rugged on one side, but falling away grad-ually, in soft outlines, to the valley of the Blau. (Pfar-rers Albert.) The ordering of the house, the Cloister as it wasusually called, was almost Spartan in its simplicity. Allthe rooms and corridors, even the lecture-room, werewhitewashed and quite bare. To each student a room was assigned for the whole course of four years Adolph received the Collegstube adjoining the lecture-room, sharing it with seven of his companions. Thisroom was long and narrow, well lighted by four win-dows overlooking a quiet, peaceful orchard which, inspring, was glorious with blossoms, and enlivened by thejoyous song of many birds. Besides a desk near a win-dow for each of the eight students, there was a tablein common, where, between the regular meals, they couldenjoy a lunch; bread

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Please note that these images are extracted from scanned page images that may have been digitally enhanced for readability – coloration and appearance of these illustrations may not perfectly resemble the original work.

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