The church as colonist: the benedictine abbey of Lorsch and planned Waldhufen colonization in the Odenwald

It is still uncertain whether earlier Waldhufen row settlements with single strip farms in the west of Germany served as models for this type of village, so widely diffused in east central Europe from the twelfth to the fourteenth centuries. In the Odenwald hills Waldhufen settlements were introduced as early as the late eighth century when the imperial monastery of Lorsch started to colonize a royal forest donated by Charlemagne. At first the abbey founded a small Waldhufe for dependent peasants of the manorial villicatio system, but later an enlarged version of strip farms incorporating large portions of forest—the classical Waldhufe—was developed by economically more independent farmers. Also a systematic network of central places in the form of villicatio centres and castle settlements was established within the colonization area. From the Lorsch colonies the diffusion of the Waldhufen settlement model can be traced to the neighbouring Spessart and to the distant Black Forest through personal contacts of territorial lords with Lorsch. Similar connections to one of the leading colonists in the Frankenwald may have brought the idea even to the east central European Waldhufen region in the early twelfth century.     

Heidegger and Cassirer on Science after the Cassirer and Heidegger of Davos

Summary

The paper exposes the views of Ernst Cassirer and Martin Heidegger on the dynamics of the sciences of their day, as both developed them in the two decades after the encounter of the two philosophers in Davos in 1928. It emphasizes points of common concern, and it compares their positions to those of contemporary philosophers of science Gaston Bachelard and Edgar Wind.     

Pigments, dyes, and black enamel—the colorants of reverse paintings on glass

Nondestructive analyses of medieval reverse paintings on glass revealed the same dyes and pigments customarily used in panel paintings. However, there is one exception: the black colorant is not a carbon-based pigment, but black enamel. In this respect, the stylistic as well as the technical influence of stained glass artwork can clearly be seen on reverse paintings on glass. However, there is a crucial difference: in reverse paintings, the black enamel is not fired onto the glass but painted (cold painting). Additional analyses confirmed these findings. Based on these results, the art form “reverse painting on glass” has technically to be characterized as a mixture of “stained glass” and “panel painting” that nonetheless develops into a genre of its own.     

Gaston Bachelard et Albert Flocon la Rencontre d’un Philosophe Avec un Graveur

The paper focuses on the collaboration between the philosopher of science Gaston Bachelard and the copper engraver Albert Flocon during the first decade after World War II. The exchange resulted in a number of books whose content is discussed.