Summary This article explores the material matter of alabaster, tentatively explaining why the sculptor Pere Johan travelled more than 1000 kilometres across Spain to obtain the finest possible alabaster for the retable in La Seo, Zaragoza (1435–1445), and why the parts he sculpted in wood were later replaced by alabaster modules sculpted by other artists. Medieval writers apparently assumed that there is more to a given material than just its physical components, namely a sensus spiritualis, a sense of celestial sweetness. Building on their writings while at the same time being guided by the so-called material turn and the concept of ductus, I aim to offer new perspectives on how various characteristics – material, sensual, tactile vs. immaterial, visual, non-tangible – co-exist in one single object, widening our understanding of the patrons’, the artists’ and the churchgoers’ engagement with religious artefacts in the later Middle Ages.

中文翻译：

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物质问题，主题问题：佩雷·约翰（Pere Johan）在萨拉戈萨（La Seo）的雪花石膏桌子（1435–1445）

结束语本文探讨了雪花石膏的实质性问题，初步解释了为什么雕塑家Pere Johan穿越西班牙超过1000公里，以获得最好的雪花石膏作为萨拉戈萨La Seo（1435–1445）的餐桌，以及他雕刻的零件为何后来被其他艺术家雕刻的雪花石膏模块所取代。中世纪的作家显然认为，某种给定的材料不仅仅是其物理成分，还有一种灵性感觉，一种天上的甜蜜感。在他们的作品的基础上，同时又受到所谓的物质转向和延展性概念的指导，我的目的是就各种特征（物质的，感性的，触觉的，非物质的，视觉的，非有形的）如何提供新的观点。并存于一个物体中，拓宽了我们对顾客的理解，