This essay focuses on the dramatic seventeenth- and eighteenth-century history of Lucas Cranach the Elder’s Schneeberg Altarpiece (1539). The altarpiece was looted by imperial troops during the Thirty Years’ War, recovered by Schneeberg’s congregation and reinstalled in 1650. In 1709, however, it was dismantled during the baroque refurbishment of the church. Parts were then reset in an elaborate frame. The altarpiece’s history testifies, the essay argues, to images’ importance in Lutheran confessional culture. Moreover, its eighteenth-century setting, which deployed the visual idioms of the Italian baroque challenges the still-powerful paradigm of a Protestant aesthetic of plainness. The central Crucifixion panel of Cranach’s altarpiece was now presented as a relic, held aloft by angels. This transformation was driven in part by changes in taste, but also by a changing devotional context, in particular by a renewal of highly affective Passion piety within Lutheranism.

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路德会巴洛克：宗教改革祭坛画的来世

本文重点介绍老卢卡斯·克拉纳赫 (Lucas Cranach) 的施尼伯格祭坛画 (1539) 在 17 和 18 世纪的戏剧性历史。祭坛画在三十年战争期间被帝国军队洗劫一空，被施尼伯格的会众收回并于 1650 年重新安装。然而，在 1709 年，它在教堂的巴洛克式翻新期间被拆除。然后在精心设计的框架中重置零件。这篇文章认为，祭坛画的历史证明了图像在路德宗忏悔文化中的重要性。此外，它 18 世纪的环境采用了意大利巴洛克风格的视觉习语，挑战了新教朴素美学的仍然强大的范式。克拉纳赫祭坛画的中央受难面板现在作为遗物呈现，由天使高举。这种转变的部分原因是口味的变化，