Winter and Christmas in Books and Pictures

By Staatsbibliothek Bamberg

Staatsbibliothek Bamberg

Roast goose and winter beer, St Nicholas and angels, the nut cracker and gingerbread, the manger and the Christmas tree - the books and pictures preserved in the Staatsbibliothek Bamberg contain many ingredients of the festive season. Join us on a time travel from the Middle Ages to the present day!

The Adoration of the Magi (1511) by Dürer, AlbrechtStaatsbibliothek Bamberg

Christ in the Manger

The centre of Christmas is the newborn Jesus in the manger, surrounded by Mary, Joseph, the shepherds or the three Magi, while angels are singing hymns in praise of the Saviour of mankind. Enjoy some highlights from our collections and discover historical depictions of the Christmas miracle!

Birth of Christ and Transfiguration, Gospel Birth of Christ and Transfiguration, Gospel (c. 1150)Staatsbibliothek Bamberg

This Ottonian manuscript belongs to the so-called ‚Rich group‘ of mediaeval book illumination from Cologne and may have been a gift from archbishop Anno of Cologne, who had been director of the Bamberg cathedral school until 1056.

The codex contains the four gospels, each being introduced by a picture of the author and a decorative page.

On a page preceding the prologue for the gospel of John, a blessing Christ is depicted. He is enthroned above the circular earth, whose upper half is populated by angels. Underneath, scenes showing the adoration of an idol and a christening can be seen.

Birth of Christ and Transfiguration, Gospel Birth of Christ and Transfiguration, Gospel (c. 1150)Staatsbibliothek Bamberg

On the following page, Christ is standing on the mountain of Tabor, while a voice from heaven proclaims him the Son of God. Three apostles fall to the ground, overwhelmed by the apparition.

In the upper part of this page, angels are announcing the birth of Christ to the shepherds.

The Adoration of the Magi (c. 1050)Staatsbibliothek Bamberg

This 11th-century sacramentary from the region of Liège contains prayers for mass in the order of the church year, beginning with Christmas Eve.

The rich painted decoration is probably based on a model from the monastery of Reichenau, an island in Lake Constance.

The miniature for the feast of epiphany on 6 January shows the three Magi and Mary with the child in front of a temple-like architectural backdrop. The kings are characterized by their different beards as young men, grown men and old men, representing the three stages of men’s life.

The double infant Jesus The double infant Jesus (c. 1300)Staatsbibliothek Bamberg

On the steps (in Latin gradus) to the altar, the cantor recited Gregorian chants during mass. They were collected in a book for the liturgy, the so-called gradual.

Only seven leaves of this gradual from Spain have been preserved. Each of them is decorated with an initial containing a small scene.

On Christmas Day, the introit Puer natus est (“Unto us a child is born”) rang out at the entrance to the mass. The text is based on a passage from the book of Isaiah in the Old Testament. There, the birth of the Messiah is predicted.

In the inner space of the initial P, Mary sits in front of a stable built from stones; a maid brings her a drink to refresh her. The newborn child appears twice: above, between the ox and the donkey, and in the arms of the visitor who hands Mary a wine glass.

The double infant Jesus The double infant Jesus (c. 1300)Staatsbibliothek Bamberg

The initial E for Epiphany shows Mary sitting on a stone throne. The newborn Jesus can already stand and gently touches his mother's chin.

Mary is holding a sceptre crowned by lilies, a flower which represents Mary's purity, virginity and fertility.

The three Magi represent once again three different generations: A man with white hair and beard is kneeling in the foreground; he has taken off his crown and hands a golden coin to Jesus. Adulthood is represented by the king with a brown beard in the background who is leaning towards a beardless youth.

Fragment of a Book of Hours (c. 1470)Staatsbibliothek Bamberg

This single leaf probably comes from a workshop in Rouen (Normandy) that specialized in the production of books of hours. These precious manuscripts were used by the clergy or private individuals for prayers.

This page of the Office of Mary only contains a few lines of text, but is filled with painted scenes and ornaments which invite a closer look. Below the birth of Christ, the legend of Ara coeli in Rome is shown: The Sibyl of Tibur draws the attention of Emperor Augustus to a heavenly appearance of Mary with the child in a mandorla.

The plants depicted around the scenes convey a deeper meaning:

The thistle is linked to the passion of Christ and reminds the viewer of Christ's crown of thorns.

Strawberries, which grow during springtime, symbolize God's incarnation in Jesus, which was announced to Mary in spring. They are also considered as one of the fruits of paradise.

The cornflower and the columbine also have a religious meaning:

The cornflower, which grows in cornfields, symbolizes Christ who is likened to the wheat. Because of its blue colour, it is also a symbol of paradise.

The three petals of the blue columbine represent the holy Trinity. The flower is also a symbol of Mary's pain during the passion of Christ.

Thus, this leaf does not only convey the story of the birth of Christ, but alludes to the history of salvation up to the reconciliation of God and man through the passion and death of Christ.

The Birth of Christ (1511) by Dürer, AlbrechtStaatsbibliothek Bamberg

In 1502/3, Albrecht Dürer created the woodcut 'The Birth of Christ', also known as 'Adoration of the Shepherds', as part of his 'Life of the Virgin', which was completed in 1511 and published with Latin texts by Benedictus Chelidonius.

Through a missing wall, the artist grants the viewer an insight into the sacred events that take place in a ruin. While Mary, accompanied by angels, bends over the child on its bed of straw and Joseph hurries over with a jug, shepherds arrive and kneel down. Angels rejoice in the heavens, the star shines brightly and through the round arch the viewer catches a glimpse of archangel Gabriel, who heralds the birth of the Saviour.

The Adoration of the Magi (1511) by Dürer, AlbrechtStaatsbibliothek Bamberg

Published in the same year as Dürer's 'Life of Mary', the woodcut 'The Adoration of the Magi' was often regarded as part of that series. However, it was produced as a separate devotional image.

Mary and Joseph welcome the three Magi from the East under the canopy of a ruined house. On her lap, Mary holds the newborn Jesus who reaches for box that a kneeling king is offering. While Joseph and another king are watching, the third guest turns to his entourage. The star that led the Magi to Christ is still shining above the scenery.

The three Magi are depicted in a new iconography: From the Renaissance onwards, they are no more the representatives of the three stages of man's life, but of the continents known at the time: Europe, Asia and Africa.

The Adoration of the Shepherds (1516) by Krug, LudwigStaatsbibliothek Bamberg

In 1516, the Nuremberg artist Ludwig Krug engraved the motif 'The Adoration of the Shepherds' in copper. The original metal plate has been preserved in the Staatsbibliothek Bamberg.

Like Dürer, Krug depicts several scenes in parallel: In the foreground, Mary is shown bending devoutly over the newborn Christ, while the first shepherd steps up to worship the infant. Through a round arch, the viewer catches a glimpse of another shepherd who is just hurrying to the manger, and in the background the archangel Gabriel appears, announcing the birth of the Saviour.

The Adoration of the Magi (1516) by Krug, LudwigStaatsbibliothek Bamberg

Unlike Dürer, who chose the same setting for both images, the adoration of the kings by Ludwig Krug is set in an interior of noble appearance - a stark contrast to the derelict inn where Mary and Joseph found shelter on Christmas Eve. Behind the three Magi, the royal entourage can be seen approaching the infant Jesus.

In the early 19th century, the copper plate belonged to the famous art gallery of the Nuremberg patrician family Praun. When this collection was auctioned off by the art dealer Frauenholz, the Bamberg art collector Joseph Heller (1798-1849) acquired the item.

Depiction of the winged altar by Veit Stoß with the Birth of Christ. Etching by Johann Caspar Weinrauch From: History of the Parish upon u.L. women in Bamberg to the 4th Jubilee of the former Parish church, edited by Andreas Augustin Schellenberger Bamberg: Johann Georg Klietsch, 1787 (1787) by Stoß, Veit and Weinrauch, Johann Caspar; Schellenberger, Andreas AugustinStaatsbibliothek Bamberg

The wood carver Veit Stoß originally created this altarpiece showing the birth of Christ for the Carmelite monastery in Nuremberg.

His son Andreas Stoß was the convent's prior and probably invented the iconographic concept for the altar, which was built in 1523. The wood was not coloured - probably intentionally.

Only two years, later the monastery was dissolved during the Reformation. Andreas Stoß moved to Bamberg. In 1543 he negotiated the purchase of the altarpiece for the church of the upper parish (Obere Pfarre).

Four reliefs of the altarpiece had already been lost before 1787. In 1864 they were replaced; in 1934 the arrangement of the figures was changed. The altar was transferred to Bamberg cathedral three years later.

Bamberg Children's Bishop Index omnium festorum et sanctorum secundum ordinem Stephaninae ecclesiae Bambergae (1581/83)Staatsbibliothek Bamberg

This manuscript from the late 16th century contains the order of service for the Bamberg Collegiate Church of St. Stephen, which was founded in 1020. In 1863, the manuscript passed from the collection of the art collector Martin Joseph von Reider into the possession of the local Historical Society.

The illustration shows a boy designated as the holy bishop Nicholas accompanied by two acolytes. It is the only contemporary pictorial representation of a child bishop.

The schoolboys of the collegiate church elected the child bishop a week before the feast of St Nicholas. He stayed in office until 28 December 28th (the day of the holy Innocents) and played a leading role in singing the chants.

Waltenberger, Hanns: Christmas tree with Craft marks above a city silhouette (1950) by Waltenberger, HannsStaatsbibliothek Bamberg

The Christmas Tree

The manger is a symbol of the religious meaning of Christmas, and the Christmas tree stands for its secular traditions. Already in the Middle Ages, people decorated trees for festive occasions or cut down evergreen twigs during wintertime and hung them up inside the house as a symbol of life or a protection against evil spirits. Decorated with nuts and fruits, straw stars, tinsel or even with sausages - the Christmas tree is inseparable from the festive season.

The great public masquerade on horseback and in chariots in Bamberg on the carnival assembly in 1837 (1837) by Lachmüller, Johann BaptistStaatsbibliothek Bamberg

As a symbol of Biedermeier homeliness, the Christmas tree sometimes even appeared on carnival parades such as the one taking place in Bamberg in 1837, in the middle of the political upheaval of the Vormärz period. However, the good citizens of Bamberg were obviously not concerned with the demands for freedom.

The Christmas tree decorated with sausages and the large beer mug underneath represent the self-satisfaction of the city-dwellers, who regarded a good life as more important than politics.

Karl Reinthaler: Adam and Christ or the christmas tree in M. Luthers Nursery (1843) by Reinthaler, KarlStaatsbibliothek Bamberg

The Lutheran theologian Karl Reinthaler, who founded the Martinsstift in Erfurt in 1821, wanted to promote a harmonious family life. The Stift was located within the former Augustinian monastery where Martin Luther had lived; it was used as a home for poor children.

During the festive season, families were supposed to read from this collection of dialogues and songs under the Christmas tree and to sing together.

Waltenberger, Hanns: Christmas tree with Craft marks above a city silhouette (1950) by Waltenberger, HannsStaatsbibliothek Bamberg

The design by the artist Hans Waltenberger (1883-1960) for a poster shows a stylized Christmas tree, decorated with the ensigns of various guilds (for example a scissor, a boot and a pretzel). Underneath, a silhouette of an unidentified Franconian city with half-timbered houses and little towers is shown. This design was probably comissioned by a Chamber of Trade and Industry.

E.T.A. Hoffmann: Nutcracker and Mouse King. A fairy tale for the youth, looked over by Manfred Kyber. With twelve coloured pictures by Artur Scheiner (1920s) by Hoffmann, E.T.A. and Scheiner, ArturStaatsbibliothek Bamberg

The Nutcracker

Hardly another fairy tale defines Christmas as much as E.T.A. Hoffmann's 'Nutcracker and King Mouse'. The phantastical story about Marie, Fritz, Uncle Drosselmeier and the evil king of mice has been fascinating young and old audiences for more than 200 years. Until today, the music composed by Tchaikovsky is a staple in the repertoire of many large ballet companies.

Children's fairy tales by Carl Wilhelm Contessa, Friedrich Baron de la Motte Fouqué, and E.T.A. Hoffmann First volume, part 3: 'Nutcracker and Mouse King' (1816) by Hoffmann, E.T.A.Staatsbibliothek Bamberg

The first edition came out in 1816. E.T.A. Hoffmann, who spend five years of his life in Bamberg, himself designed a vignette showing the two heroes of the title.

Nutcracker & Mouse King, a lovely Children's fairy tale after E.T.A. Hoffmann or newest delight for pictures in ten finely illuminated copper engravings after Original drawings of Peter Carl Geißler Nutcracker & Mouse King, a lovely Children's fairy tale after E.T.A. Hoffmann or newest delight for pictures in ten finely illuminated copper engravings after Original drawings of Peter Carl Geißler (1840)Staatsbibliothek Bamberg

In 1840, the Nuremberg artist Peter Carl Geißler created a series of ten copper engravings based on the story. The little book was published with and without Hoffmann's text.

Nutcracker & Mouse King, a lovely Children's fairy tale after E.T.A. Hoffmann or newest delight for pictures in ten finely illuminated copper engravings after Original drawings of Peter Carl Geißler Nutcracker & Mouse King, a lovely Children's fairy tale after E.T.A. Hoffmann or newest delight for pictures in ten finely illuminated copper engravings after Original drawings of Peter Carl Geißler, Christmas Eve (1840) by Hoffmann, E.T.A. and Geißler, Peter CarlStaatsbibliothek Bamberg

On Christmas Eve, Marie and Fritz receive presents from their parents. While the wild Fritz immediately starts playing with the wooden horse and his new toy sabre, the well-behaved Marie is presented by her parents with a nutcracker.

E.T.A. Hoffmann: Nutcracker and Mouse King. A fairy tale for the youth, looked over by Manfred Kyber. With twelve coloured pictures by Artur Scheiner (1920s) by Hoffmann, E.T.A. and Scheiner, ArturStaatsbibliothek Bamberg

A revised version was published in numerous editions through the 1920s, illustrated by the Czech Art Nouveau artist Artuš Scheiner.

Hans Günter Ludwig: Silhouette (2019) by E.T.A. Hoffmann and Ludwig, Hans GünterStaatsbibliothek Bamberg

The Bamberg artist Hans Günter Ludwig summarizes the prologue of the battle between the nutcracker and the mouse king in a densely populated silhouette which he created in 2019.

In order to end the curse on the beautiful Princess Pirlipat, a young man must crack the extremely tough nut Krakatuk. When this feat is accomplished by the nephew of the Supreme Court Councillor Drosselmeier, the royal court dances with joy. Yet in order to remove the curse completely, the nephew has to walk seven steps backwards without stumbling. In doing so he accidentally treads on the queen of mice. As a revenge, she turns him into a nutcracker. Only the love of a devoted woman can rescue him.

Advertisig Poster for authentic Nuremberg Gingerbread (c. 1900) by F.G. MetzgerStaatsbibliothek Bamberg

Christmas delicacies

Nothing unites - or divides - a family as much as the traditional festive feast on Christmas Day. While Christmas mass is important for spiritual salvation, ginger bread, roast meat and sparkling wine are essential for people's physical welfare. Get an appetite and enjoy our sweet and savoury treats on paper!

X.Y.Z. [d.a. Johann Christoph Ludwig]: The Martin's-Goose, historically and physically (1756)Staatsbibliothek Bamberg

In winter one does not only drink mulled wine and eat gingerbread.

The series of Christmas festivities begins on St Martin's day, 11 November. For this occasion, the geese that have been fattened during the year are slaughtered. This custom derives from the legend that St Martin hid in a goose pen in the year 372 in order to avoid being elected Bishop of Tours. However, the geese gave him away with their cackling. For this treason, they have to pay with their lives until today.

The Art of making good coffee, along with instructions for making various fancy bakeries for this drink; a useful gift for women (c. 1820)Staatsbibliothek Bamberg

Around 1820, a woman with any self-respect had to offer delicate pastries on her coffee or tea table. The recipe for gingerbread from Nuremberg has changed little since then.

Conversation between two farmers, the landlord and a traveler, in the tavern in Nulldorf on January 1, 1821 about the new price of winter beer (c. 1821) by Lindauer, Michael ?Staatsbibliothek Bamberg

At about the same time, a violent argument originated in Munich about the winter beer, a beer with a malty taste and particularly high alcohol content. The price was regarded as too high.

In a fictional conversation set in a pub on 1 January, a traveler explains to the beer drinkers what high profits the brewers make. They responded very quickly, and a downright press campaign broke loose about the Bavarian beer regulatory.

Advertisig Poster for authentic Nuremberg Gingerbread (c. 1900) by F.G. MetzgerStaatsbibliothek Bamberg

The Bamberg State Library holds a collection of c. 1,500 advertising posters from around 1900 covering a wide range of subject areas: They advertise food and luxury goods such as chocolate, tobacco, coffee, beer or sparkling wine, household appliances and cleaning agents, cosmetics and remedies, bicycles and car accessories as well as clothes, toys, books and much more.

Manufacturers of gingerbread advertised their products on large-format posters as early as the 19th century. In order to catch the potential customer's eye, the advertisement had to be original. This poster from the factory of F. G. Metzger shows a little boy sitting on a stack of gingerbread tins and boxes with views of the city of Nuremberg recognizable on them.

Advertisment Poster for sparkling wine of the company Matheus Müller from Eltville, Rheingau (c. 1900) by Lithografische AnstaltStaatsbibliothek Bamberg

Happy New Year!

In the final section, we would like to escort you virtually into the New Year. Let the corks pop with our selection of festive New Year motifs!

Little Venice New Years Greeting Card by von Halm, PeterStaatsbibliothek Bamberg

The Munich artist Peter von Halm created picturesque city views, including this drawing of snow-covered Little Venice in Bamberg.

Advertisment Poster for sparkling wine of the company Matheus Müller from Eltville, Rheingau (c. 1900) by Lithografische AnstaltStaatsbibliothek Bamberg

Wine and sparkling wine from the city of Eltville on the Rhine were very popular around 1900. In the 1830s, Matheus Müller was one of the first German manufacturers to use the 'Méthode champenoise' in the production of sparkling wine. The 'MM' brand still exists today.

A cheerful lady is offering a toast to the viewer. She wears a cheeky Pierrot hat and a golden pig on her bracelet - a traditional symbol of luck. The label on her fan indicates that the drink is being advertised as 'Germania-Sect'.

Bamberg at New Years Eve Bamberg at New Years EveStaatsbibliothek Bamberg

Greeting cards with god wishes for the New Year were very popular. This type, known as vexing cards, contained hidden text or pictures which could be discovered when they were held against the light.

Bamberg at New Years Eve Bamberg at New Years EveStaatsbibliothek Bamberg

And we also join in in this cheerful wish for a Happy New Year! for you, dear visitors! Take care and above all, stay in good health!

Credits: Story

Highlights from the exhibition "Winter and Christmas in Books and Pictures"
7 November – 19 December 2019

Staatsbibliothek Bamberg

Idea: Bettina Wagner
Texts: Bettina Wagner and Uta Schneikart
Photos: Gerald Raab
Layout: Uta Schneikart

Credits: All media
The story featured may in some cases have been created by an independent third party and may not always represent the views of the institutions, listed below, who have supplied the content.
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