Amsterdam University Press

482 Pages·2016·22.82 MB·English

Re-forming Texts, Music, and Church Art in the Early Modern North
A
m
s
t
e
r
d
a
m

U
n
i
v
e
r
s
i
t
y

P
r
e
s
s
Crossing Boundaries
Turku Medieval and Early Modern Studies
The series from the Turku Centre for Medieval and Early Modern Studies
(TUCEMEMS) publishes monographs and collective volumes placed at the
intersection of disciplinary boundaries, introducing fresh connections between
established fijields of study. The series especially welcomes research combining
Aor juxtaposing diffferent kinds of primary sources and new methodological
solutions to deal with problems presented by them. Encouraged themes and
m
approsaches include, but are not limited to, identity formation in medieval/early
t
modern communities, and the analysis of texts and other cultural products as a
e
communicative process comprising shared symbols and meanings.
r
d
Series Editors
a
Matti Peikola, University of Turku, Finland
m

U
n
i
v
e
r
s
i
t
y

P
r
e
s
s
Re-forming Texts, Music, and Church
Art in the Early Modern North
Edited by
Tuomas M.S. Lehtonen and Linda Kaljundi
A
m
s
t
e
r
d
a
m

U
n
i
v
e
r
s
i
t
y

P
r
e
s
s
Amsterdam University Press
A
m
s
t
e
r
d
a
m

U
n
i
Maps: Liisi Kasuk v
Translators: Aet Varik (Chapters 10 and 14) and Meargarita Spirida (Chapter 7)
r
Cover design: Coördesign, Leiden
s
Lay-out: Crius Group, Hulshout i
t
Amsterdam University Press English-language titles are distribyuted in the US and Canada by

the University of Chicago Press.
P
isbn 978 90 8964 737 5 r
e-isbn 978 90 4852 493 8 (pdf) e
doi 10.5117/9789089647375 s
nur 685 s
© Tuomas M.S. Lehtonen, Linda Kaljundi and the contributors / Amsterdam University Press
B.V., Amsterdam 2016
All rights reserved. Without limiting the rights under copyright reserved above, no part of
this book may be reproduced, stored in or introduced into a retrieval system, or transmitted,
in any form or by any means (electronic, mechanical, photocopying, recording or otherwise)
without the written permission of both the copyright owner and the authors of the book.
Every efffort has been made to obtain permission to use all copyrighted illustrations
reproduced in this book. Nonetheless, whosoever believes to have rights to this material is
advised to contact the publisher.
Table of Contents
A Note on Terms and Names 17
Acknowledgments 19
Introduction 21
Tuomas M.S. Lehtonen and Linda Kaljundi
A
m
Part I Contextualizations and Thematizations
s
t
e
1 Popular Belief and the Disruption of Religious Practices in
r
Reformation Sweden 43
d
Martin Berntson
a
2 Trade and the Knowmn World 69

Finnish Priests’ and Laymen’s Networks in the Late Medieval Baltic
U
Sea Region
n
Ilkka Leskelä i
v
3 Diglossia, Authority and Tradition e 97
r
The Influence of Writing on Learned and Vernacular Languages
s
i
Marco Mostert t
y

Part II Music and Religious Performances P
r
e
4 Changes in the Poetics of Song during the Finnish Reformation 125
s
Kati Kallio s
5 Vernacular Gregorian Chant and Lutheran Hymn-singing in
Reformation-era Finland 157
Jorma Hannikainen and Erkki Tuppurainen
6 Pious Hymns and Devil’s Music 179
Michael Agricola (c. 1507-1557) and Jacobus Finno (c. 1540-1588) on
Church Song and Folk Beliefs
Tuomas M.S. Lehtonen
7 The Emergence of Hymns at the Crossroads of Folk and
Christian Culture 217
An Episode in Early Modern Latvian Cultural History
Māra Grudule
Part III Church Art and Architecture
8 Reform and Pragmatism 253
AOn Church Art and Architecture during the Swedish Reformation
Era
m
sAnna Nilsén
t
e
9 Early Lutheran Networks and Changes in the Furnishings of
r
the Finnish Lutheran Parish Church 287
d
Hanna Pirinen
a
10 Continuity and Chmange 311

Reorganizing Sacred Space in Post-Reformation Tallinn
U
Merike Kurisoo
n
i
v
Part IV The ‘Other’ and the Afteerlife
r
s
i
11 Pagans into Peasants t 357
Ethnic and Social Boundaries in Early Modern Livoynia

Linda Kaljundi
P
r
12 Est vera India septemtrio 393
e
Re-imagining the Baltic in the Age of Discovery s
Stefan Donecker s
13 Transformations of Saint Catherine of Alexandria in Finnish
Vernacular Poetry and Rituals 421
Irma-Riitta Järvinen
14 Agricola’s List (1551) and the Formation of the Estonian Pantheon 449
Aivar Põldvee
Contributors 475
Index 479
List of Maps, Figures, Tables, and Musical Examples
AMaps
m
Map 1 Baltic Sea region 11
s
t
Map 2 Baltic Sea region, 1530 12
e
Map 3 Baltic Sea region, 1580 13
r
Map 4 Baltic Sea region, 1630 14
d
Map 5 The Swedish provinces 15
a
m

Figures
U
n
Figure 5.1 A fragment from Gradiuale F.m. II 44 in the National
Library of Finland, withv Finnish translation added for
the Gloria e 160
r
Figure 5.2 The end of the antiphon O Kunnian Kuningas (O Rex
s
i
gloriose) in the Codex Westh t 165
Figure 5.3 The introit Nos autem in the Codex Wyesth 167

Figure 5.4 The trope Benedicamus parvulo nato in a manuscript
from Hämeenkyrö P 168
r
Figure 5.5 The hymn O fadher wår wij bidhie tigh in the Loimijoki
e
manuscript (c. 1600) 173
s
Figure 8.1 Gustav Vasa as the Bysta Master saw him in about 15s50 256
Figure 8.2 Gustav Vasa’s Bible, 1541; title page 258
Figure 8.3 St. Erik. Uppsala Cathedral Chapter’s counter-seal
from 1275, believed to represent his statue 260
Figure 8.4 The Seven Sacraments. Altarpiece painted by Rogier
van der Weyden, 1440-1445. Detail of the central panel,
showing the Eucharist 262
Figure 8.5 Klara church plan 266
Figure 8.6 Läby church, Uppland. Drawing from the seventeenth
century. A typical Swedish one-celled church, well-
suited to the Lutheran service 267
Figure 8.7 Katarina church in Stockholm. Original plan and
elevation 268
Figure 8.8 Two sixteenth-century pulpits 271
Figure 8.9 Choir screen from Kongsted, Denmark 273
Figure 8.10 Marby old church, Jämtland 276
Figure 8.11 The Trinity in Vendel church Uppland, painted by
A Johannes Ivan in 1452. Below the Trinity in Hägerstad
church, Östergötland, painted by Mats the Painter
m
from Linköping in 1608 280
s
t
Figure 8.12 Vårdsbergs church, Östergötland. St. George, painted
e
by Mats the Painter in 1615 283
r
Figure 9.1 The Hattula pulpit 295
d
Figure 9.2 Lucas Cranach the Elder. The Holy Service. A motif
a
from a prayer book, 1527 297
Figure 9.3 Paintinmgs from the Isokyrö church. The northern wall 300

Figure 9.4 The bookstand of Vehmaa church 301
U
Figure 9.5 Lucas Cranach the Elder, The Old and the New Testa-
n
ment (c. 1529) i 302
Figure 10.1 Matthäus Merian thev Elder, View of Tallinn from the
northwest e 317
r
Figure 10.2 Ornate pews for the Town Council members in St.
s
i
Nicholas’s Church, 1556-1557; desttroyed during the
Second World War y 329

Figure 10.3 Ground plan of St. Nicholas’s Church; Heinrich Julius
Woltemate, 1691 P 330
r
Figure 10.4 Interior view to the west of St. Nicholas’s Church
e
with seven-armed candelabrum (1519), the pews
s
of the Brotherhood of Black Heads (1560s), and thse
pulpit (1624). Pulpit and benches destroyed during
the Second World War 332
Figure 10.5 Interior view to the east of St. Nicholas’s Church with
the late medieval altarpiece (workshop of the Lübeck
master Hermen Rode, 1478-1481) and the Calvary
Group (early fijifteenth century) 333
Figure 10.6 Open view of the altarpiece of the high altar of St.
Nicholas’s Church 335
Figure 10.7 Open view of the Passion Altarpiece. The middle panel
shows the praying fijigures of the mint master Urban
Dene and the superintendent Heinrich Bock, added
in the mid-sixteenth century. 338
Figure 10.8 Epitaph of the pastor of St. Nicholas’s church, Johann
Hobing, 1558 339
Figure 10.9 Ground plan of the church of the Holy Spirit; Heinrich
Julius Woltemate, 1691 342
Figure 10.10 Antependium of St. Olaf’s Church 348
AFigure 12.1 Muscovite atrocities in the Livonian War 394
Figure 12.2 How the Amazons Treat their Prisoners of War 395
m
Figure 12.3 About the Islands recently discovered in the Indian
s
t
Sea 414
e
Figure 14.1 Transcript of Agricola’s list from Thomas Hiärne’s
r
chronicle 456
d
Figure 14.2 Conrad Westermayr, Wainamöinen – Finnish Orpheus 465
a
m

Tables
U
n
Table 5.1 Liturgical chants in tihree Swedish/Finnish sources 164
v
e
r
Musical Examples
s
i
t
Example 5.1 Comparison of melodies: Kyrie Luxy et origo, set in

Roman and Germanic forms 162
Example 5.2 The beginning of the trope Discubuit JPesus in the
r
Codex Westh (1546?, Finnish) and in the Henricus
e
Thomæ manuscript (Swedish) 164
s
Example 5.3 The antiphon O sacrum convivium in a manuscripts
from Marttila (1596, Latin) and in a handwritten ap-
pendix to Michael Agricola’s Passio (1616) from the
same time (Finnish) 165
Example 5.4 The antiphon O Rex gloriose in the Marttila manu-
script (1596, Latin) and in the Codex Westh (1546,
Finnish) 166
Example 5.5 Latin and Finnish forms of the introit Nos autem in the
Graduale Uskelense (A) and in the Codex Westh (B) 167
Example 5.6 Fragments from the introits Quasi modo geniti in the
manuscript of Henricus Thomæ (A, Latin) and in the
Offfijicia Missæ of M.B. Gunnærus (C, Finnish) 170
Example 5.7 Michael Agricola’s translation of O Lamm Gottes
unschuldig (Agricola, Messu, 1549) combined with
the melody in the Swedish Hög manuscript (1541?) 172
A
m
s
t
e
r
d
a
m

U
n
i
v
e
r
s
i
t
y

P
r
e
s
s