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La Vita Norberti, rédigée vers le milieu du XIIe siècle, rapporte la vision qu'aurait eue un des premiers novices du saint fondateur de l'Ordre de Prémontré, celle d'un personnage à trois têtes prétendant être la Trinité. A cette date, pourtant, le motif tricéphale était réservé au diable, et la Trinité tricéphale ne prendra son essor dans l'art qu'un siècle plus tard, pour connaître à partir du XIVe un vif succès. L'article en montre les premiers exemples, présente diverses théories concernant la genèse de la Trinité tricéphale, et s'efforce d'analyser cette avance de l'histoire des visions sur l'histoire des types iconographiques. La « diabolisation » de la tricéphalie en milieu prémontré traduit peut-être la volonté de refouler toute trace résiduelle de culte celtique.
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Surveys the history of the watermill originally belonging to the Premonstratensian Park Abbey at Leuven (Heverlee)
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[Für das Wohl des Konvents und der Laien. Die Schulen in der Breslauer Prämonstratenser-Abtei St. Vinzenz im Mittelalter]
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The cloister of the Premonstratensian abbey of Steinfeld in the Eifel region in Germany was built in 1499-1517. Its twenty-seven windows were glazed with an extensive typological series, donor figures, and saints in two campaigns between ca. 1522 and 1558. On several occasions the glass was removed, carried away for protection against war damage, and then replaced. Finally, in 1802, through the efforts of John Christopher Hampp of Norwich, it was brought to England where it was sold and dispersed. Thirty-eight panels were acquired by Lord Brownlow and installed at Ashridge Park in the first half of the nineteenth century. These were later given to the Victoria and Albert Museum, London. Two other panels were identified in Bristol. All of this glass was extensively discussed in 1955 in a German publication which included a manuscript description of all the windows from 1719. This led to the identification of nearly ninety panels of Steinfeld glass in many locations, including collections in the U. S. A.; one panel sold at Sotheby's, London, was returned to Steinfeld. These newly identified panels have enabled the correction and refinement of earlier conclusions concerning the iconography and composition, although much further work remains to be done. An appendix lists all extant panels discovered to date.
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