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Described as “the most famous and significant Magdalene altar in Germany,” there have been few comprehensive iconographic studies of Lucas Moser’s Saint Magdalene Altarpiece , especially in recent decades. This chapter clarifies misunderstandings in the early literature and calls attention to the regional and local influences present in the altarpiece. In the consideration of Mary Magdalene as the subject for a side altar at Tiefenbronn in Germany earlier scholarship mistakenly turned to France. The chapter emphasizes the widespread popularity of Mary Magdalene in Germany, and specifically at Tiefenbronn. Panels from a dismantled altarpiece, which may have been created in the Poor Clares’ Convent in Nuremberg, formed an altarpiece of Mary Magdalene and her Bethany siblings. Beyond a general knowledge of contemporary Magdalene imagery, borrowing from such a specific source as the Saelden Hort also implicates Wolfram Maiser von Berg’s involvement in programming the imagery. Keywords:Bethany siblings; German iconography; German Magdalene iconography; Saelden Hort ; Saint Magdalene Altarpiece ; Tiefenbronn; Wolfram Maiser von Berg |
