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Katerina's Windows:

Donation and Devotion, Art and Music, as Heard and Seen in the Writings of a Birgittine Nun
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Examines 58 letters written by Katerina Lemmel, a wealthy Nuremberg widow, who in 1516 entered the abbey of Maria Mai in south Germany, and rebuilt the monastery using her own resources and the donations she solicited from relatives.


Contents

List of Illustrations

Preface

Acknowledgments

Maps

Introduction

1 Looking Through Words, Numbers, Images, Buildings, and Melodies: Glimpses of Childhood and Marriage, Investment and Donation, in the Nuremberg of Katerina Imhoff Lemmel, 1466–1516

2 Disappearing Behind Veils and Walls with Windows: Katerina’s Rituals and Rhetoric of Passage in June 1516

3 Opening Windows of Communication: Building and Business: Letters from 1516

4 Sitting at the Window: News of Shattered Promises and Bad Returns: Letters from February Through July 1517

5 Windows of Opportunity: Bad Times, Singing for Saffron; Sights and Sounds, Scents and Tastes, of Commemoration: Letters from August Through December 1517

6 Writing by Window Light, Singing by Candlelight: Benefactions Through Windows to the World Outside: Letters from 1518

7 Windows Under Scrutiny: Letters from 1519

8 Some Good Eyeglasses: Letters from 1520–1522

9 Breaking Windows: Violent Clashes in the Peasants’ War of 1525

10 Now Through a Glass Darkly, but Then Face to Face: Katerina’s Last Letter, Last Words, and Last Will

Conclusion: Moving Forward with a Glance in the Rearview Mirror

Genealogical Tables

Bibliography

Index



“There is a wealth of material here . . . to be mined by economic, social, and church historians as well as feminists. The book provides a welcome shift in focus from the scholarship on individual piety, private interaction with images, and mystical experience that has constituted much of the recent interest in nuns. . . . The disciplinary expertise of the authors, an art historian and a musicologist, give readers a nuanced and multifaceted view of the interactions of art and music, donation and liturgy, and sadly also the motivations for iconoclasm and very different perspectives on the ‘poverty’ and value of religious life in its contemporary society. The book is richly illustrated with black-and-white and color images interspersed.”

—Judith Oliver, Speculum: A Journal of Medieval Studies

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