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Angelic Salutation

Angelic Salutation is a life-sized assemblage of limewood sculptures by the late-Gothic German artist Veit Stoss, celebrating the Annunciation. It was commissioned in 1517 by Anton II Tucher, completed the following year, and donated to the medieval church of St. Lorenz in Nuremberg. The ensemble was made as a devotional centerpiece for Marian devotions and was reviewed by Albrecht Dürer before final payment. After the Reformation, part of the work was covered and only the crown was dismantled, but it largely survived. It is still freely suspended on a metal chain in the centre of the choir, facing the high altar.

Angelic Salutation carved wooden sculpture with an angel and a woman inside an ornate circular frame
Angelic Salutation by Veit Stoss, showing an angel and a woman within an elaborately decorated suspended wooden frame.
October 2014 © · CC BY-SA 3.0
Angelic Salutation, an ornate sculptural ensemble with an angel and woman standing inside a circular wreath, surrounded by small figures and topped by a crowned figure.
Angelic Salutation, a richly decorated sculptural ensemble with central figures framed by an elaborate wreath.
1909 © Sauerlandt, Max, 1880-1934 · No restrictions
Angelic Salutation, an ornate oval sculpture with carved figures hanging above the church altar.
Angelic Salutation suspended above the altar inside a church.
© Georg Vitzthum von Eckstädt · Public domain
Close-up of the gilded serpent detail on the Angelic Salutation, holding a nut-like object in its mouth.
A close-up of the serpent detail on the Angelic Salutation, shown in gilded carving with an object in its mouth.
March 2019 © · CC BY-SA 4.0
A cream-colored page from an old book with a centered German title and several paragraphs of text.
An old book page with a bold German heading and dense text below.
1847 © Friedrich Mayer, J G Wolff · Public domain

Identification

TitleAngelic Salutation
Alternative namesEngelsgruß; Englischer Gruß; Pozdrowienie Anielskie
Typeassemblage of sculptures

Historical context

Religious contextA devotional work centered on the rosary and Marian devotion
Historical settingCompleted on the eve of the German Reformation, just as Lutheran reformers were introducing iconoclastic ideas
SubjectThe Annunciation

Creator

ArtistVeit Stoss
StyleLate Gothic
Commissioned byAnton II Tucher, a Nuremberg councilman and high-ranking official
Commission year1517
Completion year1517–1518
Associated craftsmanJakob Pulmann
Review before final paymentAlbrecht Dürer reviewed the work on behalf of Anton Tucher before final payment was determined

Discovery and provenance

Installation date17 July 1518
Dedicated tothe Church of St. Lorenz (St. Lawrence) in Nuremberg
Payment550 guilders for the sculpture and the Marian chandelier
Commission contextCommissioned for the Church of St. Lawrence in Nuremberg; Tucher was familiar with Stoss's work and was thought to have wanted to donate a work of art himself

Location and ownership

Original locationSuspended in the choir/presbytery of St. Lorenz Church, Nuremberg
Current locationSt. Lorenz Church, Nuremberg, southern Germany
Current display methodFreely suspended on a chain and winch
PlacementIn the centre of the choir, facing the high altar
Ownership after the ReformationIn 1525 Nuremberg and Tucher converted to Lutheranism; the work was treated as private property of the Tucher family and mostly escaped destruction

History and restoration

Restoration1825–1826 by Lorenz Rotermundt and Johann Michael Rotermundt; the work was reassembled and received new polychromy
Return to churchReturned to St. Lorenz Church in 1952 after war damage in the church had been repaired
Museum storage and wartime protectionDisplayed at the Germanic National Museum in 1933 and protected in the Kunstbunker under the castle from 4 September 1939
Later restorationsRestored several times in the 20th century; further restored in 1970–1971
Damage eventOn 2 April 1817 the rope tore, the sculpture fell to the ground, and it was badly damaged
CoveringCovered with a green fabric from 1519; uncovered only on holy days until 1529, and later permanently uncovered at the end of the 19th century
Moved to Frauenkirche1815; it was dismantled a few weeks later and stored in the town hall because it was too large for the church
Later alterationsA large bronze candlestick decorated with a figure of Mary, a crown over the composition, and a veil covering the sculptures on weekdays were associated with the work
Reason for coveringA 1756 record attributed the covering to Andreas Osiander's criticism of the image; a later document suggests the cloth was part of the original design
Removal from churchRemoved in 1806
Display in Nuremberg CastlePlaced in an exhibition room of Nuremberg Castle on 4 July 1811

Physical characteristics

MaterialCarved from limewood
ScaleLife-sized figures
WeightApproximately 1000 kg

Appearance

CompositionThe main figures are suspended within an oval wreath of roses
Decorative elementsEach section of the wreath consists of eight roses or rosary beads
Frame decorationThe wreath has eight medallions, seven smaller painted reliefs, side bead strands, upper angels, and two top medallions
Surrounding figuresNumerous smaller angels, many ringing bells or playing musical instruments
ClothingCourtly clothing; Mary wears an ornate patterned dress and Gabriel holds a scepter
PoseThe figures stand on a rock held by an angel and are slightly turned toward one another
Figure heightsGabriel: 2.20 metres; Mary: 2.17 metres
Main figuresThe Virgin Mary and Archangel Gabriel

Iconography and meaning

Analogies and influencesInfluenced by the medieval tradition of the Holy Rosary and related to Gothic architectural sculpture and sculpted scenes placed by church pillars
PurposeA devotional centerpiece for those reciting the rosary or other Marian devotions
Interpretive emphasisThe work celebrates Mary rather than Jesus and was associated with the rosary tradition, which fell out of favor with Lutherans
Iconographic typeAn unprecedented medieval type, synthesizing traditional Annunciation iconography and Gothic statues of Mary in rays
Gabriel's speechGabriel speaks the Angelic Salutation
Meaning of rosesThey represent the rosary of the Annunciation
Lower figureThe serpent of paradise
Top figureGod the Father in coronation attire
Medallion scenesScenes from the lives of Jesus and Mary, including the Nativity, Presentation of Jesus, Resurrection, Ascension, Descent of the Holy Spirit, Dormition of the Blessed Virgin Mary, and Coronation of Mary

Significance

Critical assessmentWidely regarded as Stoss's masterpiece

Other

Associated monumentSebaldus Tomb (Sebaldusgrab)
Associated artworkMarian chandelier by Jakob Pulmann; a miniature statue of Mary was intended to illuminate the work
Lost elementsThe large gilded crown created by Stoss to hang over the frame is now lost; some parts of the sculpture have not survived