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Personal Data
Title Guardian
Dating 1360?
Location Strassburg
Type of the object sculpture
Place of manufacturing frueher zu St. Stephan in Strassburg
Place of exposition Church of St Nicolas, Haguenau, France
Date of manufacturing  

Sleeping guards at Holy Sepulchre, carved relief, Franconia, 1350-1355 (Church of St Nicolas, Haguenau, France)

Saint-Sepulcre, avec un Christ gisant et baldaquin, gothique flamboyant XIVe siecle, dans l'entree de l'eglise Saint-Nicolas de Haguenau.

From Church of St Nicholas, Hagenau, Bas-Rhin, France
Dating - 1340-1360

Localisation: France; Alsace; Bas-Rhin; Haguenau
Nom de l'edifice Eglise Saint-Nicolas
Nom de l'objet Bas-relief de la Mise au Tombeau ou Saint-Sepulcre : un soldat gardien

на иллюстрации из неизвестной книги приведен рисунок еще одного стражника, вероятно, с боковой стороны памятника (которая сейчас недоступна для обозрения - находится вплотную к стене)
Waerterfigur vom Heil. Grab, Sy. Nikolaus zu Hagenau, um 1350/60; frueher zu St. Stephan in Strassburg
что подтверждается сильным сходством (персонажи и костюмы) с несколькими такими же гробницами из Страссбурга и тем, что данный памятник установлен таким образом, что скрывает боковые поверхности с изображениями

In the seventeenth century Louis XIV closed the abbey and transferred it to the Visitandines to serve as a boarding school for young women, a function which continued up until the French Revolution. In 1714 the church was equipped with an organ by Andreas Silbermann, which is now in Bischheim. After the French Revolution, the building was used as a warehouse, then as a theatre. In 1802, the church was deprived of its tower and in 1805 this was transformed into a theatre.

а в этой книге
говорится, что существует две разных Святых гробницы - в St.Stephan (Strassburg) и в St.Nicolas (Haguenau) "

а в этой книге
приводится рисунок от 1670 года памятника в St.Stephan (Strassburg) и говорится, что хотя изображенный памятник практически идентичен таковому в St.Nicolas (Haguenau), но есть мельчайшие отличия в декоре, которые можно списать на неаккуратность рисовальщика, а так как памятник в St.Stephan (Strassburg) был "разрушен и перемещен" в начале 18 века и никаких точных подтверждений его перемещения нет, то будем считать, что это один и тот же памятник
... The 1702 document indicates that the St. Stephen Holy Grave was "demolish[ed] and transfer[ed]."...
... Based on the drawing of the monument at St. Stephen by Jean-Jacques Arhardt from c. 1670, some have argued that enough similarity exists between it and the Holy Grave at Hagenau to believe that the two monuments are, in fact, a single Holy Grave. Documentary evidence shows that the grave was indeed dismantled and moved out of St. Stephen at some point. However, others argue that neither the evidence of this transfer nor the Arhardt drawing is enough to make a definitive decision about their being the same Holy Grave. ...
... The design differs from Hagenau in terms of minute tracery details and its omission of the three holy women. These differences could be error on the part of the artist as he was sketching it, or he could have conflated St. Stephen's with the design of Hagenau's Holy Grave while reconstructing it. What we cannot know from Arhardt's drawing must thus be inferred from the Hagenau monument, since the one at St. Stephen no longer exists for our consultation. ...

ca. 1360 - 'soldiers at the Holy Sepulchre', Eglise Saint-Nicolas, Haguenau, dep. Bas-Rhin, France
The Holy Sepulchre in Haguenau has always been dated around 1350 to 1360.
The three soldiers all wear armour that is reminiscent of the Southwestern German style of the 1350s indeed, comprising relatively small pointed bascinets with an aventail, longsleeved hauberks, tight surcoats with flowing skirts, greaves, early hourglass-gauntlets etc.
But in this case the slightly odd, or modern feature is that all three of them wear plate cuisses (with lames in between the poleyns and greaves/cuisses), which can hardly be seen in Southwestern German art of the period. During the 1360s for instance studded cuisses were the fashion of the day.
Are the plate cuisses an early modern depiction, or did the sculptor portray soldiers in already slightly old-fashioned attire, around, let's say, the 1370s, when it became normal to depict plate cuisses?
My guess for the moment is a compromise. Earlier than ca. 1355 is improbable, but from around 1360 onwards plate cuisses were certainly worn. Note the voluptuous shape of the aventails, and jupon with bulbous breast and scalloped edges of the crossbowman, which are also post the 1350s. On the other hand, yet again, the early hourglass gauntlets, the flowing surcoats of the two soldiers on the right, and the studded cuffs of the soldier on the extreme right can be called pre-1360s features

за более позднюю дату (1360-е) говорит
- полный пластинчатый наголенник с развитыми крыльями и дополнительными пластинами
- высокие подолы кольчуги и сюрко

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