Paper -a:
Besides being important historically the residences of the Holy Roman Emperors Henry III in Goslar and Friedrich Barbarossa in Gelnhausen are distinguished examples of the heritage of Romanesque art. On the stucco relief of the north porch of St Simon and Jude's Church in Goslar are among other images figures of Henry III and Friedrich Barbarossa. The aim of this paper is to study how the images of the two Holy Roman Emperors Henry III and Friedrich Barbarossa German originswere developed in different art forms of the integrated Romanesque style.
Paper -b:
Until now the imperial (ghibelline) eagles under the phallus tree in the Massa Marittima fresco (discovered in 2000) were considered as an emblem of the bad government, under which every heresy and vicious sexual practice was allowed. However, through the deeper research in the history of the phallus tree motif in medieval art, we can see that the eagles here symbolise rather the government, which is temporal by its nature and can be laughed at. In this paper special attention is paid to the position and quantity of eagles in the fresco and the possible connection of Empire symbols not only with immoral, sexually active women, but also with sodomy and catharism.
Paper -c:
The architectural development in early 13th-century Anatolia under the Rūm Saljuq Sultan Izz al-Dīn Kay Kā'ūs was in part an attempt to create a new Imperial aesthetic. It imposed an Islamic stamp on the still majority Christian populated land, differentiated the Saljuqs from the Ayyubids to the south and made a connection to the architectural heritage of Iran. By analysing the tall brick minarets added to existing stone mosques and the marble tomb and portals reserved for the capital at Konya, the role of architecture in promoting the image of the Rūm Saljuq Empire can be better understood.
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