restoration in 1977–1979, they have been juxtaposed to
single, unrepeated events from her life in the right lancet.
All the scenes from the roof of the shrine also appear
in the window in closely related compositions. In the
roundel at the top of the window, Christ and the Virgin
crown Francis and Elizabeth, respectively.
While later altarpieces both at St. Elizabeth’s and
elsewhere repeat scenes from her life (see 700 Jahre,
1983: E, nos. 10 and 20, and II, nos. 2–4, 50–51), the
preference in later works, both paintings and sculp-
tures, is for single fi gures of the saint (see 700 Jahre:
II, nos. 3, 7–11, 14–15, 17–33, 40, 43–48). This type
too derives from an early work, a window from the fi rst
stained glass campaign at St. Elizabeth’s, circa 1240,
which portrays the standing saint crowned and elegantly
dressed. The single fi gures typically amplify this model
with an attribute referring to Elizabeth’s charity: a loaf
of bread or a roll, a pitcher, or a garment. Frequently a
beggar in smaller scale kneels at her feet awaiting her
gift. Although the church dedicated to her at Marburg
was not started until the day after her canonization, from
the middle of the fourteenth century Elizabeth was also
portrayed bearing a church model, the attribute typical
of church founders and patrons (see 700 Jahre 1983:
II, nos. 57, 61–62, 64–66). Sometimes, especially in
late medieval works produced in Hesse, the church is
clearly identifi able as St. Elizabeth’s, with its distinctive
tri-conch (arched) apse and two tall facade towers.Further Reading
Bierschenk, Monika. Glasmalereien der Elisabethkirche in
Marburg: Die fi gürlichen Fenster um 1240. Berlin: Deutscher
Verlag für Kunstwissenschaft, 1991.
Demandt, Karl. “Verfremdung und Wiederkehr der heiligen Elisa-
beth.” Hessisches Jahrbuch für Landesgeschichte 22(1972):
112–161.
Der sog. Libellus de dictis quatuor ancillarum S. Elisabeth con-
fectus, ed. Albert Huyskens. Kempten: Joseph Kosel, 1911.
Dinkler-von Schubert, Erika. Der Schrein der hl. Elisabeth zu
Marburg: Studien zur Schrein-Ikonographie. Marburg: Verlag
des Kunstgeschichtlichen Seminars der Universität, 1964.
Sankt Elisabeth: Fürstin, Dienerin, Heilige. Sigmaringen: Thor-
becke, 1981.
Schmoll, Friedrich. Die hl. Elisabeth in der bildenden Kunst des- bis 16. Jahrhunderts. Marburg: Elwert, 1918.
700 Jahre Elisabethkirche in Marburg 1283–1983. 8 vols. Mar-
burg: Elwert, 1983.
Werner, Matthias. “Die Heilige Elisabeth und die Anfänge des
Deutschen Ordens in Marburg,” in Marburger Geschichte:
Rückblick auf die Stadtgeschichte in Einzelbeiträgen, ed. Er-
hart Dettmering and Rudolf Grenz. Marburg: Der Magistral,
1980, pp. 121–164.
Joan A. Holladay
ENCINA, JUAN DEL (1468–ca.1530)
A man of prodigious talent and driving ambition, Juan
del Encina was born, in 1468, into the musically gifted
family of a prosperous Salamancan cobbler. Under the
tutelage of his older brothers, one a professor of music
at the University of Salamanca and the other a chorister
of the cathedral, Encina soon became an accomplished
musician. His skill is evidenced by an extant corpus of
sixty-two original works, the largest of any musician of
the period. Several of his compositions are dedicated
to Prince Juan, suggesting that he enjoyed favor at the
Aragónese court of Fernando II.
As a student of the humanities at the University of
Salamanca, Encina met two distinguished fi gures who
would signifi cantly infl uence his literary career: Anto-
nio de Nebrija, who taught him Latin and rhetoric, and
Gutierre de Toledo, chancellor of the university and
brother of the second duke of Alba. In 1492 Encina be-
came part of the duke’s household, as creator of musical
and theatrical entertainments. It was in this sumptuous,
aristocratic milieu that Encina began his remarkable
dramatic output and aggressive bid for professional
advancement.
Encina’s reputation rests primarily on the Cancionero
of 1496, a collection of lyrics, long poems, original and
translated prose works, and dramatic eclogues that heENCINA, JUAN DELMaster Theoderich, Saint Elizabeth. © Erich Lessing/Art
Resource, New York.