Seite - 146 - in The Power of Urban Water - Studies in premodern urbanism

146 Margit Dahm-Kruse Diuburctorwârenûf getân. Die Stadttore standenoffen. dô sâhendie küenenman Dasahendie tapferenMänner niemananden zinnen, niemandenauf denZinnen, weder ûzenoch innen. weder außennoch innen.12 […] […] dô sie in die burc drungen, Als sie in die Stadt drangen, dôwasdânieman innen. dawarniemanddort drinnen.13 This firstdescriptionof thecityclearlyalludes to thebiblicalmotif of theHeavenly Jerusalem.14 In the revelation of John, theHeavenly Jerusalemcomingdown to earth at the end of times is describedasagloriouscitywhosesquare is limpidgoldand that is surroundedbystrongexter- nalwalls decoratedwith precious stones of several colours.15 TheHeavenly city is surrounded by great walls that do not serve the purpose of fortification, because the gates always stay open,16 thereforeGrippia’sopengatesmarkaverystrongallusion to thebiblicalpattern.Avery significant reference to theHeavenly Jerusalem is also givenwith Grippia’s special shine that reminds one of the divine light in the likeness of crystal or precious stones which emanates from theHeavenlyCity.17 TheHeavenly or New Jerusalem is an omnipresent paradigmwith several overlying theo- logical, allegoric-symbolical, andhistoricalmeanings. It is the central eschatological symbol in the ChristianMiddleAges,18 at the same time representing the ecclesia and therefore the com- munity of believers.19 It is theprototypeof allegoricalmeaningand fourfold exegesis, and it is closely connected withmedieval concepts of paradise represented not only by the Garden of Eden, but also by theHeavenly City.20 In any case, theHeavenly Jerusalem is of great signifi- cance for the iconographicandalso the literary tradition in theMiddleAges.21The iconographic modelof theHeavenly Jerusalemunderlies thedescriptionofcities inmany texts fromreligious aswell as secular contexts. Thus, the ‘HerzogErnst’ is not the only example thatmakesuse of this religiouspatternand its specific aesthetic impact. In ‘Herzog Ernst’, the arrival at the heavenly-seeming city of Grippia appears in the first instanceasa rescue, evenas salvationafter the terriblemonthsat sea. Thenearly starvedmen step into the beautiful city and after a while they find a splendid banqueting table within a courtyard.22 Theyhelp themselves to foodandafterwards they return to their ships.Butdespite theChristian allusions anddespite the beauty of the city and the lifesaving food it provides, it isobviousthatGrippia isnotanaltogethergracefulplace: theemptinessof thecity issuspicious from the beginning, and Ernst’s men are constantly expecting to be attacked. However, it is precisely this dangerwhich promotes the enormous seductive power of the city: even though themen,nowprovidedwith food,have returnedsafelyback to their ships, theduke, fascinated 12 ‘HerzogErnst’, ed. Sowinski 1979,V. 2311–2314. 13 ‘HerzogErnst’, ed. Sowinski 1979,V. 2362f. 14 This reference is alreadyhighlightedbyBowden2012, 23. 15 Apc21, 10–21.AllBible verses relate to the followingeditionof theBibliaSacraVulgata:Weber–Gryson2007. 16 Apc 21, 25. 17 Apc 21, 11; 21, 23–24. 18 See, for example, Stoltmann2008, 375;Hengel 2000, 251. 19 ‘Vornehmlich die Stadt, das himmlische Jerusalem, ist eineMetapher, die immerwieder in der Literatur den Gottesstaat und die Kirche vertritt. Kirche – Stadt – Gottesstaat erscheinen bisweit in das 13. Jahrhundert unter gemeinsamenAnschauungsformen’ (Bandmann 1951, 85). See alsoAngenendt 2005, 311. 20 Kugler 1986, 84–87. 110–112;Miller 1986, 148. 21 Lilley 2004, 300f. 22 Ernst considers the dishes anddrinks to beGod-given, intended to save themen fromdeath, but also to test their self-control.Heallowshismentoeatanddrink,butnot to takeanythingof thegoldand thepreciousobjects around them. When the story progresses, it becomes clear that the banquet was provided for the wedding of Grippia’s kingwhichwasgoing to takeplace that day, so therewasnothingdivine about it at all.